Instamatic Days - Street Photography

      Hasselblad releases CFV-50c CMOS back for discontinued V System

via British Journal of Photography -

The new CMOS sensor-based digital back – the CFV-50c – is engineered to work on almost every V camera made by Hasselblad since 1957.

Its release sees the Swedish company align old and new technology, directly targeting users of its discontinued V System cameras.

“We have experienced a substantial resurgence of interest in our iconic V cameras – users love the traditional ergonomics and the unique appearance,” says Hasselblad CEO Ian Rawcliffe, in a press statement. “Our research has shown that although we no longer manufacture V models, there is a big demand from our dedicated V System users who want to be able to continue to use their classic cameras but also desire access to our latest technology.

“The new CFV-50c, with its supreme image quality, is our response to that demand,” he adds. “Photographers using V System vintage cameras can now realise the true potential for these definitive capture devices.”

The CFV-50c, which has a €11,000 (around £8716) price tag, boasts the same feature-rich functionality and performance level as the acclaimed H5D-50c camera, including outstanding ISO capability, says the company.

Key features include: a CMOS sensor with ISO values up to 6400; a large, high resolution LCD screen; a higher frame rate than earlier CCD-based CFV backs; Live Video in Phocus in colour; a remote control option from Phocus using a 500EL-type or 503CW with winder; a new menu system and button layout; ninety degree viewfinders - photographers can use the PM90 and PME90 viewfinders for easier portrait or vertical shooting - and a 12.5 MPixel JPEG option in addition to the raw file.

In addition, no external cables are required to operate the CFV-50c.

The announcement comes as Hasselblad continues to focus its energy on capturing core customers in the medium format sector.

“This new unit is just part of our ongoing product development strategy,” adds Rawcliffe. “We have produced V Systems for over fifty years and now customers can really benefit from Hasselblad advanced digital engineering know-how with the CFV-50c.”

Full more information, visit Hasselblad.

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By Gemma Padley

      Amedeo Turello: A Natural Way of Seeing with the Leica S-System

via The Leica Camera - Born and raised in Italy, Amedeo M. Turello studied architecture at the Politecnico di Torino. He has been a consultant for various high-level international luxury brands as well as a freelance art director for luxury editorial projects and has dedicated himself to fashion photography since 1999. His involvement with photography grew from a natural love of […]
By Leica Internet Team - Leica Cameras

      Copeland Book Market returns

via British Journal of Photography -

If anyone ever tells you books are dead, take them to the top floor of the brutalist multi-storey car park in not a very lovely (but achingly hip) part of Peckham. It’s where local artists Tom Saunderson and Guy Robertson first established Copeland Book Market, inviting artists and self-publishing collectives to showcase their experimental and self-made books among the concrete pillars.

Copeland Book Market was originally founded in 2011, when Saunderson and Robertson invited a handful of friends to display at the Son Gallery in the Copeland Industrial Park in Peckham Rye, south-east London. The following year they joined forces with Bold Tendencies, a team of non-profit volunteers who repurposed the car park into an art space. Copeland’s team swelled, with artists Lewis Chaplin, Oliver Griffin, Katrina Black and Adam Murray becoming involved.

“All of us approach publishing from different perspectives and we are all active as artists,” says Chaplin. “It’s an opportunity for us to work together and imagine ways in which to promote the aspects of publishing that we consider important.”

This year, the market will display a hand-picked group of 30 publishers and will feature a programme of events, speakers and discussions. “We believe in the social and conversational dialogue that can emerge out of books,” Chaplin says. “We hope this is reflected by the range of publishers we invite to share the space with one another, stimulated by this unique architectural environment.”

Copeland Book Market will exhibit at Bold Tendencies, Peckham, London, from 25 to 27 July.

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By Gemma Padley

      Spanish lies: Joan Fontcuberta makes an artform out of questioning the veracity of photography

via British Journal of Photography -

Catalan artist Joan Fontcuberta makes his work within the blurred boundary of fact and fiction. “I started in the 1970s when I was working in communications and advertising,” he tells Colin Pantall in this month’s British Journal of Photography, “so I am well acquainted with lying and using photographic techniques to persuade. In the first half of the ’70s, Spain was ruled by Franco, so you had a political climate where propaganda, censorship and a lack of political rights helped form a sense of manipulation of information.”

What Fontcuberta wants us to do is question what we see, to make our hindsight more contemporary. We should greet with scepticism just about everything we see, and consider more closely who is behind it and why it is being shown. The basic premise is, who is lying to us, what lies are they telling, and what are the vehicles they use that make us believe? “My work is rooted in this. I use photography in the sense of it being an authoritarian tool. When we see a picture, we believe it is a picture of fact, but this is just a convention. If you study the history of photography, you can see this.

Go through the history of 19th-century photography and these conventions are everywhere; the manipulation of portrayals of war (Timothy Gardner), the taboo of representing death (Roger Fenton), the use of photography to exoticise alien cultures (Edward Curtis) and performance masquerading as fact (Charcot) are all historical examples of these ‘authoritarian’ conventions. What Fontcuberta does is play with these conventions. “I transfer this kind of information to other situations so it acts as a critique of the discourse of science, of the church, of the museum, of academia. That’s why I’m so pleased to be exhibiting in the Science Museum [at its Media Space Gallery, from 23 July until 9 November, before transferring to the National Media Museum, Bradford from 19 November to 08 February 2015], because I’m establishing a critical dialogue.”

The earliest of Fontcuberta’s work on show is Herbarium. He made austere black-and-white still lifes of fictional plants that were sculptures, where plant matter was mixed with domestic and animal detritus. So in Lavandula Angustifolia we get a picture of what looks like a chicken head perched convincingly on a swirl of brussels sprout leaves, while Braohypoda Frustrata features a stem spiked with what appear to be inverted rose thorns. It’s all terribly convincing right down to the Latin names and the referencing of Karl Blossfeldt, the master of the botanical portrait.

In Fauna, a later series, every presentational device is a photographic McGuffin, the idea being that in real museums, the pedestal, the frames and other means of presentating grand narratives are some kind of visual quotation marks; McGuffins designed to lead you into believing unconditionally in whatever narrative the institution is seeking to impose.

Fontcuberta questions the sacred cows of photographic history, the museum and the language of the presentation science, and you get the feeling he could happily target just about anything in which there is a status quo. He’s like a photographic Chris Morris, but where Morris used film and television to poke fun at the languages of politics, advertising and terrorism, Fontcuberta delights in having fun with images; there is nothing sober about his work, and this is apparent in every project he makes, regardless the method.

“I like to consider my work a vaccine, where you inoculate the world with a weak virus so it will protect you against the big virus. My mission is just to warn people about the possibility that photography can be doctored, that people need to be sceptical of images that format our behaviour and our way of thinking.”

For the full interview, see our July issue, available direct to your door. You can also buy it at all good newsagents, or by subscription – or download our award-winning iPad edition.


By Simon Bainbridge

      Alejandro Cegarra: Leica Oskar Barnack Newcomer Award 2014

via The Leica Camera - This year’s Leica Oskar Barnack Newcomer Award was Alejandro Cegarra for his portfolio “The Other Side of the Tower of David,” which is dedicated to the squatters in an abandoned tower block in Caracas. In this video, Alejandro describes how he uses black-and-white photography to show the personal, inside lives of those who reside in […]
By Leica Internet Team - Leica Cameras

      Brighton Photo Biennial unveils its 2014 programme

via British Journal of Photography -

Photoworks, the organisation behind the Brighton Photo Biennial, has announced the line up of exhibitions and events for the sixth edition, which takes place from 4 October to 2 November. The announcement was made last night at The Photographers’ Gallery in London, where a packed audience of industry professionals awaited eagerly to hear the news.

The last edition, BPB12, focused on the ‘politics of space’, and this time the focus is collaboration and community. There is no single curator, but rather an emphasis on partnerships.

“We felt there was a current vibe around people working together – partly through necessity, and also through the generosity of shared expertise,” Photoworks director Celia Davies told BJP last night. “Choosing a single curator didn’t feel like quite the right thing for this biennial.”

More than 45 photographers, artists, and collectives will showcase work, both commissioned and received through open call, across a range of venues in Brighton, and nearby Hove and Eastbourne.

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At the centre of the packed programme is Simon Faithfull’s Reef, a commissioned project that will see a boat towed out to sea and sunk off the coast of Portland in Dorset. Cameras on board will film and transmit images over the course of a year, as the boat transforms into an artificial reef.

Archives and collections play a central role in the programming with collaborations from the likes of Magnum Photos, Archive of Modern Conflict (AMC), The Mass Observation Archive, Hove Museum, The Co-Optic Archives and the Reeves Studio Archives.

One Archive: Three Views sees Magnum Photos open its archive to photographer Hannah Starkey, artist Uriel Orlow, and visual anthropologist Elizabeth Edwards, under the guidance of its former archivist Nick Galvin. The three experts will work with images from the archive to get beyond “the mythology of Magnum Photos”.

Elsewhere, AMC explores politics and the cult of celebrity through images of 1970s Italy, Italian photo-books, film sequences, and sound recordings, while the likes of Martin Parr, Daniel Meadows, and Gerry Badger feature in an exhibition from The Co-Optic Archives, that seeks to uncover what Photoworks is calling “a lost episode in the development of British social documentary photography”.

Commenting on the role of the archive at this year’s biennial, Davies told BJP: “It’s always fascinating to look at archives – to learn about history and change over a particular period, and to think about how archives have come to be represented. In our work with the Magnum Archive, for example, we’ve quite deliberately invited people to participate who don’t normally go into archives, and who wouldn’t give us the usual view. It was a case of, let’s get beneath the mythology, and see what comes out of the discussions.”

Collectives also feature prominently in the programme; contributing parties include the Photocopy Club, which is inviting people to form collectives and submit work along the theme of ‘community’, and Brighton-based Photobookshow, which is accepting photobook submissions.

A separate exhibition, Five Photography Collectives, celebrates the work and photographic practices of collectives including London-based Uncertain States, and Sputnik Photos, while elsewhere, ten specially commissioned photo essays on themes that relate to sustainability will be shown as site-specific installations; featured photographers as part of this exhibition include: Nick Waplington, Sophie Gerrard, and Jason Larkin.

“We were interested in work that has a newness to it – a new approach or perspective, work that perhaps pushes the boundary of an idea,” says Davies. “There was no single overall criteria; some of the programme came about through open submission, by identifying and talking to people who we were interested in, and through conversations with our partners.”

In addition, a supporting programme of talks and events will take place during the opening weekend in October and then throughout the month.

There is also the Brighton Photo Fringe (BPF) to consider, which runs in parallel to the main Biennial, and will present a complimentary series of exhibitions in association with Miniclick Talks, and others, plus much more.

The second edition of multimedia festival Night Contact will take place in Brighton this year as part of the Biennial. On 18 October, large scale projections will be shown in indoor and outdoor spaces across the city.

Night Contact is accepting proposals for its £2500 ‘new work’ grant until 28 July, and artists and photographers have until 8 September to submit work for its open submission call, along the theme of ‘collaboration, authorship and influence’. For more information visit http://ift.tt/XTGmbn.

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By Gemma Padley

      Advertorial: Photo Turai (1936-1942)

via British Journal of Photography -

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I, the undersigned Attila Pőcze, as Director of the Vintage Gallery based in Budapest, Hungary, recognise that I acted incorrectly during the sale of photographs taken by Hungarian photographer Dezső Révai (alias Turai, 1903-1996). I further recognise that my actions caused emotional and financial distress to the copyright holders and therefore wish to extend my apologies.

The Metro Madrid series of photographs taken in 1937 during the Spanish Civil War and the bombardment of Madrid is currently owned by the University Museum of Navarra in Spain (Museo Universidad de Navarra, Pamplona). Gurs, another series of photographs taken after the Spanish Civil War in the internment camp in France in 1939, is now owned by the Immigration History Museum of Paris (Musée de l’Histoire de l’Immigration, Paris).


By Richard Morrall

      Nikon announces free Capture NX-D software

via British Journal of Photography -

From today, photographers will be able to download the official version of Nikon’s Capture NX-D, free of charge.

The new version (ver.1.0) software application allows photographers control over how they adjust their RAW files, making it possible to produce high-quality images that have been shot in RAW format.

The software can be used with a Nikon DSLR camera, a Nikon 1 advanced camera with interchangeable lenses, Nikon Coolpix cameras that support RAW, and other digital cameras that also support RAW images, says the company.

Zurab Kiknadze, product manager at Nikon Europe, said: “We launched a beta version of Capture NX-D earlier in 2014 and have been actively welcoming feedback, suggestions and functionality requests from users. The release of this free-to-download official version of the application takes this feedback into account – for example, you’ll see improvements to the user interface and the ways in which adjustments are applied. We’re thrilled that we are able to offer Capture NX-D free of charge to people wanting to take control of their images.”

Capture NX-D can also be used with RAW images taken on a Nikon D810 or earlier DSLR via Picture Control Utility 2, which can be activated from Capture NX-D.

Nikon has also updated software functions in response to customer requests; for example, it has added an automatic retouch brush for improved image processing.

The company says it will continue to add new features to, and update and improve future versions of the application.

Capture NX-D also supports simple editing of jpeg and tiff images.

Users will need the following system requirements to run the software:

Windows OS: Windows Vista (Service Pack 2), Windows 7 (Service Pack 1), Windows 8.1. According to Nikon, both 32- and 64-bit versions are supported, but it recommends 64-bit versions. The application can also be installed on computers running pre-installed versions of these operating systems, the company adds.

Other system requirements for Windows users are:

CPU: Pentium-compatible (Core i5 or better recommended); RAM (memory): 2 GB or more (4 GB or more recommended), 4 GB or more under 64-bit operating systems.

Hard-disk space: 800 MB or more free space required for installation (2 GB or more recommended); screen resolution: 1024 × 768 pixels (XGA) or higher (1920 × 1080 or higher recommended).

For Macintosh OS users: 64-bit versions of OS X version 10.7, 10.8, and 10.9; CPU: Intel Core 2 Duo or better (Nikon recommends i5); RAM (memory): 4 GB or more; hard-disk space: 800 MB or more free space is required for installation (2 GB or more is recommended); finally, screen resolution: 1024 × 768 pixels (XGA) or higher (1920 × 1080 or higher recommended)

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By Gemma Padley