LFI Magazine 6/2017 E

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Brix & Maas Stanley Greene Clara Vannucci Johnny Pigozzi

L E I C A F O T O G R A F I E I N T E R N AT I O N A L

Frédéric Stucin

Repeat Winner of the TIPA Award

‘Best Photo Lab Worldwide’

Sven Fennema, LUMAS.COM

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Awarded by the Editors of 28 International Photography Magazines

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p o rt f o l i o l i g h t b ox

F / s to p

96 | L f i . Ga l l e ry

8 0 | L e i c a TL 2

The LFI Gallery presents over 300 000 pictures by more than 20 000 photographers. In this issue: sun, sand and sea

The Leica TL2 is produced in silver and in black. The 24 megapixel sensor with sensitivity up to 50 000 ISO, the faster autofocus and the focus peaking are among the most important improvements

P h oto 106 | books

8 4 | B lac k a n d w h i t e High resolution and the finest tone value differentiations: how differently and with what advantages do the M10 and the M Monochrom perform for black and white photography. We offer a practical report 9 2 | SL f i r m wa r e 3 The Leica SL firmware-update 3.0 gives users faster storage of DNGs and an optimised, even faster auto-focus

New books by the photographers Stefano de Luigi, Latif Al Ani, Claudius Schulze and Andreas Mühe Unknown, 1988: from the Pool Party photo book by Johnny Pigozzi

Frédéric Stucin 6 | Diane

A visit to Chantilly racecourse in search of extravagant outfits and headgear. A portrait series

Johnny Pigozzi 1 8 | P o o l Pa r t y

Celebrities in private: a swimming pool in the south of France offers the perfect backdrop

The new Leica TL 2: a unique design with optimised inner values

Brix & Maas 32 | Tephra

Landscapes devoid of people next to sensual lips – Brix & Maas demonstrate how opposites attract

Clara Vannucci 42 | Cinema impero

Italian colonial heritage in Africa. Looking for clues in Eritrea’s fascinating capital, Asmara

Lieven Engelen 52 | A new spring has arrived

108 | exhibitions Photography in Argentina, Los Angeles; André Kertész, Amsterdam; Paul Hansen, Stockholm; Willy Ronis, Paris; SummertimeSalon, New York 1 0 9 | F e s t i va l s From 2 to 17 September, Visa pour l’image will turn Perpignan into the world capital of photojournalism 111 | Leica Galleries An overview of the programme of Leica Galleries around the world, with Fulvio Bugani, a. o.

1 1 2 | I n t e rv i e w Artistic and documentary photography as political means. A talk with Tuula Alajoki, Director of the Backlight Photo Festival in Tampere, Finland 114 | my picture A visit to Britain’s derby in Epsom left Peter Bialobrzeski with some open questions 114 | imprint

The waters of the Aral Sea are slowly rising once more.

A blessing for fishermen and life on the lake shores

Stanley Greene 68 | in Memoriam

The co-founder of the Noor Agency who passed away on 19 May, 2017, shares his thoughts on photography and war

Coverphoto: Frédéric

Stucin, from his Diane series

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s ta rt me u p A m u s i c a l t r e as u r e t r ov e

Rotterdam, 2 June 1982: European start of the Tattoo You tour.

With the Tattoo You tour that opened in the US in 1981, the Rolling Stones set new standards for rock shows and marketing. When the European leg began in summer 1982, photographer Udo Weger headed to Rotterdam to takes pictures for a preliminary report in view of the Hanover concert.

Equipped with a Leica R3 and an R4, Weger was one of 70 photographers accredited for the opening concert.

As still the practice today, groups of photographers were led into the pit in front of the stage, each allowed to take pictures during three songs.

Thanks to a combination of luck, curiosity and a lack of experience, Weger managed to find himself on stage, where, right from the very first song, Under My Thumb, he was able to get spectacular pictures of Mick Jagger, that he would never have managed to get from the pit. These photographs, unpublished till now, and an interview with the photographer can be found on the LFI blog. lfi-online.de/blog

Contributors

It was a friend who told Dutch photographer Lieven Engelen about the dam at the small Aral Sea, which is allowing the water levels to rise again. He soon realised that he wanted to tell this story with pictures.

Equipped with his Leica, he was able to experience up close the daily life of fishermen in the village of Tastubek.

The camera’s manual focus made the work much easier. “It allows you to immerse yourself completely in whatever’s happening in front of you, and to not get distracted.”

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J e a n “J o h n n y ” P i g oz z i In the pictures Johnny Pigozzi took for his Pool Party photo book, the fun-loving host made up a facsimile list of things that he connected to the swimming pool that his parents had had built on the family property in Antibes, southern France, in 1953. The list included bikinis, Reggae, iced tea, diving, inflatable toys, Italian food, friends, birthdays, May, June, July, August, September, flip flops, holidays, rosé wine, waterproof cameras, and so on.

Let the summer begin!

C l a ra Va n n u cc i

In Asmara, the capital of Eritrea, it is easy to imagine that you are somewhere in Italy during the first half of the twentieth century. Clara Vannucci definitely had that impression when she was there. “The moment I arrived, I noticed that the street paving was exactly the same as on the streets of the Versilia region in the north of Tuscany where I spent my holidays as a child. It was the first of many similarities that I noticed in a town so far from home, yet so close at the same time.”

Photos: © Didier Bizet, © Jean Pigozzi, © Michele Fossi

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Frédéric Stucin Diane

The Prix de Diane at the Chantilly Race­course has existed since 1843, and continues to be an important society event today – horse racing fans meet representatives of fashion extravagance.

A very special fashion safari.

Frédéric Stucin had only one day to produce his series at the Chantilly Racecourse.

“I’m only interested in the people; but it was the horse race that allowed me to meet some welldressed people.”

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During the parade it was, of course, the ladies who were most courageous when it came to extravagant headgear; on the whole, the men were just low-key companions or even featureless accessories, whose suits and hat fashion tended towards distinguished restraint

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Frédéric Stucin The French photographer is always on the look-out for that special portrait – whether politicians, celebrities or commuters hurrying by at a train station. He is primarily interested in the person, the individual, a specific expression. Born in Nice in 1977, Stucin studied Photography at the École Louis Lumière.

Today he lives in Paris and is involved in the La France Vue d’Ici project.

frede r i cstu c i n .co m LFI -O nl i n e .D E / B log : One Photo — ­ One Story

Equipment: Leica S007 with Apo-Macro-Summarit-S 120mm f/2.5; Profoto B1 Blitz and Beauty Dish

It is likely that most horse racing fans would reject the idea they come to the race track to display their exclusive and extravagant head-wear. However, if you take a look at the series taken

by French photographer Frédéric Stucin in 2016, the suggestion may not seem so far-fetched. The ladies and gentlemen shown here are following a long-time tradition, because horse racing and hats belong together, and this pairing has existed in France in particular for many decades.

Starting with Henri Meurisse or the Séeberger brothers, who became famous in the late nineteenth century for their exclusive society portraits, race courses have always been popular places for reporting on high society. Ladies were happy to be photographed in their exuberant robes and latest creations, and those first nineteenth-century pictures of highfliers in exclusive settings define the somewhat casual birth of fashion photography. Historically speaking, it was still a far cry from the professionalism seen today: back then society ladies were not professional models, but representatives of the upper classes who were happy to be portrayed in their clothes. The images that became ideals in fashion journals at the time, have long transformed into a discipline in itself. Even today, the same questions apply in certain situations: who has the most outlandish idea? Who is wearing the most creative design? And, above all, who is catching the most attention?

The Prix de Diane is one of the most renown horse races in France, taking place at Chantilly Racecourse in June every year. Since 1843, horse racing fans have been marking this event in their calendars, but it is not just they who are magically drawn by the mythological goddess, Diana.

Chantilly Racecourse has always represented a combination of top sports performance and fashionable elegance. Consequently, Stucin also found it to be the perfect hunting grounds for his portrait series, which makes up part of the collective photography project La France vue d’ici.

The horse races provide the incentive for around 30 000 people to attend the Prix de Diane, as the carefully kept lawns are also used for luscious picnics and for concerts. It is a prime spot for countless profilers who like to pose in front of an amused general public. Stucin was able to mix very informally with the people, looking for the wearers of the most interesting hats. “I chose the people according to their hats, but also for their faces, the look in their eyes. If I found them interesting, I asked if I could take a portrait shot. It was purely instinctual,” he says. Whether a hat crowned with an enormous bouquet of roses or a transparent, organza hood; a widebrimmed hat fit for a parade or a quirky affair of woven straw; a small hat with playful veil or even real deer horns – the diversity of extravagant ideas was overwhelming. The actual photographic procedure was then quite easy, as Stucin only needed a white background for his open-air studio.

The portraits taken with his Leica S007 were shot in a couple of minutes.

It was easy for him to select the most interesting models, because he watched the whole event unfold like a large parade. People enjoyed taking part in the fun and were open to being included in the series. “There were many rich people, but also many more humble ones, who took advantage of the event to have their brief moment of fame in the limelight. It was very touching,” Stucin explains.

The horse racing context is completely removed from Stucin’s series, because for him it is all about the unique portrait. People look out of the image at us: direct, somewhat reserved and a little skeptical. Hardly a smile, but with great dignity and elegance, in the awareness of a special moment.

Extracted from the hustle and bustle of the event, the portraits represent timeless facets of individual grandezza, in a broad panorama of fashionable profiling. Ulrich Rüter

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Johnny Pigozzi

pool pa rt y

The density of celebrities on the Côte d’Azur must be one of the highest in the world, but you rarely get to see the rich and the beautiful up close. Unless your name is Johnny Pigozzi and you happen to have a swimming pool...

Clockwise from the top: Caroline Grimaldi (princess), Bernardo Bertolucci (director) and Fanny Ardant (actor), 1990; David Geffen (serial entrepreneur) and Allen J. Grubman (lawyer), 1972; Kristen McMenamy (model) 1991. Previous page: Elle ‘The Body’ Macpherson (model), 1991

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Clockwise from the top left: the musicians The Edge, Michael Hutchence and Bono, 1994; Shep Gordon (agent), Jean “Johnny” Pigozzi, Michael White (producer) and The Lovely Hawaiian Tropic Models, 1993; the actors Sharon Stone and Mimi Craven, 1992 – people tried selfie poses long before the smart phone was invented

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Clockwise from the top left: How we laughed‌ Helmut Newton (photographer) and Mick Jagger (musician), 1990; Michael Douglas (actor) 1990; two unknown people, 1994. Previous page: Xin Li, 2009; the former model is acting representative of Christie’s business in Asia

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Clockwise from the top: Agent Irving Paul “Swifty� Lazar with his wife Mary, like a cockerel surrounded by hens, 1982; Willy Rizzo (photographer, designer), Ahmet Ertegun (music manager) and Nan Kempner (socialite), 1988; Charles Saatchi (art dealer), 1989

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American fashion photographer Bill King and British model Yasmin Le Bon, during a photo shoot for Vogue, 1986. Le Bon was one of the super models of the eighties

je a n “ J o h n n y � P i g o z z i Born in 1952, Johnny was the son of the FrenchItalian car manufacturer, Henri Pigozzi. An entrepreneur and art collector, he lives in Paris, New York and Panama. The former film producer and friend of many celebrities, turned to photography in 1972. Working mostly in black and white, Pigozzi captured his surroundings and prominent circle of friends in pictures that he then presented in exhibitions and photo books.

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Photos: © Jean “Johnny” Pigozzi

LFI: Mr Pigozzi, what is so interesting about an ordinary swimmingpool that you made it the protagonist of your latest book?

Johnny Pigozzi: I spent my whole childhood at this pool. It was built 65 years ago by my parents. I spent my holidays around the pool. It’s like a little sister to me. I used to take pictures around the pool all the time. One year ago, I asked myself, why not make a book out of these images? The interesting thing is that the pool is in all the pictures. It never leaves. Visually you have all these lines on the floor. It’s very conceptual. The people come and go, but the form and the pool remain.

They are like a stage.

That’s an interesting point. Hockney once mentioned that it was very difficult to paint these pictures, because of the representation of light on the changing water surface.

How difficult was the transformation of light into the media of photography?

In my case it wasn’t so difficult, because I do nothing. I only photograph in black and white. But what I like is the contrast between the hard edge of the pool and the water. When you look at it, you get the impression that it’s one big flat surface. I love to look at water.

It’s never the same, and there are never two waves that look the same. That makes it very interesting.

For the foreword that was written

by Bono, you made a list of all kinds of things you connect to the pool: Reggae, flip-flops, red wine, Italian food… Has the pool become a symbol for the levity of life?

It is life in the summer in the south of France. You don’t speak about business, about high-tech or about politics. You just speak about the holidays – which aren’t so bad in this area, believe me!

How did you get into photography?

My father gave me my first Leica for my ninth birthday. It was very difficult for me to use: you had to pull out the lens, and I forgot to do so all the time.

It was the same Leica Henri CartierBresson used during the war. Later on I had the M2 and the M6. I loved them, but I used to travel a lot and many films got damaged at airports during those trips. So one day I said, “Basta!” and switched to digital Leicas.

The pool seems to be an important emblem of pop-culture: think of movies like La Piscine, directed

by Jaques Deray, or Swimming Pool, directed by François Ozon.

Yes, your right! The pool is a big movietheme. There’s also a famous American movie from 1968 called The Swimmer, directed by Frank Perry and Sydney Pollack. It stars Burt Lancaster who plays a man called Ned Merrill, a fit and tanned middle-aged man in a bathing suit. He drops by a pool party in Connecticut being held by some old friends and it is the start of a journey that leads him from swimming pool to swimming pool meeting all kinds of people and situations. Or think of David Hockney: the pool is a big topic in many of his paintings.

You started exhibiting your photographs in 1972. It was the same time that you came into contact with Andy Warhol. Did he have an influence on your idea of photography?

When I met Warhol, he was always taking pictures. He taught me to be free when taking pictures. Even freer than I had been in previous years. The lesson was: don’t take it too seriously.

You should only take pictures, because it’s fun. Don’t make an art-project out of your photographs. Just take the pictures. If it works, it works, if it doesn’t, it doesn’t. The other thing I learned from Andy was to use small cameras.

All the paparazzi use big cameras, so people get scared. But if you use small ones, people don’t get nervous.

Yes, we talked quite a lot about it.

We were very good friends. Helmut also taught me not to take photography too seriously. You can’t compare it to paintings or drawings. It’s just a ‘gun for hire’ – you remember the book? Another thing I liked about Helmut was that he always used very simple cameras. And he took pictures, because it was fun. That’s what I really learned from him. Nevertheless, when he took pictures he was very concerned about the details. If there was a little flower to the left, he eliminated it by asking the model to move an arm a little bit more to the left.

I’m completely different, because my photographs aren’t posed. I like the pictures to be natural. For example, I never use artificial light, because I have no idea how to use it. Maybe my main influence is the Swiss-American photographer Robert Frank.

Was he also a guest at your parties?

No, I met him once when I was at Harvard. I met him briefly, but he really is my favourite photographer. He travelled all around America with a small Leica in his luggage. In his pictures you can feel that he was very close to the people. He never used telephoto lenses or things like that. He got very involved with the people and created a connection. You can tell if someone uses a Leica or a Nikon. People with a Nikon use a telephoto lens, and people with a Leica only use a 35 or 28mm lens. It’s a completely different kind of photography. None of the pictures in my book are taken with a telephoto lens. Everyone is aware that I’m taking a picture. I’m standing a metre in front of them. You can act very quickly with a Leica. That’s the main difference.

Interview: Ralf HANSelle

LFI-On lin e.DE /B log: Slide show WitH further pictures by the Pool Joh n n y Pigozzi: pool Part y

192 pages, around 135 colour and black&white pictures, 18,6 × 23,2 cm, English, Rizzoli

Another friend of yours was Helmut Newton. He was one of your frequent pool party guests. Did you discuss photography a lot?

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Brix & Maas Te p h r a

Photography duo Aglaja Brix and Florian Maas combine images of raw Canary Island landscapes, taken on Lanzarote and Fuerteventura, with beauty shots photographed in their Berlin studio. A great example of how opposites attract.

“We are inspired by paintings, specifically from the Renaissance era and especially by Leonardo da Vinci – in particular as far as poses and lighting are concerned.”

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“We often hear people say that our pictures have a film-like quality, which makes us very happy, because we like to describe our style as cinematic.�

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“We always like to try out different stylistic elements, and often mix them within one series to create diversity and tension.�

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“Tephra is the first project we’ve done where we consciously developed the concept of using two separate settings, with the idea of directly combining their different parts.”

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Ag l a j a B r i x Florian Maas Brix and Maas were born in Hamburg, in 1990 and 1987, respectively. They grew up in the city and met there while studying communications design. In 2014 they completed their Bachelors in Hamburg with an emphasis on photography. “At the beginning we assisted each other on photo jobs. Then we quickly realised how well we complemented each other.”

br i xa n dmaas.co m LFI -O nl i n e .D E / B log : Slideshow with additional images

Styling: Aglaja Brix Hair & Make-Up: Lena Schleweis MODEL & MUSe: Josefin Herrmann Equipment: Leica SL with Vario-Elmarit-SL 24–90mm f/2.8–4 Asph.

A lunar-like landscape devoid of people, with volcano craters worn down over the ages. Wind and clouds producing an ever-changing interplay of light and shadow on red earth. Beside this image is an open mouth: cratershaped lips partially painted in shades of coral. A bright blue eye made up in shiny black features next to a rain puddle surrounded by dark chunks of lava. A three-quarter angle portrait stares across at foaming waves crashing against a cliff – both images in black and white. In their contrast-rich Tephra series, Aglaja Brix and Florian Maas combine opposites: harsh nature on the Canary Islands with wellproportioned harmony in the features of model Josefin Herrmann. Four elements are at the core of the story: fire, water, earth and air. Brix explains, “Tephra comes from the Greek and means ‘ash’ – it is also the name given to the volcanic rock located on the Canary Islands. We also found that Tephra sounds like a beautiful, mystical name, so it was a perfect title for our series.”

Tephra combines two approaches – and is a premiere for the two photographers. “The particular uniqueness of the series is that the pictures were taken in two different places, quite separate from each other,” Brix says.

“We took the nature pictures on Lanzarote and Fuerteventura, while the beauty shots were taken later at our studio in Berlin.” The photographers had planned many ideas and creative concepts while preparing the production, but without limiting the space for spontaneity. Maas reveals, “While we were on the Canary Islands photographing the nature motifs, we already knew that we wanted to follow them up with beauty motifs that would interplay with the elements and compositions of the landscape images.

This concept – that we were trying out for the first time – of placing photo motifs opposite each other, was always part of the plan,” he explains.

“In fact, the reason for our week photographing on the Canary Islands was to film a music video for the band Nachtschaden, that was published on the S Magazine website.”

Making videos is another of the duo’s great passions. Complementing their Don’t Care series (published in the S Magazine 9 Lookbook), they also took film sequences that, like the Nachtschaden video, were filmed with the Leica SL. Following this involvement with the limitations and advantages of moving pictures and photographs, something became clear for the two artists. Maas explains, “Certain filmed images can, in fact, also be stills. The decisive point is defined by the location or by the clothes. The sequence of the story, the interplay is important.” Brix adds, “Choosing one image from a film sequence depends on the framing. However, that means the decisive moment that defines a good photo is gone, with photography you have the one frame that boils down to the whole concept.”

When working on the concept for a series, Brix and Maas are happy to look for inspiration in the work of British fashion and documentary photographer, Nick Knight, known for his complex, fashion studio tableaux, as well as for his cover shots of pop music greats such as Björk and David Bowie.

The two photographers also get ideas from the surreal, fairytale-like styles of the Brit, Tim Walker, or the eclectic series by the Spaniard, Txema Yeste.

“Of course, there are also others who inspire us but who don’t necessarily come from the world of fashion photography. Andreas Feininger, for example, whose influence is particularly recognisable in the style we like to include in our series; Man Ray and the Dadaist artists can also influence us.”

However, the locations that the two photographers plan for their productions or discover by chance during their travels are, without a doubt, some of the greatest sources of inspiration.

“Nature always offers great locations, but we also like urban, architectural or industrial settings. The main thing is it’s the places that inspire us!”

Carla Susanne Erdmann

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L e i cA Q

Clara Vannucci C i n em a i m p e r o

Eritrea is a small country on the Horn of Africa – and one of the continent’s most impoverished nations. But its capital, Asmara, holds a fascinating legacy: a collection of colonial buildings, envisioned by Italian architects. Though time has taken its toll, their charm remains undiminished.

There are nine movie theatres in Asmara. The auditorium of the Cinema Roma was designed by Roberto Cappellano and Bruno Sclafani, and built in 1935 and 1944

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Clockwise from top left: the Cinema Impero, designed in an Art Deco style; visitors to the Odeon cinema; Asmara Market, designed by Ferruccio Mazzanti, Giuseppe Arata and Guido Ferrazza, built from 1938–1952; nightlife on the streets and inside a bar lFI

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Street scene in Massaua. The Eritrean port city was completely destroyed during the war with Ethiopia

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Clockwise from top left: a woman prepares a spice mixture at a caravanserai market; Orthodox wedding in Massaua; market scene in a caravanserai in Asmara, built by Italians in 1915 for travelling merchants; wedding couple in Massaua lFI

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The former Italian restaurant Il Fungo in Asmara, once a well-known eatery with panoramic views over the city centre of the Eritrean capital

C l a r a Va n n u cc i Born in Italy in 1985, Vannucci studied architecture before pursuing photographic projects on the criminal justice system. These include the reportage Crime and Redemption (created in Tuscany’s Volterra prison) and a series about the Rikers Island women’s prison in New York. In addition to her work as a photographer for newspapers and magazines, she also gives lectures on photography to inmates at the maximum security prison in Milan.

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Asmara almost seems like a time capsule of Italy in the first half of the 20th century: grand buildings, Art Deco cinemas, glamorous hotels and stylish cafés. A polished steam-wand coffee machine can be found in almost every bar. This is where customers order cappuccinos and bomboloni with sweet fillings, while many restaurants serve pizza and pasta dishes as part of their regular menus. Geographically speaking, we are a long way from Italy: around 4000 kilometres as the crow flies separate Eritrea’s capital city from the southern European country. But this does nothing to detract from the heritage of this former Italian colony, which under Mussolini was referred to as ‘La Piccola Roma’: Little Rome.

Italy’s colonial rule in north-east Africa began in 1890, and ended when the British conquered Eritrea during the Second World War – forcing the colonial masters of Asmara to surrender on 1 April 1941. Italian photographer Clara Vannucci has now created a photo series in this historysteeped city, which was first occupied

by Italy in 1889, and declared the capital of Eritrea in 1911. A steady flow of new inhabitants, especially from Italy, led to a five-fold increase of the city’s population within a very short space of time – and so Asmara became the unlikely subject of Mussolini’s urban planning enterprises. The construction boom that followed gave rise to an array of Art Deco, Neoclassical and Rational style buildings, designed in the 1930s by leading Italian architects. Asmara has recently applied for UNESCO World Heritage status, in order to preserve this uniquely concentrated and intact assemblage of Modernist architecture.

Asmara’s bold and striking architecture is also the subject of Vannucci’s series, aptly named after the city’s famous Cinema Impero built by Mario Messina in 1937. However, the purpose of this project is not to showcase

imperialist architecture – a style which was established to override traditional structures and promote racial segregation, and which now dominates the city in every sense of the word. Instead the photographer sets out to convey an overall sense of this multi-faceted and astonishing African metropolis – working predominantly with long shots, and only very few close-ups. “70 years after the end of colonialism, I’m trying to describe the situation of a very little-known country from which millions of people have fled to Europe. At the same time, it is home to some of the most vivid examples of Futuristic and Rational architecture, and keeps the old traditions of Italian culture alive.”

The resulting series is a contemporary city portrait, addressing Asmara’s Italian heritage as well as the lives of its residents today. Her images tell of a world in which mobile phones are still something of a novelty; where men sit in cafés while the women tend to their homes; where the supply of electricity and water is limited to a few hours a day; where young men congregate in nightclubs and families celebrate Orthodox Christian weddings.

There is a grand total of nine cinemas in Asmara, some of them with vast auditoriums, which still serve as primary meeting places for many of the city’s 650 000 inhabitants – perhaps not least due to the lack of stable satellite and internet connections. Vannucci’s series paints a picture of tranquillity, low traffic and quiet streets: a place that time forgot.

In February 2016, Vannucci spent three weeks in Asmara to retrace the life of her grandfather, an Italian doctor who emigrated to Eritrea in the 1920s. She had rediscovered her grandmother’s photographs from that time, and they ignited a deep desire in her to explore this far-away and almost unknown country with her camera, a Leica Q. “I found it important to describe the country from a different perspective, obviously without discounting any aspect of its history – be it Italian, Ethiopian or Eritrean.”

Her own Italian heritage put her at an advantage: the majority of locals have either studied or still speak the language of their former colonial masters.

In fact, Asmara is home to the largest Italian school outside of Italy, catering for 1200 students. Nevertheless, there were also those who reacted to the photographer’s presence with suspicion. “People who ask questions and take pictures are never welcome in a totalitarian country,” Vannucci points out. The casual elegance of her images might well suggest an easy-going, African-style Dolce Vita – almost letting us forget that Eritrea, which has been ruled by Isayas Afewerki since 1993, is referred to as Africa’s version of North Korea: freedom of the press is virtually non-existent, the infrastructure is at rock-bottom, the government is accused of human rights violations.

In addition, the country’s long-term enmity with Ethiopia has not been laid to rest. After the Second World War, the United Nations decided to annex the province of Eritrea to its larger neighbour, Ethiopia. For thirty years, Eritrea fought for its independence in a war that only ended in 1991. The events of the past are still palpable, but too elusive for any visual documentation.

After decades of hardship and war, Eritrea is one of the world’s most impoverished nations. And yet, in spite of all the pain and despotism it has suffered in the past, it remains a country with a truly fascinating capital city – where real life and cinematic fiction quietly merge into a reality somewhere between improvisation and imperialist symbolism. katrin ullmann

claravan n u cc i.com LFI-On lin e.DE /B log: one Photo ­— one Story Equipment: Leica Q, Summilux 28mm f/1.7 Asph

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L e i cA M

Lieven Engelen A new Spring h a s a r r i ved

When the water in the Aral Sea disappeared, it was one of the earth’s biggest environmental disasters. Now a dam on the Kazakh side has offered a new hope for life.

The return of water has also brought fish and fishermen back to the Aral Sea.

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It takes some time to reach the shore – and the water is still shallow. If you drive towards it in a car, you will inevitably come across ships, stranded like whales on the dried-out lake bed. If you are unlucky, a strong wind will blow and fill your eyes, nose and ears with contaminated dust. Is this the setting for a miracle? Yes, it is.

Right here.

Despite its name, the Aral Sea was once the fourth largest landlocked lake on earth, half in Kazakhstan and half in Uzbekistan.

Industry flourished along its shores and people lived from fishing.

Men went out in their boats while women processed the catch in factories. Then an environmental crisis of biblical proportions developed. The Soviet Union diverted the rivers feeding into the lake towards irrigating newly planted cotton fields – with catastrophic consequences. The water gradually evaporated and the remaining 10% became so salty that only flounder managed to survive. What did thrive was dust, contaminated with pesticides that sickened people living along the shores and in the whole wider region. Anyone able fled into the cities or to other shores.

I know the story of what happened from my school years, but recently I heard a new one from a friend: a dam was restoring life to the Kazakh side of the lake – the water was returning, bringing back fishermen with it. My first thought was that this is a story needing to be told. Humans had destroyed the Aral Sea, but were also bringing it back to life. The idea of documenting the comeback of the shrunken lake had been born.

Tastubek is a village of about twenty houses in the northern region of the Aral Sea with just one road passing through it. After driving on for another twenty minutes I reached the water. It had been a long journey: a flight from Amsterdam to Paris, then another to Astana and Qysylorda. From there, I was still a sevenhour train ride away from Aral, which I had to pass through to arrive at Tatstubek. Even though the distance is only ninety kilometres, you need nearly four hours to get there, following bumpy tracks across what used to be the bed of the Aral Sea. I stayed with Nurzhan Seitbenbetova, a fisherman acquaintance of Serik Dusenbayev, the local guide I met in Aral. I wanted to gain their trust, and for that I needed to adapt to the family’s habits and rhythm. I was grateful to be their guest. →

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Right: Ainur is Nurzhan Seitbenbetova’s sister-in-law. She is preparing food for the family and guests without access to running water. Camel meat with homemade pasta is on the menu; below left: ten in the morning close to Tastubek. After three days of wind and storms, the men are anxious to get back to fishing

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Clockwise from the right: Children enjoy time outdoors, they learn to trust their instincts from a very young age. A camel crosses the street in Tastubek. On average, each family owns eight to twelve camels – the meat is used in virtually every dish. Following a bumpy road on a motorbike gets you to the lake shore quite quickly. The main street of Zhalanash, a former fishing village. The water used to come right up to the edge of the settlement

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A car breaks down in the middle of nowhere. The only thing to do is hope that help will come soon. There are no repair workshops close to Tastubek. The inhabitants are used to dealing with any jobs that need doing

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Clockwise from the right: Akerka during a quiet moment – sometimes she worries about what the future might hold. Fresh fish is brought to the local fish factory, where it is conserved and prepared for transportation to Aral. Amanbai Yerkhatov, a local businessman, runs the factory. Stranded boats stand as a symbol for the environmental disaster that occurred at the Aral Sea – nowadays little remains, as all the metal parts are recycled. Children are as yet unaware of the terrible past

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Fishermen bring in the catch.

Their forefathers were also fishermen – before the great environmental catastrophe.

Forced by the emergency conditions, their descendants had to look for other work – until the water returned

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Today, Nurzhan and Yerkin can earn a living with fishing (below). The waters of the Small Aral Sea rise continuously thanks to the dam. You can see the water once again from some of the villages that used to be right on the shore.

The Uzbek side, however, remains dry. Cotton, an important export item, continues to be grown by the access rivers.

There are plans to drill for oil and gas in the dried-out lake bed

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L i eve n E n ge l e n Born in Geel, Belgium, in 1965, Engelen studied Graphic Design at Art Schools in Brussels and Hasselt, and then worked for agencies. In 2011 he worked increasingly with photography, focussing on landscape and portraits. In 2016 he completed his studies summa cum laude at the Fotovakschool in Amsterdam. Today he works for various clients and magazines, as well as on his own projects.

l i even e n ge l e n .co m LFI -O nl i n e . D E/ B lo g : Behind the scenes images can be found on the blog

Equipment: Leica M9 with Summicron-M 50mm f/2 Asph

This included sleeping on a carpet on the hard floor of the house, a cup of tea with sweets or biscuits for breakfast, listening to the morning banter; tea is exclusively served by women – in this case Akerka, my host’s wife. In the evenings I ate with the fishermen and realised it is better not to be a vegetarian. Camel meat is the basic staple, included in virtually every dish. Because I was a guest, I was given the fattiest piece, considered to be the tastiest.

I ate out of politeness. Each meal ended with a large bowl of camel’s milk: also a challenge for my weak, European stomach.

However, I was a guest at the Seitbenbetova family home, and I wanted to get to know their everyday life better.

I quickly discovered that, apart from the fishing, life here mostly involves carrying and hammering. There are no repair shops, and no restaurants or bars where one might relax after a hard day’s work. Life is very simple. After breakfast, the men head off to the water and cast their nets, bring in the catch, empty and clean the nets. After that comes food and then it is time for a little break, till evening when any necessary repair work has to be done. Every bolt and even the smallest scrap of metal is reused. Men tinker on their WAZes: Russian-made jeeps that serve to transport them over the bumpy lake bed to their nets or to other villages, which, in the past, could only be reached by boat. Some of those villages are still so far from the water that fishermen do not return home for weeks. Because the distance is so great and the trip so arduous, they prefer to stay at other fishermen’s homes or in small underground huts by the shore.

The men from Tatstubek enjoy a comfortable situation because they can return home to their families in the evening. The village has had electricity for a few years, since the Kokoral dam was built. Running water remains a problem. In addition the climate is changing: summers are hotter, and unpredictable winter weather conditions are making fishing on the frozen sea more dangerous. Last year, three fishermen fell through the ice in their WAZ when they went to collect their nets. They had not calculated the thickness of the ice correctly. Their colleagues try to be more careful but life here is fraught with hidden dangers, regardless of the new opportunities suddenly arising at the same time.

Despite all this, nothing would stop the people from returning and picking up their lives again. On one occasion, I watched children as they played, deeply engrossed. The rest of the world and their living conditions make no difference whatsoever to them.

The locals feel that they have been lucky. The salty, contaminated dust hitting the windows is a reminder of the catastrophe that took place here that they barely managed to escape. The dust can cause cancer of the throat and asthma – but it has yet to be seen how it might further affect their health in the future.

In addition to the fishing itself, it is important to the fishermen that they are able to follow in the footsteps of their forefathers – as past generations have done. That way of life has now partly returned, despite all the difficulties and disasters of the last hundred years. Serik Dusenbayev, my local guide, explained it to me as follows: “Wherever the fish go, they will go – and by doing so they step into the footsteps of their forefathers who were once nomads.

They will follow the fish wherever they are.” Now the fish have returned to the Aral Sea. recorded by katrin iwanczuk

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Stanley Greene i n M em o r i a m

A staunch documentarist and restless witness of events, photography led Stanley Greene to the crisis regions of the world. He dealt repeatedly with the Chechen wars and their consequences – the fate of the Caucasian republic is closely tied to his own story.

His last trip took him back to the oppressed country once more.

Greene passed away in Paris on the 19th of May. Stanley Greene at the San Francisco Art Institute –where he began studying photography at the suggestion of W. Eugene Smith

The work in Chechnya impacted not only the whole of Stanley Greene’s oeuvre, but his life as well. Time and again he travelled to the Caucasian country to capture images of the horrors of war, as well as the consequences of human rights violations.

The history of Chechnya is marked by conflict, in particular with Russia.

In 1991, Dzhokhar Dudayev, the head of government at the time, declared the independence of Chechnya from Russia, a decision that Moscow never accepted. In 1994, Russia sent troops to Chechnya, provoking the beginning of a bloody war that would not see the two parties agree to a ceasefire until August 1996. Just two years later the conflict flared up again when Chechen rebels attacked the neighbouring republic of Dagestan.

At the same time, Chechen terrorists were declared responsible for attacks taking place in Russia. In October of 1999, Russian troops pushed into Chechnya once again and conquered the capital, Grozny. Another guerrilla war broke out, with consequences that are still felt today. After returning from a trip in September 2016, Greene wrote a detailed account of his thoughts and reflections on his motivations and about the situation in the Caucasus, hoping it would serve to help him process his memories.

LFI is publishing this account in a slightly reduced format.

This journey took me from Syria to Dagestan, Ingushetia and, finally, Chechnya, over a period of four and a half months. Searching for clues of what happened to the Chechens, it became a photographic investigative journey and a personal one also, where I reopened my own scars from the war.

Chechnya today shows that more than ten years after the end of the war, the country has risen from the ashes, but that a different reality lays behind the façade. This collection

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of photographs casts a depressingly small light on the magnitude of sorrow associated with the Chechen conflicts, of the pointless vats of blood shed by Chechens and Russians alike.

My photographs are not about technique or ‘art’; they’re about a pure gut feeling and an attempt to discover hidden scars. At first, war photography seemed like a way to test myself, to exist on a knife-edge where there’s constant proof of being alive. Today, covering conflicts is quite simply a very personal form of protest. Having witnessed many of them, I can honestly say that the evil of the Chechnya situation has born few comparisons in an arena thriving with competition.

At risk of being labeled indulgent by colleagues, I have tried to give you the human story. Because of the blurriness of the situation in Chechnya and the aftermath of the wars there, finding the ground where you try to flesh out the reality, find out what is fact and fiction – and attempting to do this in a place that has left scars on you – can be a major undertaking.

Yet photographs are beyond politics.

In fact they’re graphic reminders of how politics fail. The dead show the limit between actions and morality, making these failings impossible to ignore. Our laissez faire attitude as individuals, in spite of the ongoing evidence, has to make us fearful that we’ll never reach a future worth having. In all war, especially in bestial ones like Chechnya, it remains essential for journalists to scour the ground, unimpeded, using the only weapons we know. Our cameras, notebooks and voices make us the unwelcome pests of aggressors around the world.

Witnesses are inconvenient.

Yet as most of my colleagues will agree, regions such as this are becoming harder to cover. In the world of spot news, publications don’t want to pay for long engagements in complicated zones because it’s getting much harder to afford. Authorities block access. And the lack of access, infrastructure and personal security makes logistics a nightmare. →

“At first, war photography seemed like a way to test myself, to exist on a knife-edge where there’s constant proof of being alive. Today, covering conflicts is quite simply a very personal form of protest.“

Clockwise from the top: A group of Sufi Muslims during Dhikr, a meditative practice aimed at realising the presence of God. Strangers are not normally allowed to be present at this ritual – but in Greene’s case they made an exception. The hands of Greene’s driver, who did not want to be photographed out of fear of the Kadyrov government. A portrait of a woman in her home in Grozny

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Grozny in 2013: boys play at war with weapons made out of wood. They only know about the real war from stories told by their parents and their parents’ friends. The consequences, however, are still visible and palpable

An old woman hangs plastic sheets out to dry; they would normally hang in front of her windows. A large part of Grozny was destroyed during the war and has been rebuilt and modernized with Russian tax money

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Clockwise from the top: During artillery fire, civilians and journalists, including Greene, hid in this house – he rediscovered the ruined building later on. This woman does not want to give her name – she is thinking of her kidnapped sister. The circumstances are unclear – her brother-in-law opposed the government. Nowadays, Grozny is a modern city

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Photos: © Stanley Greene/Noor

“Yet photographs are beyond politics. In fact they are graphic reminders of how politics fail. The dead show the limit between actions and morality, making these failings impossible to ignore.“

Despite the odds, sometimes the effort can make a difference, and those rare moments never cease to satisfy in a profession that is otherwise lonely, demanding and thankless. Journalism rewards you with long days and even longer nights. There is no such thing as taking pictures from a place of safety, and you often pack your feelings in a suitcase until you can return to ‘reality’. You perfect what is known as the hundred-yard stare. Freshly home from some pit, confronted by languid ignorance in every corner, it’s hard not to play the provocateur. You want to remind the apathetic that the sharp noises of a bustling city are actually replaced by indiscriminate missile attacks in hellholes only plane-hours away. Some colleagues living in this perpetual emotional yo-yo are able to maintain a relationship, dollars in the bank, and perhaps even their sanity. If you’re like the rest of us, you weren’t born under that star, though one never stops trying to find it.

Two ethnic Chechen brothers – Dzhokhar and Tamerlan Tsarnaev – made international headlines when they became the suspects in the 2013 Boston Marathon bombing. Chechen President – and former rebel – Ramzan Kadyrov used the moment to urge Russian President Vladimir Putin to grant him the authority to track down insurgents throughout the impoverished region, which includes neighbouring Dagestan, the most violent Caucasus republic, where the Tsarnaevs once lived, and Ingushetia, where federal forces have been fighting rebels for more than a decade.

Like his father, the former President Akhmad Kadyrov, who was assassinated in 2004, Kadyrov has curried favour from the Russians; he and his father were rebels who switched sides to offer their services to the Russian government. His regional aspirations are making people nervous, causing speculation that a new conflict may lie ahead in the Caucasus.

“Ramzan Kadyrov’s pan-Caucasian ambitions are very dangerous,” Grigory Shvedov, chief editor of the

Moscow-based news and research group Caucasian Knot, said by phone.

“They could lead to ethnic strife and ultimately to war.”

In April 2014, Chechen forces conducted a cross-border raid into Ingushetia to the west. In 2013, and earlier in 2010, they also carried out operations on the frontier with Dagestan on the Caspian Sea to the east, according to Caucasian Knot. All three regions border Georgia, which fought a five-day war with Russia in 2008.

Even without Putin’s explicit endorsement, the Chechen leader’s ambition is making his neighbours uneasy. Dagestan, which is three times the size of Chechnya and more than twice as populous, warned Kadyrov against conducting security deployments on its territory without prior approval, according to Zikrula Ilyasov, the region’s first deputy national affairs minister. “Any counter-terrorist operations must take into account the specific characteristics of each region,” Ilyasov said by phone from the capital, Makhachkala, on May 27, 2014. “Without coordination with local authorities, it’s a major mistake.”

Ingushetia, too, warned Kadyrov over his ambitions after Chechnya passed a law last year laying claim to two border districts. “Attempts by any side to review existing borders without any grounds and outside the legal framework could provoke a chain reaction of territorial claims and unleash new conflicts,” warned the press office of Ingushetia’s president, Yunus-bek Yevkurov.

Mindful of these tensions, and still seeking to understand the rippling effects of the aftermath of the conflict, I considered the status of the refugees still living outside of Chechnya, in places like Ingushetia, a neighbouring country which saw one of the biggest waves of refugees coming →

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into its land during the two Chechen wars, and where approximately 8000 Chechen refugees still reside, mostly in camps. I was drawn too, to Dagestan – so much in the news at the time because of the Boston bombing – another neighboring province of Chechnya. There I continued my photographic investigative journey, approaching the subject through religion and history, both of which lay over the mountains like a blanket with secrets sleeping underneath.

For decades, and in much of the world’s eyes, all the news coming from the North Caucasus seemed focused on the cataclysm in Chechnya. Now, with Grozny slowly emerging from decades of chaos, Dagestan – the largest, most heterogeneous and, today, the most violent republic in the North Caucasus region – is raising its international profile, With a population of about 3 million people, Dagestan — bordering Chechnya, with the Caspian Sea to the east and Georgia and Azerbaijan to the south — is comprised of more then 40 ethnic groups. Ethnic Russians make up roughly four and half percent of the republic’s total population, while political power is held mainly by the two largest groups: the Avars and Dargins, both of whom practice Sufism, or the region’s traditional brand of Islam. Recently, however, Salafism — a puritanical form of Islam practiced largely in Saudi Arabia — has begun to make inroads, further complicating the already tangled political and religious picture.

And of course, my photographic investigation took me to Chechnya, where I have spent many years covering the conflicts that tore the country and its people apart. According to a recent report by the European Union, an estimated 30 000 Chechens are IDPs – internally displaced people.

I went to Chechnya to lift the veil of appearances and to look for the rem-

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nants, the traces, of the hidden scars of the war years. I met the wounded, the widows, the displaced, the activists who were risking their lives every day by denouncing the continuous human rights abuses of President Kadyrov and his men. I gave special attention to the ‘new’ Grozny, with its widespread reconstruction; its glassy walls covered with portraits of Kadyrov, who has become a cult personality; its official school ceremonies and its football games. I also took a glimpse at the new political figures and tried to show the increasing Islamic look of the city, through the daily life.

Through it all, I questioned the politics of the reconstruction set up by Moscow and its ally, Kadyrov: Can one rebuild the soul of a people the same way one can rebuild a country?

The images that I made of today’s Chechnya reflect the mood of the time, and a bit of the past. Everything there seems to be lost in time, in one way or another. I felt it in the culture of the holy men, and some of the locals, as they whirled through the Dhikr, the mystical Sufi dance of the Caucasus.

I felt it as I looked out windows, literally seeing the past at times – an old woman washing her plastic windows; an old man, in his 90s, a survivor of many wars, now battling time and age.

I felt it in an abandoned lab, where there are still toxic materials lying on the table. I felt it when I made an image of an old bed and table that was once someone’s place of rest, was later used as a rebels’ barracks, and which is now abandoned, covered in dust, and slowly being taken down, piece by piece. I felt it when I looked at pictures of former employees hanging on the wall of an abandoned factory.

And I was overwhelmed by it when I found a building I once sought refuge in during the war, with my cameras. At the time I had no idea how badly it was bombed, even now it is hard to imagine the destruction that rained down.

Thinking of these images of yesterday, they reflect what I am trying to capture in my return to Chechnya. Today and yesterday. stanley greene

S ta n l e y G r ee n e Born in Brooklyn in 1949, Greene was given his first camera when he was eleven.

By 1971 he was a member of the Black Panther Party and part of the anti-Vietnam war movement. His friend, W. Eugene Smith, convinced him to study photography.

It was only after a friend died of AIDS that Greene found his way out of heroin addiction and began to concentrate fully on the photography that would take him to war and crisis regions around the world.

Greene, who was a co-founder of the Noor Agency, had his last public appearance as a speaker during the traditional Sem Presser Lecture at the World Press Photo Awards ceremony in April.

Stanley Greene died in Paris on May 19th, aged 68. n oorimages.com Equipment: Leica M9 and Leica M

Monochrom with Summicron-M 28mm f/2 Asph and Summicron-M 35mm f/2 Asph

f/ s top – Le i c a TL 2 – M M o n o c h r o m V S . M 1 0 – S l F i r m wa r e 3 –

T h e n e w Le i c a TL 2 : m i n u t e des i g n c h a n ges a n d s tat e - o f -t h e -a rt t ec h n o lo gy – p r o cess o r , se n s o r , au to f o c u s

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f o r m f o l lows v i s i o n Leica tl2

Eight months ago, the Leica T had its name changed to TL – a move which was marked by some minor technical improvements. Now the camera, first launched in 2014, has been given a comprehensive interior overhaul – culminating in the new Leica TL2.

To begin with, let us take a look at some technical specifications: the Leica TL2 is equipped with a 24-megapixel APS-C sensor, replacing the 16 MP sensor of the T/TL; the s­ ensitivity range of this new sensor spans from ISO 100 to 50 000; the new camera offers a Focus Peaking function, whereby in-focus areas are outlined in colour in order to aid manual focusing (for example when working with adaptor-mounted M or R lenses); also, it is now ­possible to save files solely in DNG format, rather than in the previously mandatory combination with JPEG; the speed of the autofocus is said to have tripled compared to its predecessors, and the camera now ­features 49 instead of just 9 AF points; it has also been announced that the startup 80 |

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time is noticeably shorter, while the touchscreen reacts to swipe commands at up to eight times faster than before. These upgrades are complemented by a number of technological fine-adjustments – bringing the TL2 up to the latest, state-of-theart standards of APS camera systems currently available on the market. In recent years, this product range has experienced a significant boom, owing to its attractive combination of image quality, compactness, versatility and affordability.

Incidentally, the improvements listed above also reflect some of the most commonly voiced criticisms of the TL system, whose introduction in 2014 under the name of Leica T was anticipated with exceedingly high expectations. The system’s name-change to

TL took place last November with the launch of the Leica TL, whose most notable advancement was the increase of its buffer memory from 16 to 32 GB. The new lettering was chosen in reference to the L bayonet mount, which the camera shares with the Leica SL. This allows TL photographers to complement their system’s portfolio of currently six lenses with the full range of SL lenses – and to benefit from their image stabilisation, which native TL lenses do not offer.

U ni q u e d e si g n. The great expectations referred to earlier are epitomised by the camera’s unusual design concept, which is centred around the afore-mentioned touchscreen operation.

All necessary photography parameters can be selected

and adjusted via finger taps and swipes on a tab-based menu, much like on a smartphone. The camera body features two discreetly integrated settings dials whose functions change depending on the exposure mode, and which can also be partially configured via the menu.

The touchscreen concept, realised here in the form of a generous 3.7-inch display, was the reason that the camera’s extraordinary design was even possible.

The result is an outstanding example of sleek minimalism and streamlined elegance that is unprecedented in the field of camera design – with nothing but a gratifying smoothness where we would normally expect a jumble of control elements.

Leica certainly prided themselves on their →

The Leica TL2 is available in Silver and Black – unlike the TL, it no longer comes in a Titanium version.

A 24-megapixel sensor and various measures to increase the operating speed are among the most notable improvements. The TL2 is still without an integrated viewfinder: both camera design and operating concept have remained the same

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achievement. This was apparent not least in their promotional video, which placed great emphasis on the fact that the camera body was not only milled from one solid piece of aluminium, but also subsequently hand-polished for 45 minutes. While this is very much in line with Leica’s tradition of superior production quality, it was apparently not what the system’s target group wanted or needed to hear.

Combining the colours of Silver and Black can create a very striking look. The TL2’s portfolio of six lenses meets virtually all requirements

Adaptors for the application of R and M lenses; the M adaptor is now also available in Silver

The Visoflex viewfinder caters for those reluctant to shoot with the camera held at arm’s length. However, it is not compatible with the TL Holster

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Di sp lay- o r i e ntat e d.

In any case it was clearly not enough of a purchasing incentive, given that in terms of sales, the TL system has not exactly been what you would call an immediate smash hit. The more classically-orientated members of the target group are most likely deterred by the lack of a built-in electronic viewfinder. The available option of attaching a Visoflex accessory viewfinder is not much of a consolation, as this interferes with the elegant silhouette of the camera, and makes it much harder to stow away. Unfortunately the transport solutions available for the TL system (such as the leather holster, for example) are not designed to accommodate the external viewfinder as a regular fixture of the camera. The exact same issue has previously been criticised in Leica’s X models.

Later on, the remarkable success of the Leica Q – the extent of which even Leica reportedly did not anticipate – could have served as a fairly unmistakable indication that Leica customers prefer to compose their shots within a

genuinely integrated viewfinder, rather than holding the camera out in front of them at arm’s length. So it was inevitable that, as soon as the first rumours about a possible re-design of the Leica T started to spread, hopes were sparked that the new model’s rear panel might be rearranged to allow space for an integrated viewfinder. After all, every other comparable system camera offers this feature, and for good reason.

Time and again, statements posted on internet forums expressed one and the same sentiment: I would immediately buy a Leica T if it had a built-in viewfinder.

Purism before ­practice?

However, when the TL2 was finally unveiled, it proved to have stayed true to its original concept. This can of course be seen as the sign of a consistent strategy – reflecting Leica’s commitment to the reciprocal ensemble of control system and exterior design, and to maintaining the purity of that idea. Within this context, the developers merely updated the camera’s fundamental technological specifications to the current state-of-the-art standards.

So all that remains now is simply a question of ­communication: who is the TL system really made for?

As a matter of fact, according to Leica the TL2 is specifically geared towards customers who first discovered an interest in photography by taking pictures on their smartphones, and have now decided to take it to another level; ­people for whom a camera is an integral part of

the finer things in life – a selection of distinguished possessions which serve as a symbolic representation of their chosen lifestyle. The kind of person, if you will, who appreciates fine dining yet does not mistake Tyler Brûlé for a French dessert.

Leica view the TL system as a high-end, top-design accessory for a cosmopolitan-inspired style elite who is keen to capture the world around them, but has little desire for a deeper dedication to photography. At the same time, however, choosing the best tool is of great consequence – it cannot be just any camera, but should preferably be something that could feature somewhere near the top of the recommendations

Lei c a’s m a r k e ti n g st rategy for th e TL i s u n a m b i g u o us ly a imed at st y le-con sc i o us pe o p l e w h o d i scover ed t h e i r love for ph oto g ra p hy by taki n g pi c t u r es with their smartph on es.

list in Wallpaper or Monocle. Among this group of photographers, taking pictures with the camera held at arm’s length is nothing to be frowned upon. Equally, ­however, taking pictures with a glaringly beautiful camera system that also happens to deliver extremely high-quality image results, is undoubtedly an attractive prospect, both in terms of satisfaction and prestige.

Bra nd as c u r r e ncy.

Although it may seem rather alien to the traditional Leica photographer, this is of course a more than valid marketing strategy. And really, why should Leica not take full advantage of the allure and fascination surrounding the Leica brand,

in order to broaden their market with an unarguably exquisitely-designed product? The concept itself is brimming with potential for further development, and it is entirely advantageous if this is the direction it might take. For example, instead of offering a camera operation that is merely different, but not necessarily better than more traditional concepts, the touchscreen-idea could evolve into adding an intuitive, gesture-based exposure control.

In the next issue of LFI, we will let you know what it is really like to work with the Leica TL2 – albeit from the viewpoint of a classic Leica photographer. olaf stefanus

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c o n t ras t i n g v i e ws M M o n o c h ro m vs. M 1 0 Co n v e r s i o n s

If you would like to shoot digitally in black and white with the Leica M system, the M Monochrom is the obvious solution. But what about the M10?

An impressionistic comparison.

The sensor of the M Monochrom and that of the M10 are separated by a development period of around three years. Consequently, the M10’s sensor embodies considerable advancements in terms of construction and engineering, readout methods and manufacturing technology – illustrated not least by its ability to achieve an electronic signal amplification of up to ISO 50 000.

While these extreme sensitivity values may still not be relevant in terms of practical application, it does mean that the overall noise level is much lower than in any digital M generations that have come before. This aspect alone is enough to warrant a closer investigation of how the M10 performs compared to the M Monochrom, in other words: to explore the M10’s potential as a high-resolution black and white camera.

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perspective, it ­certainly is not. A greyscale image that is based on a colour photograph is easily tarnished with a sense of inauthenticity: perhaps the photographer did not ­originally intend to create a monochrome picture – yet only those who consciously compose their frame with a black and white image in mind (and are forced to do so by their working tool) achieve consistently convincing results. Of course, there is some truth in this – which is the reason for both the M Monochrom’s existence and ongoing ­popularity.

P u rity vs. f reed o m .

On the other hand, you could argue that this is a very costly restriction – and one which cannot even be compared with a dedication to black and white film, because back in analogue times, photographers still had the option of

alternating between Tri-X and Kodachrome in one and the same camera. Also, once you disregard the notion of an ‘inauthentic’ image, one of the great advantages of d ­ igital photography is the ability to turn your pixellated picture into almost anything you want – including a monochrome conversion. What is more, the translation of colour into greyscale values can be done with a degree of ­flexibility that far outstrips both analogue monochrome film as well as the digital M Monochrom.

Some may find this consideration rather negligible, as they might reason that black and white photography is, by definition, an abstraction of reality; you could even go as far as saying that, ironically, the practice of black and white photography encourages a more conscious deliberation of the subject’s colours.

Firstly, because you need

to understand what a scene is made up of in order to know how it will look when depicted in greyscale values, and consequently decide which composition will be most favourable. And secondly, because it enables you to choose colour filters which emphasise a particular wavelength while blocking out others. The drawback, however, is that these types of filters affect the entire image plane, and that you have to physically carry them with you to reap their benefits at the deciding moment.

And this is precisely why the digital conversion of colour files is such an attractive work method: it enables you to shoot an image in full colour while already envisioning the monochrome result you are ultimately going to create; and it then allows for a highly selective distribution of greyscale values, reflecting both your personal impression of the

original scene, as well as the natural colour perception of the human eye – for example, by making orange tones appear more luminous in the conversion than medium blues. A monochrome sensor – as well as black and white film – would render both of these colours in fairly similar tones of grey.

In a digital conversion, on the other hand, all you need to do is adjust the colour sliders in Lightroom or Photoshop. The element of abstraction still remains – but the photographer has control of its range.

O u tsta nd i n g M Mo n o c h ro m . One of the main arguments in favour of the M Monochrom is the superior sharpness and resolution offered by its black and white sensor, due to the fact that every single pixel measures the full amount of luminance data. This is also the reason the M Monochrom has a base sensitivity of ISO 320.

By contrast, in a colour filter with its Bayer filter mosaic of red, blue and two green elements, each pixel records just a little more than a third of the incoming light (the individual →

Real or fake? Strictly speaking, a black and white image is ­genuine only if the sensor pixels have recorded nothing but luminance data – as is the case with the M Monochrom. On the other hand, you could argue that all that ­matters is a fine end result – which the M10 certainly delivers

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l eica M Monoc h ro m

ISO 400 and 12 500

Le i c a M 1 0

A scene that, even in reality, is dominated by grey tones, captured in diffused light: p ­ erfect for achieving fine gradations without stark contrasts.

Top: post-processed versions

Left (taken with either camera): ISO 400. Right: ISO 12 500. The extreme crop shows the ­superior detail resolution of the

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M Monochrom – even at ISO 12 500, you could still read the time on this turret clock.

The image pairs below

ISO 400 and 12 500

shot with either camera. Below: the corresponding, unedited originals: the M Monochrom image has all Lightroom values set to zero, the M10 image is a standard greyscale conversion

i­ llustrate another advantage of the purely monochrome sensor: while the detailed lamella structures disconcert the

sensor of the M10 and lead to Moiré, they are depicted with great c ­ larity by the M Monochrom

leica M Mon o c h ro m

dist i n c t i o n

Le i c a M 1 0

dist i n c t i o n

Diffused light, texture and structure – this time combined with an array of colour stimuli. As expected, the M Monochrom creates a nuance-rich interpretation of the scene

However, given that it records luminance values only, some of its colour interpretations do not correspond to the perception of the human eye; as a result, they get lost within the image

Certainly not a deciding factor in this image, but one benefit of converting the M10’s colour file into greyscale values is the ability to differentiate between reallife orange and blue tones

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l eica M Monoc h ro m

And lastly, a scene shot with a clear blue sky. The image of the M Monochrom delights with a crisp yet finely differentiated depiction of details

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i n t e r p r e tat i o n

The image created with the M10 is very close in quality. In addition, the colour files a ­ llowed us to make the sky a ­ ppear more dramatic, and emphasise the originally gold and green tones of the tower

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meister_lfi_boerse2017 english Kopie.indd 1

22.02.2017 12:06:11 Uhr

t hou g h t hey of f e r d if f e r e n t a dva n ta ges, b ot h C a meras, t he M M on oc hrom a n d t he M 1 0, del iver hig h- qua l it y black And white im a ges.

pixels are not entirely restricted to recording one colour only). The real-life colour values of the neighbouring pixel are then calculated in an elaborate demosaicing process within the Raw converter. In the course of this procedure, there can be systematic misinterpretations of intricate colour nuances, which become visible in the form of Moiré patterns.

The M Mono­chrom obviously requires no such effort, and this accounts for the exceptionally sharp differentiation of even the finest details. This is why this camera has become the tool of choice for dedicated purists, who not only prefer the self-imposed restriction of composing solely with light, shadow, form, structure and texture, but also delight in the knowledge that the quality of their files consistently surpasses the usual standards of digital 35mm format photography.

V e r sat i l e M 1 0 . Still, the

fact remains that out of the two cameras, the Leica M10 has the more highly developed sensor. This raises

the question, exactly how relevant are the inherent advantages of the M Monochrom in practical applications? And, could the M10 also pass the bar as a stateof-the-art black and white camera? To find out, we photographed a number of scenes that we felt would give us an interesting range of grey tones. What transpired was that in some situations, the M Monochrom visibly triumphed on the merits of its exclusive traits (especially at higher ISO settings); at other times, the differences in quality were almost undetectable, while the scope of creative possibilities provided by the M10’s colour files proved to be of great advantage.

In essence: if black and white photography really is your primary passion, the M Monochrom still remains the preferable tool – capable of delivering finelynuanced grey tones as well as powerful contrasts with saturated blacks, all with only a minimum amount of processing. For those who would like to keep their options open, however, the M10 makes for a closely matched alternative.

It would be amazing if, rather than having to commit to one specific camera, we could one day have the technology to simply a­ lternate between colour matrix and luminance sensor in one and the same device – even though that would once again force us to pre-determine whether to shoot in colour or black and white. olaf stefanus

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n o t h i n g m at t e r s pic t u r e C o mp o si t i o n

C h o o s i n g e m p t i n e s s as yo u r i m ag e c e n t r e : a n u n u s ua l c o m p o s i t i o n and its charms.

Photo: Josef Koudelka/Magnum Photos/Agentur Focus

Compositionally speaking, we tend to consider the central third of an image to be its ‘prime real estate’.

Here, however, Josef Koudelka has assigned this much-coveted space to ‘nothing’. On first inspection, Koudelka’s compositions can seem like complex formulas that shouldn’t add up. But they always do, because he knows exactly how to balance the elements.

In this image, he has prioritised the peripheries to create an area of unoccupied space in the centre.

Notice how this technique causes our eyes to engage in a kind of dance, forever circling around the image from one point of interest to the next. On one level, the airiness and precise placement of elements imbues the photograph with a sense of calm.

On another, the perpetual movement of our eyes mirrors the hints of restlessness we can see in the young girl. Of course, no part of an image can actually contain ‘nothing’. The visual language of a photograph means that information is everywhere. So, when playing Koudelka’s game, it’s essential to make sure that your areas of ‘nothingness’ are supporting the whole. In the case of this image, the central area is, in fact, occupied by a shadow (or trace) of a man’s head.

By centralising this trace of a trace, it’s as if the composition is making a playful nod to photography itself.

For ‘nothingness’ is the medium’s hard currency: photography only deals in traces of the real.

Henry C a r ro l l is the author of the bestselling

Read This If You Want To Take Great Photographs series of books published by Laurence King.

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T h i r d t i me be at s a l l s l F i r m wa r e 3 . 0

The Leica SL firmware version 3.0 is not your usual plain vanilla, bug-squashing firmware update, but a complete overhaul providing new features, increased performance, and enhanced customisability.

The camera’s dials can now change roles, which is just one of several improvements regarding the customisation of camera controls

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It goes without saying that the new firmware for the Leica SL also fixes some bugs; but the focus of this update was on more significant changes. If you thought the SL’s behaviour was quirky at times, then this has been rectified. If you were missing more comprehensive customisation options, then these have been added. If you were expecting some features that the SL was lacking, then here they are. Performance-wise the Leica SL was no slouch to begin with, but the new firmware still brings enhancements. ca r d t r i c ks. The Leica SL features two SD card slots, one of them supporting UHS I and II, the other just UHS I. If there was a card in each slot the camera could either write to both cards in parallel to provide a backup, or use the cards sequentially, switching to the lower slot when the card in the upper slot was full. Firmware 3.0 adds the curiously missing option of writing the larger DNG files to the potentially faster card in the upper slot, while JPEGs get stored on the card in the lower slot.

The main new trick the SL has acquired with firmware version 3.0 is how to write much faster, making better use of the maximum throughput supported by fast cards. In our tests we measured a 60 to 70 percent increase in throughput using UHS-II-compatible Transcend cards. When shooting in burst mode and saving in DNG format only, the fast 11 fps speed can now be maintained for about 4 more shots. As the

camera has become faster at writing to the card and thus emptying the buffer, it can squeeze more shots into the fast buffer memory.

Even after the buffer fills up eventually and burst mode speed becomes limited by the write speed, the SL still achieves an about 65 percent higher speed than with the previous version of the firmware (2.2). The latter also applies when saving in DNG plus JPEG format.

The illustrations on page 94, based on audio recordings of the shutter sound, show the speed that can be achieved in practice.

Kee ping t he foc us.

The SL has always featured a fast, contrast-based AF system and its focusing speed

left little to be desired. With the new firmware, subject tracking is much improved.

The focus smoothly follows a moving subject in all three dimensions, i.e. whether it moves across the field of view or towards the camera or away from it. Even when you zoom while recording video, the AF stays trained on the acquired subject.

Some of the improvements in the AF system are due to the lenses, some of which get updated as well.

After installing the new firmware, when a VarioElmarit-SL 24–90 f/2.8–4 Asph or Apo-Vario-ElmaritSL 90–280 f/2.8–4 is attached for the first time, its firmware is updated. It improves focusing accuracy and fixes some bugs.

By default, the menu is now available when you are looking through the viewfinder. If you prefer to limit menu display to the rear display you can disable the top left button in viewfinder mode

d o i t yo u r way. Most cameras allow the role of the front and back dials to be switched and the Leica SL now supports this switch as well. Whether you prefer to set the f-stop using the thumb or the middle finger, the SL can now →

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bur st mode sp eed

be customised to suit your needs. Which function is assigned to which dial is indicated on the status display on the top.

In fact there are lots of customisation options added by the new firmware. You can assign the AE-/AF-Lock button to magnify the

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F i rm war e 2 . 2 DNG

Fir mware 2. 2 DNG + jpeg

F i rm war e 3.0 DNG

Fir mware 3.0 DNG + jpeg

image for a visual check of the focus position. On any keyboard input screen the virtual OK button is now touch sensitive (which one could argue it should have been in the first place).

The selection of the video resolution and framerate can now be assigned to the

Thanks to the much increased writing speed, the Leica SL with firmware version 3.0 now shoots 60 to 70 percent faster after the buffer fills up, in both DNG and DNG+JPEG mode

personal favourites menu.

The option ‘Access menu in EVF’ is now enabled by default. This means that while you are looking through the viewfinder you can press the top left button next to the rear display to bring up the menu. This way you can change menu settings

without detaching your eyes from the viewfinder.

As some users have found that the menu button is easily pressed accidentally by their nose, this feature can be disabled in the ‘Customize Control’ menu. bu t wait, t he r e is mor e. Originally Leica did believe that any exposure settings should apply to both still and video modes. In practice, they often require different settings. With the new firmware exposure options in photo and video modes can now be set independently. In video mode, a 24 fps framerate is now available with the 3840 × 2160 pixels resolution of 4K TV sets; it was previously only available for the

4096 × 2160 pixels resolution used in cinemas.

The ‘flash’ white-balance preset now takes into account the modelling light used by studio flash systems. When you zoom in on some detail in play mode the camera remembers this setting.

The next time you zoom in on this or another shot, the view will center on the same part of the image, making it easier to check the focus in similar images shots.

The Leica SL did already support an electronic shutter allowing for fast shutter speeds of up to 1/16000 s, but for any shutter speed up to 1/8000 s the mechanical focal plane shutter was used.

With the new firmware there is a choice between using the electronic shutter just

to extend the range of shutter speeds, as opposed to using it for all speeds between 1 and 1/16 000 s.

Some changes are more cosmetic in nature. For those who feel more at home with imperial units, the focus distance can be displayed in feet rather than metres.

Shutter speed priority mode, quaintly labeled ‘T’ (for ‘time’) in the original firmware, now identifies as the more commonly used ‘S’ (for ‘shutter speed’).

This should be borne in mind when choosing among the new, extended options for exposure simulation. If active, this feature displays a live-view image based on the automatically or manually selected aperture and shutter speed upon a half-press

of the shutter. The option ‘PASM’ turns it on for all modes while ‘PAS’ limits exposure simulation to the automatic modes. ‘PAS’ is most useful when using a flash. Before the flash fires for the actual shot, the manually selected shutter speed will generally be insufficient for an adequate exposure, and it would be irritating if the display or viewfinder went dark whenever you half-press the shutter.

Due to space restrictions we cannot describe all of the changes implemented by the new firmware for the Leica SL, but it should be obvious by now that it warrants being installed – just take your time appreciating all the improvements it brings. michael j. hussmann

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bes t o f LFI . G a l l e r y

F o r eve r yo u n g “It was a sunny afternoon, and I had intended to take some landscape photographs at the beach. That was where I came across these boys who had arranged to meet by the sea to celebrate a birthday. They invited me to join the party and to take some pictures. I spent the whole afternoon with them.�

Derlin Zhang Leica M240 with Noctilux-M 50mm f/0.95 Asph

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l ig h t box

b at h i n g i n h ua h i n “I took this picture while we were taking a holiday in Hua Hin, the oldest seaside resort in Thailand. I always take photographs to remind myself of special moments, and my wife and I very much enjoyed bathing in the private swimming pool that belonged to the apartment.”

Pongsathorn Leelaprachakul Leica M9-P with Summilux-M 35mm f/1.4 Asph

A hot s u mme r ’ s day “I was in Boston during the heatwave at the beginning of June 2017.

The picture was taken in the early evening, when the sun was already low in the sky. I like the silhouettes of the people trying to cool off in the water while the temperature still stood close to 40 degree Celsius.”

Howard Yang Leica M8 with Elmar-M 24mm f/3.8 Asph

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one Morning in la Coruña “I only take photographs out on the street. On this specific morning I was walking along the Paseo Marítimo in La Coruña, Galicia, when I spotted and was fascinated by this woman dressed totally in black. I crept as close as possible and pushed the trigger just as she turned her head.”

Jorge Núñez Orjales Leica X Vario, Vario-Elmar 18–46mm f/3.5–6.4 Asph

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h e at i n T o k yo “It was a burning hot, June afternoon in Tokyo. As I often do, I was meandering through the streets with my camera when I noticed this group of travellers. Two of the ladies were trying to protect themselves from the sun, by raising their travel guides to their heads.�

Takanori Tomimatsu Leica M Monochrom (CCD) with Summilux-M 24mm f/1.4 Asph

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se q u e n ce fluid 06 “During the first semester when I was studying photography, I was given the practical task to photograph a sequence within eight hours. This is the last photo of the series – my son, coming up out of the water at the St. Ruprecht swimming pool in Raab, Austria.”

Niki Schreinlechner Leica Q, Summilux 28mm f/1.7 Asph

S w e at And Swing “This part of Santa Monica Beach is known as Muscle Beach, where the fitness movement actually began back in the 1930s. I really like to take pictures there, as there are literally countless opportunities – which is also clearly demonstrated by this composition.”

Dotan Saguy Leica M Monochrom (CCD) with Summilux-M 24mm f/1.4 Asph

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c i cc i o has fun “This was taken on a day that the family spent by the sea in Sicily.

The photograph shows my grandson Ciccio in a moment where he was totally relaxed and simply expressing his happiness. The picture brings back wonderful memories.”

Giuseppe Antonio R. Navarria Leica D-Lux109, DC Vario Summilux 10.9– 34mm f/1.7–2.8 Asph

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p h oto – B o o k s – E x h i b i t i o n s – f es t i va l s – Awa r ds –

Playing around with German clichés: Andreas Mühe, Betty (2012), from the series Obersalzberg; top right: reception Antonio Puri Purini, Italian embassy, Berlin (2009)

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L at i f A l A n i A different perspective of Iraq: this book presents the work of Latif Al Ani (born 1932), who is considered the founding father of Iraqi photography. From the 1950s to the 1970s, he documented everyday life in Iraq – capturing a vibrant, open-minded culture on the threshold of modernity. A rediscovery.

C l au d i u s S c h u l z e

176 pages, 113 images, 29 × 25 cm, English, Hatje Cantz

Photos: © Andreas Mühe/VG Bildkunst Bonn (2); © Claudius Schulze; © Latif Al Ani and Arab Image Foundation; © Stefano de Luigi

S tat e o f N at u r e

Over the course of several years, the German photographer (born 1984) travelled 50 000 kms across Europe in a crane truck, working with a large-format camera to create his series of monumental landscape images. The resulting book illustrates the extent to which natural hazard mitigation has become an integral part of the modern European landscape. What we might perceive as an idyllic scenery is often part of a high-tech process to modify expansive areas. Alpine panoramas are intersected by avalanche protection walls, the North Sea coast lined by breakwater defence structures. Avalanche barriers, rockfall netting, reinforced embankments and artificial reservoirs are built to protect us from the threat of natural disasters. With the aid of modern design and construction technologies, it is mostly possible to harness the powerful forces of nature.

This project does not, however, set out to address the boundaries between man and nature. In fact, the images emphasise just how deeply these two worlds are interconnected. Taken in countries across Europe (including Belgium, Denmark, Germany, France, Great Britain, Italy, Liechtenstein, Montenegro, the Netherlands, Austria and Switzerland), the images also highlight the privilege of industrialised nations to have access to these protective measures, while many parts of the world are left with no defences against the devastating effects of climate change.

172 pages, 74 images, 30 × 36 cm, English/German, Hartmann Books

S t e fa n o de L u i g i I D YSSEY

Inspired by the voyage of Odysseus, the photographer (born 1964) travelled around the Medi­terranean region.

Working with his iPhone, he captured the upheavals of our current times in beautiful images. The detail-rich book design is also unusual.

52 p., 52 images, 28.5 × 20.5 cm, Engl. (500 copies), Éditions Bessard

A n d r e as M ü h e PATHOS AS D ISTAN C E

In his latest project, the photographer (born 1979) sets out to create a profound portrait of Germany. The monograph, produced to accompany the artist’s exhibition at Hamburg’s Deichtorhallen, features a selection of precise analogue photographs taken over the past twelve years. Among them are much-discussed works from renowned series such as Neue Romantik, A.M. and Obersalzberg, as well as several new and previously unpublished works. Many of the images explore the stereotypical sentiments of German life, and – whether they depict celebrities, politicians’ offices, the homes of former East German leaders or the Italian embassy in Berlin (top) – frequently revolve around the advancement, projection or suppression of power. The almost unbearable emotional charge of these visual orchestrations urges the viewer to question the scenes with a critical mind. Excerpts from the novel 1913 – The Year Before the Storm by Florian Illies complement the images, further adding to the project’s complexity by suggesting possible parallels between the years of 1913 and 2017.

260 pages, 150 colour images, 23 × 28.8 cm, English, Kehrer

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A n d r é Ke rt é sz

P h o to g ra p h y i n A r ge n t i n a , 1 8 5 0 - 2 0 1 0 Getty Museum, Los Angele s

Football, steak and tango: Argentina has always held a particular standing in the Latin-American world. The exhibition Photography in Argentina, 1850–2010: Contradiction and Continuity examines the evolution of the Land of Silver into one of South America’s most progressive and highly developed nations. 300 photographs by 60 artists offer insight into Argentina’s history.

Divided into the sections Civilization and Barbarism, National Myths, Aesthetic and Political Gestures and New Democracy to Present Day, the images on display range from family portraits to political documentations, all the way to urban street photography.

“Spanning a time period of more than 150 years, Contradiction and Continuity represents one of the most ambitious presentations of Argentinian photography ever to be undertaken by an American museum,” explains Timothy Potts, director of the J. Paul Getty Museum. “As with many of the projects being developed for the Pacific Standard Time: LA/LA initiative, this exhibition and the related publication are certain to make important contributions to our understanding of Latin American art that will be appreciated by future generations of art historians.” In addition to their artistic significance, the images also vividly illustrate what makes this country so special. To reference the Argentinean writer Jose Luis Borges: “I am an amalgamation. My education is European, my ancestry South American, though my mother was English. Perhaps I am a superstitious rationalist?”.

16 September 2017 — 28 January 2018, Photo: Marcos López, Reina del trigo, Gálvez, Provincia de Santa Fe, 1997

Hungary, Paris, New York – these were the important destinations in Kertész’s life.

With the aptly-titled exhibition Mirroring Life, FOAM examines his six-decadelong career in a retrospective of colour and black and white images. Throughout the different eras and topics, Kertész always remained true to his aspiration of being a poetic photographer.

15 September — 6 December 2017 Photo: André Kertész, Nageur sous l’eau, Esztergom, Hongrie, 1917

WILLY RONI S J e u d e Pa u m e , T o u r s

What was the world like after the Second World War? Ronis photographed the factories of Citroën and Renault, portrayed miners and captured the streets of Paris. With truthful images, this retrospective conveys a generation’s determination to survive.

28 June — 29 October 2017 Photo: Willy Ronis, Vincent, sur la route des vacances, 1946

Pau l H a n se n foto g ra f i s ka , Sto c k h o l m

“I see myself as a guardian of stories that people entrust me with,” Hansen once said.

“By disseminating the pictures I hope to influence decision-makers to change the situation.” Being There presents works by the photojournalist, who considers “faith, hope and love” the most vital definitions of his approach.

8 September — 19 Nov. 2017; Photo: Paul Hansen, Kiev Majdan 2014

S u mme r Sa lo n R o b i n r i c e G a l l e ry, N e w Yo r k

The perfect alternative to sun, sand and sea: the annual Summertime Salon at the Robin Rice Gallery has its own way of getting visitors into a holiday mood. 51 of the gallery’s artists present a selection of 100 works under the banner of Summer in the City. No sunscreen needed!

19 July — 10 September 2017; Photo: David Saxe, Floating Horse, Saddle Shop Lake Worth, FL, 2009

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Photos: © Marcos López. Courtesy of the artist and Rolf Art, Buenos Aires; © Ministère de la Culture et de la Communication – Médiathèque de l’architecture et du patrimoine, Dist. RMN-Grand Palais/ Donation André Kertész; © Paul Hansen/DN; Ministère de la Culture et de la Communication/Médiathèque de l’architecture et du patrimoine/Dist RMN-GP © Donation Willy Ronis; © David Saxe

Foa m , A m st e r da m

V i s a p o u r l’ Im age Pe r p i g n a n

Photos: © Daniel Berehulak for New York Times; © Ferhat Bouda/Agence VU

Awa r d - w i n n i n g p h o t o j o u r n a l i s m

From 2 to 17 September, the International Photo Journalism Festival will be held in the French town of Perpignan. Photographers, journalists, editors and publishers from around the world are expected, in particular, for the Professional Week from 4 to 9 September. In preparation, JeanFrançois Leroy, founder and director of the renowned festival, turns to the photographers with a specific request to edit their work in a firm and meaningful manner, before coming to the festival and the portfolio reviews.

“Yes, we need you, so please do not let us down,” he says. Following these standards, he himself has chosen the approximately 20 exhibition spaces around the town, which are accessible to all visitors for free.

Last year, the Pierre and Alexandra Boulat Award was won by Ferhat Bouda. His work about the life and culture of the Berbers in Morocco is now being exhibited for the first time – black and white images from a world that is disappearing.

The photographer Isadora Kosofsky followed young delinquents and their families in the USA, taking a

critical look at the American justice system and its impact on adolescents.

In his They Are Slaughtering Us Like Animals series, Daniel Berehulak deals with Philippine President Rodrigo Duterte’s anti-drug campaign. Consequently, festival visitors gain insight into this and other crisis hot-spots.

Further pictures will be shown during the evening screenings, whensignificant photography awards, such as the Carmignac Photojournalism Award and the Getty Images Grant, will also be distributed.

Above: From the They Are Slaughtering Us Like Animals series by Daniel Berehulak; below: exhibited for the first time – Ferhat Bouda’s series about Berber culture www.visapourlimage.com

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A f o c u s o n C h i n e s e ta l e n t a n d c o l l e c t o r s

Clockwise from the top: Lillian Bassman: Tunic Suit, Sunny Harnett, 1955. Fan Xi: The Tree No. 2, 2015. Li Ya’nan: Waiting, Fushun, Liáoníng Province, China 2016 www.photofairs.org/shanghai

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Photos: Courtesy of Camera Work and Lillian Bassman Estate (top); Courtesy of the artist (left); Courtesy of Gallery Yang (right)

PHOTOFAIR S | S h a n g h a i

The Photo Shanghai fair is opening its doors for the fourth time. From 8 to 10 September everything at the Shanghai Exhibition Center will focus on photography, with numerous galleries contributing towards a very diverse programme. The emphasis this year is on both new and established talent from China, such as Fan Xi (Gallery Yang, Peking), Peng Yung (Vanguard Gallery, Shanghai) and Zeng Fanzhi ShanghArt Gallery (Shanghai, Beijing and Singapore). The international flavour comes from pictures by Henri Cartier-Bresson (Time Space Gallery, Beijing), Alexander Rodchenko (Books and Photographs, Paris) and Lillian Bassmann (Camera Work, Berlin).

Also, for the first time, influential collectors from China will open up their archives and present an exhibition including works by Wolfgang Tillmans, Cindy Sherman, Araki Nobuyoshi, Yang Fudong and Geng Jianyi.

Leica is also present at Photo Shanghai, located at a 237m2 stand in Hall 10. Highlights of Leica photography will be on display in a big gallery, including Elliott Erwitt with Personal Best, and humorous street photography by Matt Stuart. In addition, there will be pictures by Joel Meyerowitz, who was inducted into the Leica Hall of Fame in 2016. The programme will be rounded off with images by the Chinese photographer, Li Ya’nan, whose work switches between street and documentary. Accompanied by his camera, he spends as much time on the streets of China as in crisis regions such as Afghanistan.

Alongside the exhibitions, visitors will have a chance to give thought to the future of photography: within the framework of the Staged platform, artists will explore the borders between photography and other art-forms.

S MAGAZINE ISSUE 9 20

Le i c a G a l l e r i es germany

Portugal

We t z l a r

Porto

Huber, Umbach, von Schweinitz

Pedro Matos: Heirs of Slavery

Am Leitz-Park 5, 35578 Wetzlar 5 September — 10 November 2017

Rua de Sá da Bandeira, 48/52, 4000-427 Porto 1 July — 13 September 2017

Frankfurt

Photographs from the collection Großer Hirschgraben 15, 60311 Frankfurt am Main 7 August — 30 September 2017 N u r embe r g

Graf Castell: China from the Air Obere Wörthstr. 8, 90403 Nuremberg 8 July — 23 September 2017

Turkey

Ahmet Polat: The Myth of Men Bomontiada – Merkez, A, Birahane Sk. No:1, 34381 Şişli/İstanbul 7 September — 2 December 2017 USA

Heidi und Robert Mertens: Das andere Sehen

L o s A n ge l es

Am Bahnhof 1, 18374 Zingst 21 September — 13 December 2017

8783 Bever­ly Boulevard, West Hollywood, CA 90048 3 August — 31 August 2017

Salzburg

Wuales #002: Nude Silhouettes Gaisbergstr. 12, 5020 Salzburg 11 August — 14 October 2017

O O K

Arthur Meyerson: The Journey

B

Alain Laboile: Quotidian 74 Arlington Street, Boston, MA 02116 31 August — 29 October 2017

O

Brazil

S ão Pau l o

Current exhibition unknown at time of publication

Vienna

Rua Maranhão, 600 Higienópolis, 01240–000 São Paulo

Walfischgasse 1, 1010 Vienna 18 July — 27 September 2017 I ta lY

Milan

Michael Ackermann Via Mengoni, 4, 20121 Milan 25 July — 16 September 2017

Ja pa n

Julian Lennon: Cycle – Life Cycle 6–4–1 Ginza, Chuo-ku, Tokyo 16 June — 17 September 2017

Singapore

wa r s aw

Bogdan Dziworski: f/5.6

·

Julian Lennon: Cycle – River Life

Prague

polAnd

K

Kyoto

cz e c h R e p u b l i c

Školská 28, 110 00 Prague 1

O

To kyo

570–120 Gionmachi Minamigawa, Higashiyama-ku, Kyoto 23 June — 17 September 2017

closed due to reconstruction

CUTTING-EDGE PHOTOGRAPHY BY

Boston

Arenbergstr. 10, 5020 Salzburg 6 August — 3 November 2017

Manfred Baumann: The Collection

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A r e n be r g C a s t l e

Eva Andessner: … look at me!

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PHOTOGRAPHERS

Singapore

Fulvio Bugani: A Personal Vision The Fullerton Hotel, 1 Fullerton Square, #01–07 17 August — mid September 2017

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Enrique Badulescu Joachim Baldauf Brix & Maas Bil Brown Arved Colvin-Smith Anna Daki Rui Faria Christian Geisselmann Esther Haase Marie Hochhaus Benjamin Kaufmann James Meakin Monica Menez Hector Perez Elizaveta Porodina René & Radka Christian Rinke Tristan Rösler Takahito Sasaki SPECIAL

GUEST

Ellen von Unwerth

1

Mysia 3, 00–496 Warsaw 8 September — 22 October 2017

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LFI-ONLINE.COM/SHOP

“ We Revea l t h e lo st a n d t h e fo rg ot t e n Iss u es.� i n t e rv i e w

First launched 30 years ago, the Backlight Photo Festival in Tampere, Finland, focusses on international reportage and artistic photography. The director, Tuula Alajoki, speaks about the festival and the particularities of the Finnish photo scene.

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lFi

LFI: The Backlight Festival was

in 2017. So far it has been exhibited in Hungary, Austria and Slovenia, and there are still Croatia, Slovakia, Latvia and Lithuania to come. This is part of the wide-ranging centenary programme of Finland 2017.

launched 30 years ago. Please tell us about the history of this triennial.

Tuula Alajoki: The event was founded in 1987 when international photography was still rarely seen in Finland, and art photography, as we know it nowadays, did not yet exist here. So, our roots are in documentary photography and we still focus on current social themes. Backlight is the oldest international photography event in Finland, this year in its 11th edition.

You will be granting portfolio awards. What is your focus today compared to the early days of Backlight: political or art photography?

Alajoki: We have never separated the two. When Backlight started in 1987 art photography as we use the term today did not exist, at least not in Finland. Even colour was a fairly new thing back then. I think art is political.

I think for us, the critical elements and showing both sides, or various sides, of an issue is more important and essential than definitions of genres or techniques.

LFI:

What makes it so special?

Backlight has a character that has also been shaped by the fact that we function far from the metropolis, and with an intense focus on content. I think there is a history and tradition that creates certain expectations for the event as well as the triennial rotation. Backlight is unique each time, with a different theme, different international partners and jury.

The participating artists make it an event. We welcome new artists, partners and photo enthusiasts from all over the world with open arms to participate and propose ideas for future collaborations. We have interest in issues often left to the shadows. We wish to promote intercultural dialogue by revealing issues that are hidden, veiled, lost and forgotten.

LFI:

Photo left: © Bénédicte Vanderreydt; photos right: © Sonja Hamad, © Tito Mouraz, © Nina Korhonen

Alajoki:

What special activities are planned for this 11th edition of Backlight?

Finland is also celebrating 100 years as an independent state.

Alajoki: We launched an open call with the broad theme of independence.

We’re showing the works of 22 artists from 12 countries here in Tampere, and then we’re presenting Independence Through the Lenses, a touring exhibition with seven Finnish artists: Juha Arvid Helminen, Sara Hornig, Jaakko Kahilaniemi, Riitta Päiväläinen, Harri Pälviranta, Juha Suonpää and Juuso Westerlund. This tour will travel to seven European countries

What are the characteristics of the Finnish photo scene, what makes the Helsinki School world famous?

Alajoki: It’s impossible to underestimate the success of the Helsinki School; but I would still say that the bases lie deeper – we’ve had very good photography education in the art school. Finland is very strong in contemporary photography, both art and documentary. Finnish artists have also been actively seeking international contacts, going for residencies or international events, and there has also been a structure to support this financially. When Backlight started, photography was not really shown in museums here. Now, when you look at the annual programme of the major museums, most of them show photography regularly and nobody is questioning if photography is art.

LFI:

LFI:

From the top: Kurdish Fighter, from the Jin – Jiyan – Azadi series by Sonja Hamad; Tito Mouraz, The House of Seven Women, a myth from Beira Alta, Portugal; Anna the American Granny – Nina Korhonen tells about her grandmother. Left: I Am 14 – Teenager portraits by Bénédicte Vanderreydt

What do you wish for photographers in general?

Alajoki: Remain honest to yourself and keep your edge.

LFI:

T uu la Ala joki (b. 1975 in Rovaniemi, Finland). She has been involved in the Backlight Festival since 2001, and as its director since 2012. Alajoki has an MA in Art from Aalto University. She teaches photography in Tampere and is completing her studies of Art Education at the University of Helsinki.

Interview: Carla Susanne Erdmann

Bac kligh t Ph oto Festival: 30th Jubilee year with 11th edition; Sept 9 through Oct 29, 2017; Tampere, Finland. www.backlight.fi

lFI

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Leica Fotografie I n t e r n at i o n a l

Pe t e r B i a lo b r z es k i mY Picture

The English love tea, horse races and tradition.

These young ladies were dressed up to the nines for the Derby – living the cliché or a subtle irony?

69th year | Issue 6. 2017

LFI PHOTOGR A PHIE GMBH Springeltwiete 4, 20095 Hamburg, Germany Phone: +49 / 40 / 2 26 21 12 80 Fax: +49 / 40 / 2 26 21 12 70 ISSN: 0937-3977 www.lfi-online.com, mail@lfi-online.com Editor-in-Chief Inas Fayed, Frank P. Lohstöter (V.i.S.d.P.) A rt Direction Brigitte Schaller EDITORIA L OFFICE Carla S. Erdmann, Michael J. Hußmann, Katrin Iwanczuk, Bernd Luxa, Edyta Pokrywka, David Rojkowski, Holger Sparr, Olaf Staaben, Olaf Stefanus, Katrin Ullmann Photo Editor Reportage Carol Körting layout Thorsten Kirchhoff Translation, Sub-Editing Robin Appleton, Hope Caton, Anna Sauper, Osanna Vaughn CONTRIBUTORS to this issue Henry Carroll, Ralf Hanselle, Katja Hübner, Ulrich Rüter M anagement Board Frank P. Lohstöter, Anja Ulm

Give my Regards to Elizabeth, Epsom 1992

Media SA LES A nd M arketing Kirstin Ahrndt-Buchholz, Samira Holtorf Phone: +49 / 40 / 2 26 21 12 72 Fax: +49 / 40 / 2 26 21 12 70 E-Mail: buchholz@lfi-online.de holtorf@lfi-online.de REPRODUcTION: Alphabeta, Hamburg Printer: Optimal Media GmbH, Röbel/Müritz PA PER: Igepa Profimatt

It was early in the summer of 1992. For over half a year, I had been taking photographs for my final year project at the Folkwangschule in Essen. Give my Regards to Elizabeth, as the work was to be titled later on, was supposed to take stock of, but also be an indictment against, the self-satisfaction of the English middle classes. I began visiting London and its surroundings not long after Prime Minister Margaret Thatcher had passed on the reins of government to the colourless and unfortunate John Major. The Derby, the oldest series of horse races in England, has been taking place in Epsom, in the county of Surrey, since 1780.

These young ladies I chatted with for a while, had dolled themselves up for the picnic, honouring a tradition established years ago already.

Or did their outfits convey an ironic message?

Born in Wolfsburg in 1961, Peter Bialobrzeski studied photography at the Folkwangschule in Essen and at the LCP in London. He has been published, honoured and exhibited all over the world. He has been Professor of Photography at the UdK in Bremen since 2002.

LFI 7/ 2 0 1 7 w i l l a pp e a r o n 2 2 S e p t e m b e r 2 0 1 7

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Printed in Germany

25 x 31.8 cm 244 pp.

129 b/w photographs English / German / French ISBN 978-3-96171-039-3 116€ |69,90 lFi

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