Nude & Photo. Magazine for Sensual Photography - 1.2003

No. 1/2003__United States: $9.50 United Kingdom: £5.95 Europe: C8.95

NUDE
PHOTO

Magazine for sensual photography

PORTFOLIOS JILL ENFIELD RUDOLF HILLEBRAND ANDREAS WEIDNER JENS WERNER

WORKSHOP BETTER NUDE PHOTOS STEP BY STEP (1) HAND-COLORING BLACK AND WHITE IMAGES EASY COLORING: SPOT PENS

CREATING IMAGES FROM THE MOTIF TO THE PHOTO

PRO REPORT JENS WERNER – BODYSCAPES

CAMERAS TACHIHARA 4X5“

DARKROOM CREATIVE TONING TECHNIQUES – COLOR FOR B/W IMAGES (1)

Photo: Christos Manousakis

PHOTOGRAPHY FOR THE SENSES




Another new photography magazine? Aren’t there enough magazines devoted to photography? On closer examination the number of photography magazines has decreased rather than increased in recent years. New magazines, mainly devoted to new digital media, have come onto the market. I by no means wish to call these into question – both ways of taking photographs have their place, so this question is superfluous. I would like this magazine to promote the peaceful coexistence of analog and digital photography – with equal status. It’s not the means to the end which counts, but the end itself – and the two routes to the goal can be equally interesting. Practiced with knowledge, care and commitment both methods of picture-taking can convey all the art, mood and beauty that this medium is capable of. Photography for the senses – this is the defining theme of this new magazine. Naturally it is concerned with erotic photography to a large extent (although there are many bad examples in this field), but the thematic net will be cast wider: sophisticated, esthetic nude and erotic photographs on the one hand, but also sensual photography in other fields such as landscape, portraits, still life and experimental photography on the other hand. This ambitious aim is emphasized by a

fitting standard of presentation: a clear, unfussy layout on the one hand and outstanding paper and printing quality on the other hand – to present artistic, demanding photography in the way it deserves. This respectful approach also means that no typesetting is allowed to destroy the impact of a photograph, a practice which can be widely observed in countless publications – including, unfortunately, many photography magazines. If the sensuality which the photographer felt at the moment when he pressed the shutter release is revealed in the resulting photograph, if it is composed with devotion and photographic skill, and processed with care to the highest technical standards, the criteria for a publication in this magazine are fulfilled. If you believe that your photographs meet these criteria you are cordially invited to share their sensuality with the readers. The editorial concept will also include didactic articles about techniques of taking and processing photographs – both conventionally in the darkroom as well as digitally; about the creation of outstanding photographs; and background information about the ideas and philosophy of individual photographers. Information on exhibitions and workshops as well as book reviews will round off the editorial spectrum. The major focus however will be on portfolios of outstanding photographers, enabling you to build up a valuable collection of exceptional photographic works. In each of these fields your contribution is warmly welcomed.

NUDE
PHOTO 1/03

03

CONTENTS 06___ THE BASICS OF NUDE PHOTOGRAPHY Michael Hein, a keen semi-professional photographer with long experience in nude photography, presents the first part of a series devoted to this demanding theme.

12___ HAND-COLORING B/W IMAGES Photo: Michael Hein

This technique from the early days of photography still has a special appeal today.

18___ PORTFOLIO RUDOLF HILLEBRAND NUDE
PHOTO publisher Rudolf Hillebrand presents a selection of hand-colored black and white nudes.

Photo: Rudolf Hillebrand

24___ HAND-COLORING WITH A SYSTEM To complement the article on hand-coloring in this edition, this article introduces the SpotPens made in the USA.

26___PROFESSIONAL REPORT Many amateur photographers dream of their own photo studio. Professional photographer Jens Werner shows how excellent results can be achieved even when space is limited.

30___ PORTFOLIO JENS WERNER With his classic nudes, the photographer from Rodgau near Frankfurt demonstrates a mastery of lighting.

Photo: Andreas Weidneer

Photo: Rudolf Hillebrand

36___ FROM THE MOTIF TO THE PHOTO Andreas Weidner, a leading expert in perfect black and white photography and darkroom work, looks at a number of his photos and how they were created in this and the following issues.

38___ PORTFOLIO ANDREAS WEIDNER High-class large format photography: NUDE
PHOTO introduces the well-known photographer from Abstatt with a selection of pictures from his book „Coastal Romance“.

44___ PORTFOLIO JILL ENFIELD Jill Enfield, one of the best-known women photographers in the USA, colors black and white photos. Her work can be seen in many exhibitions and publications, and she also gives workshops on this and other alternative techniques.

5 0 ___LARGE FORMAT PHOTOGRAPHY The deluxe wooden Tachihara cameras from Japan are a low-cost way to start large format photography.

52___ DARKROOM TECHNIQUE This first article by darkroom expert Wolfgang Moersch presents some fascinating developing and toning techniques.

Front cover: Jens Werner Back cover: Rudolf Hillebrand

NUDE
PHOTO 1/03

05

WO R K S H O P

B e t t e r N u d e P h o t o s – S t e p by S t e p ( 1 )

THE BASICS OF NUDE PHOTOGRAPHY MANY AN AMBITIOUS AMATEUR PHOTOGRAPHER WOULD SURELY LIKE TO TRY HIS HAND AT NUDE PHOTOGRAPHY BUT DOESN'T KNOW HOW TO APPROACH THE SUBJECT. MICHAEL HEIN, WHO INITIALLY HAD THE SAME PROBLEM, HAS TAUGHT HIMSELF AN ASTONISHING AMOUNT, AND PASSES ON HIS KNOW-HOW TO OTHER INTERESTED PHOTOGRAPHERS IN THIS SERIES. IN THIS FIRST ARTICLE HE DISCUSSES GENERAL POINTS WHICH EVERY PHOTOGRAPHER SHOULD TAKE NOTE OF. 06

NUDE
PHOTO 1/03

WO R K S H O P

Standard reflector as the only light source

Film: Agfapan APX 400, exposed as ISO 160/23º (with yellow filter 2x = 80/20º ASA) Camera: 35mm with 55mm lens

EVERY SUCCESSFUL PHOTO IS based as much on your ability to make personal contact and work well with your model as on your technical photographic skills. If you enjoy working with people you should not find it difficult to increase the impact of your photos by using a little psychology. This is not simple, as every model has her own personality and individual traits of character. The most important point first: you must help your model to relax! So that you can put yourself in the model‘s position it is absolutely necessary to have portraits, or better still nude photos, of yourself taken by a person you do not know.

make efforts to appear as photogenic as possible. She may even have been to the hairdresser, in order to make a good impression. Now she is placed alone on a „stage“ flooded with light - that is, in a situation she has never yet experienced. Last but not least a camera is there too. She perceives it as her opponent, its black eye as something merciless and unrelenting, ready to reveal everything. The advice „just relax“ leads to the exact opposite in this situation, of course. The photographer, obscured by darkness, gives instructions which are heard but not understood. The stress felt by the model is especially apparent if she confuses instructions for left and right or arms and legs.

In a home studio, where smaller reflectors are normally used, it is necessary to pay attention to differences in brightness. A variation of just half a stop within a surface can make the skin appear gray. On the other hand, do not flood the shot with reflecting screens, or the image will seem flat and uninteresting. The only approach is to take measurements and reposition the lights constantly.

Reflector for reducing the contrast and for lighting the background The photo top left:

What? Me in front of the camera?

When this was taken I owned only a Multiblitz Minilite 200 with a silver-coated standard

Why not? It is the only fast and honest way to experience what goes on in the model‘s mind. As an old hand with the camera you will find that being in front of the lens and being behind it are completely different situations. Although you operate with cameras and lighting equipment all the time, even you will feel a certain nervousness take hold. Many people have their photograph taken professionally only once in their lifetime, if at all. It is therefore truly a special occasion, which makes them tense. The model will

reflector. The light is similar to that of a compact flash – but much less „inhibited“. Softbox als main light

Film: Agfapan APX 100, exposed as ISO 100/21º Camera: Mamiya RB 67 Pro-S with Sekor-C 50 mm

NUDE
PHOTO 1/03

07

WO R K S H O P

The broken colors achieved by hand-coloring b/w images are perfectly suited for decaying environments, where the subtle hues have an appeal of their own. For this reason I often take nude and erotic photographs which are intended for subsequent hand-coloring in dilapidated houses, old factories and similar locations.

Hand-Coloring Black and White Images

SENSUAL COLORS IN THE EARLY DAYS OF PHOTOGRAPHY, HAND-COLORING MONOCHROME IMAGES WAS A COMPROMISE, AS COLOR PHOTOGRAPHY WAS NOT INVENTED UNTIL DECADES LATER. TODAY HAND-COLORING BLACK AND WHITE IMAGES IS AN APPEALING WAY TO GIVE MONOCHROME SUBJECTS A HIGHLY PERSONAL, EXPRESSIVE COMPONENT. HOWEVER, THIS DELICATE TECHNIQUE HAS TO BE MASTERED PERFECTLY TO PRODUCE THE DESIRED EFFECT: SUBTLE, SENSITIVE COLOR MOODS WHICH ARE IMPOSSIBLE TO ACHIEVE IN NORMAL COLOR PHOTOGRAPHY.

12

NUDE
PHOTO 1/03

WO R K S H O P

BEFORE THE DEVELOPMENT OF color photography, the only way of achieving a more or less natural rendering of the image was to add color subsequently. Nowadays this technique is a welcome method of imbuing photographs with a touch of nostalgia and giving them an individual appearance. Even today these early forerunners of color photography can be found on flea markets: portraits, greeting cards for Easter, Christmas, anniversaries or weddings, and picture postcards of cities were the usual hand-colored subjects.

Photographs with a personal touch

This photograph derives its appeal from the contrast of moods: the subtly erotic, and the mystery conveyed by the former cemetery. This is reinforced by the diagonal of the tree and the direction in which the model is looking.

If a mood of heaviness is intended, sepia toning is recommended before coloring. Depending on the

Today, although the original reason for handcoloring has disappeared, many people wish to give their photos an individual style, and hand-coloring is perfectly suited to this. After all, it depends on the ideas (and also abilities) of the individual user which technique he applies, which material he chooses and which subjects he prefers as the basis for his work. As with all techniques applied after taking the original photograph, the advantage lies in the fact that the basic image, the original photograph remains unaltered. Unsatisfactory results can simply be discarded and the process repeated under different conditions. Which subjects are suitable for hand-coloring? This question like many others cannot be answered exactly, but of course some motifs are more appropriate than others. As the technique of adding color afterwards cannot – and should not – imitate a color photograph, there must be other reasons for choosing the process.

paper/toner combination a wide variety of brown tones can be achieved.

As the illustrations to this article show, nude and erotic subjects are without doubt particularly suitable for hand-coloring, which in my opinion has the advantage of eliminating or at least reducing the superficial or provocative character of some erotic motifs. As the subtle color hues make it impossible to achieve dramatic effects, it is sensible to make a virtue out of necessity and try to achieve a discreet, restrained, possibly even a romantic mood, or to emphasize such a mood by coloring. To create a more intense or even brooding atNUDE
PHOTO 1/03

13

P O RT F O L I O

RUDOLF HILLEBRAND WHAT WAS THE IMPULSE FOR MY INTEREST IN NUDE PHOTOGRAPHY IN GENERAL, AND COLORING BLACK AND WHITE PHOTOS IN PARTICULAR? IN RETROSPECT I CAN NO LONGER IDENTIFY A SPECIFIC OCCASION. THE FACT REMAINS THAT THIS TECHNIQUE HOLDS A PARTICULAR FASCINATION FOR ME, WHICH HAS NOT DIMINISHED. THE COLORING OF PHOTOGRAPHS, MORE THAN ALMOST ANY OTHER METHOD OF MANIPULATION – IF THIS SOMEWHAT DISPARAGING TERM IS AT ALL APPROPRIATE HERE – MAKES IT POSSIBLE TO INTRODUCE A SENSUALITY WHICH HAS ITS RIGHTFUL PLACE IN NUDE PHOTOGRAPHY. THE MUTED, BROKEN COLORS, AN IMPERFECT REPRODUCTION OF NATURE, LEND TO EROTIC SCENES A NOSTALGIC OR MORBID TOUCH, WHICH IS HEIGHTENED BY THE CHOICE OF CORRESPONDING LOCATIONS. R.H.

CONTACT:

RUDOLF HILLEBRAND • KIEFERNWEG 21 • D-41470 NEUSS • GERMANY TEL.: 02137/77676, FAX: 02137/77635 E-MAIL: [email protected] WEB: WWW.NUDEANDPHOTO.COM Photo: Christos Manousakis

18

NUDE
PHOTO 1/03

VARIATIONS ON A MOTIF: BY COLORING BLACK AND WHITE PHOTOS, THE EFFECT OF THE IMAGE CAN BE CREATED INDIVIDUALLY – AND EVERY RESULT IS UNIQUE.

PRODUCT REVIEW

Four colors are enough to conjure an attractive hand-colored print from a black-and-white motif. Once you have acquired a taste for this technique, you will surely buy the supplementary sets one by one to create further nuances and finer effects.

Easy and convenient: SpotPens

HAND-COLORING WITH A SYSTEM FOR HAND-COLORING BLACK-AND-WHITE PRINTS THERE IS A CHOICE OF NUMEROUS MATERIALS, ALL OF WHICH FIT THE BILL. IT IS A QUESTION OF PERSONAL PREFERENCE. AN INTERESTING ALTERNATIVE TO THE MOST WIDELY-USED MATERIALS – THE APPLICATION OF RETOUCHING PAINT OR THE POPULAR TRANSPARENT MARSHALL PHOTO OILS – ARE SPOT PENS. READY-MIXED IN FINELY-GRADED HUES THEY CONTAIN THE COLOR IN PEN FORM.

24

NUDE
PHOTO 1/03

IT TAKES PRACTICE TO COLOR black-and-white photos successfully: an even application of the color is not achieved at the first try. All the more reason for photographers who set their sights high and want to try out this technique to be glad of any means of facilitating the work – and this is definitely what the Spot Pens do. Many users in the USA, where these handy pens are produced, employ them on a regular basis, and they are now spreading to other countries too. This is not surprising, as Spot Pens make color-mixing unnecessary – they are sold in different sets, each of which consists of eight pens with a precisely defined color. This is not merely practical, it also eliminates one factor of uncertainty, as the clear

PRODUCT REVIEW

Starter kit group 1 (left), consisting of eight pens with the most commonly-used colors. A moisturizing agent, a remover pen and a sponge are all you need to enter the world of hand-coloring. The easy handling leads to success from the very beginning.

marking of the pens improves the reproducibility of the results. Even though slight variations between several colorings of one and the same print cannot be ruled out, this is in fact the added attraction of hand-coloring: each result is unique. The group 1 beginner‘s set contains eight common basic colors which can be used with good results for many different motifs. The wide tip of the pens in this set makes the treatment of subjects with broad surfaces easier. With increased practice and more ambitious aims, sets with either a broad or a fine tip can be purchased. The colors are purposely highly thinned, which facilitates their use for both beginners and advanced practitioners. This means on the one hand that the print density has to be lower than usual, as dark areas of the motif either take no color at all, or only after intensive treatment. On the other hand it is then possible to color very light areas, particularly skin tones, light foliage or sky, which in the past very easily turned out spotty if excessive concentrations of transparent retouching dye were applied. The Spot Pens too have their own characteristics, as the user will discover when coloring with them the first time. While the paper - fiber and resin-coated paper are equally suitable is slow to take the yellow and blue tones, brown and green come out much more intensively. These colors need to be handled with care, therefore, but it does not take long to get a feel for it. Along with a special solution for moisturizing the paper (important for even application of the color), the set also contains a remover pen and small soft sponge, so that the color intensity can to some extent be reduced if it has been applied too strongly. At around $40 the price of the starter set is not sky high – no obstacle to the spread of the technique of hand-coloring. Rudolf Hillebrand

Simple subjects without too many fine details are best when taking your first steps at handcoloring. Whether you chose landscapes, portraits, nudes or stillife as your themes – if perfectly done the results are always appealing.

NUDE
PHOTO 1/03

25

P R O F E S S I O N A L R E P O RT

Jens Werner

BODYSCAPES JENS WERNER HAS BEEN WORKING AS A FREELANCE PHOTOGRAPHER IN THE FRANKFURT-ON-MAIN AREA FOR NINE YEARS. HE HAS RECEIVED COMMISSIONS FROM AGENCIES IN THE FIELDS OF PEOPLE, FASHION, JOURNALISM, FILM AND TV. HE ALSO CONDUCTS SEMINARS AND CREATES WEBSITES AND MULTI-MEDIA APPLICATIONS. THE MAIN THEME OF HIS WORK AND EXHIBITIONS HAS LONG BEEN THE ESTHETIC AND ARTISTIC PORTRAYAL OF THE PURE BEAUTY OF THE HUMAN BODY. HIS PREFERENCE IS FOR THE PLAY OF LIGHT AND SHADE, IN ORDER TO BRING OUT DETAILS, EMPHASIZE SHAPES AND PRESENT BODY LANDSCAPES, WHICH HE ALMOST ALWAYS PORTRAYS ANONYMOUSLY IN BLACK-AND-WHITE.

The passing light directed from the Bron spot reflector chisels the contours of the body like a sculpture. Jens Werner acquired the necessary technical know-how during his apprenticeship in a photo studio and by working intensively at his own photo studies.

26

NUDE
PHOTO 1/03

NUDE
PHOTO 1/03

27

P O RT F O L I O

JENS WERNER IF IT WAS UP TO HIM, HE WOULD DEVOTE HIMSELF COMPLETELY TO NUDE PHOTOGRAPHY. BUT AS ONLY VERY FEW PHOTOGRAPHERS CAN MAKE A LIVING FROM THIS OCCUPATION, JENS WERNER HARBORS NO ILLUSIONS ABOUT FULFILLING HIS WISH IN THE FORESEEABLE FUTURE. IN THE LAST SEVEN YEARS THE 33-YEAR OLD TRAINED PHOTOGRAPHER FROM RODGAU NEAR FRANKFURT AM MAIN HAS DEVOTED MOST OF HIS UNCOMMISSIONED WORK TO THIS SUBJECT. IN DOING SO HE HAS IMPRESSIVELY DEMONSTRATED THE RESULTS THAT CAN BE ACHIEVED IN LIMITED SPACE – HIS ENTIRE STUDIO COMPRISES A ROOM OF JUST 300 SQUARE FEET. HIS OTHER RESOURCES ARE ALL THE MORE PROFESSIONAL: A MAMIYA M645 PRO AND A BRONCOLOR FLASH SYSTEM ARE WHAT THIS PASSIONATE PHOTOGRAPHER NEEDS TO SHOW HIS MODELS IN THE RIGHT LIGHT. THE REST IS EXPERT HANDLING OF LIGHT AND SHADE, COUPLED WITH A FEELING FOR SHAPES AND CONTOURS. R.H.

CONTACT:

JENS WERNER • AM WIESENGRUND 16 • D-63110 RODGAU • GERMANY PHONE: ++49/(0)6106/771989, MOBIL: ++49/0171/6204950, FAX: ++49/(0)6106/772181 E-MAIL: [email protected] WEB: WWW.JW-PHOTOGRAPHIE.DE • WWW.AKT-FOTOGRAFIE.DE

30

NUDE
PHOTO 1/03

C R E AT I N G I M AG E S

Andreas Weidner

FROM THE MOTIF TO THE PHOTO It was a totally unrealistic constellation of clouds which I hadn't seen live nor in different publications about landscape photography what the opposite picture is showing. What cannot be taken from the photograph and what the viewer will also not suppose was the fast and permanently changing of this "carpet of clouds". Knowing that I was confronted with a really unique situation in landscape photography quick reaction was demanded. Eagerly and quickly the solid Gitzo tripod was erected, the Sinar large format camera put on to the heavy Sinar head and lens and compendium attached. The grey carpet of clouds and the "ground" were merely three f-stops separate from each other apart from small bright spots in the sky). With respect to my desired interpretation of the subject the shadows of the hill at the left hand down were exposed three steps shorter and thus put onto Zone II. Knowing for certainty that bright environmental light as well as an inaccurate meter cell which is also no exception in actually precise spot meters require a correction of the meter reading I took a substitute reading at close quarters on a spot of adequate brightness. The development pushed at two stops lead to a good separating contrast in the sky. To intensify the three-dimensional and "mystic" expression two thirds of the sky were burned in during printing. Subsequently the upper third of the clouds got another extra dose of light. In order to achieve a better separation between the dark black rocks and the grass area in the low foreground the latter was dodged during exposure. A.W.

36

NUDE
PHOTO 1/03

C R E AT I N G I M AG E S

Cloud mass near Skeidflötur, southern Iceland, August 1999

Exposure data

Processing data

Camera: SINAR C2 Negative size: 8x10“ Lens: Nikkor 450mm/f9 F-stop: 32 Shutter speed: 1/4 second Exposure meter: Pentax Spotmeter V Filter: none Film: Kodak T-max 400 Developing mode: N +2 Developer: D 76 (diluted 1+1)

Paper: Agfa Multicontrast Classic 111 Paper developer: Tetenal Eukobrom 1+15 Grade filter: none (corresponds approx. to grade 2) Developing time: 2,5 minutes Selenium toner: 2 minutes diluted 1+30 Hot paper drying

NUDE
PHOTO 1/03

37

P O RT F O L I O

ANDREAS WEIDNER TO INTRODUCE THE AUTHOR OF THE FOLLOWING PHOTOGRAPHS WOULD BE LIKE PREACHING TO THE CHOIR – ANDREAS WEIDNER IS VERY FAMILIAR TO INSIDERS. IT WOULD BE DIFFICULT TO NAME ANOTHER PERSON WHO PLAYS ON THE KEYBOARD OF FINE GRAY TONES WITH THE VIRTUOSITY OF THIS WELL-KNOWN PHOTOGRAPHER, LEADER OF WORKSHOPS AND FINE ART PRINTER. THE COMPARISON IS MEANT TO BE TAKEN LITERALLY: WEIDNER IS A PERFECTIONIST WHO STARTED OUT AS A MUSICIAN AND MERELY CHANGED INSTRUMENTS. HIS PERSONAL STANDARDS REMAINED. ANDREAS WEIDNER´S PHILOSOPHY IS THAT NOTHING SHOULD BE LEFT TO CHANCE – AND THAT THIS IS NOT NECESSARY IF FINELY-TUNED TECHNIQUES OF TAKING PHOTOGRAPHS ARE EXPERTLY AND CONSISTENTLY APPLIED. CONSEQUENTLY IT IS ANDREAS WEIDNER´S GOAL TO PASS ON THE HIGH STANDARDS HE PREACHES IN NUMEROUS WORKSHOPS, WHILE TRYING TO CARRY THROUGH HIS OWN PROJECTS IN THE LIMITED TIME LEFT TO HIM. AFTER „WORKSHOP“, A BOOK TEACHING THE ZONE SYSTEM, „COSTAL ROMANCE“ AND „PATINA“, HE IS PREPARING FURTHER PUBLICATIONS - SOMETHING TO LOOK FORWARD TO. R.H.

CONTACT:

ANDREAS WEIDNER AKAZIENSTR. 46 • D-74232 ABSTATT • GERMANY PHONE: 07062/64823 • FAX: 07062/96793 E-MAIL:

Photograph: Christian Vogt

38

NUDE
PHOTO 1/03

P O RT F O L I O

JILL ENFIELD NOWHERE IN THE WORLD DOES THE COLORING OF BLACK AND WHITE PHOTOGRAPHS ENJOY AS MUCH POPULARITY AS IN THE USA. MANY PHOTOGRAPHERS, ESPECIALLY WOMEN, USE THIS TECHNIQUE EFFECTIVELY TO LEND A SPECIAL FLAVOUR TO THEIR WORK. FOR MANY YEARS ONE OF THE BEST-KNOWN PRACTITIONERS IS THE PHOTOGRAPHER JILL ENFIELD, WHO GREW UP IN MIAMI BEACH AND NOW LIVES IN NEW YORK. SHE OFTEN USES THE TECHNIQUE IN HER UNCOMMISSIONED WORK. THE SUCCESS OF THIS IS SEEN IN THE FACT THAT JILL ENFIELD´S COLORED PHOTOS HAVE BEEN IN DEMAND FOR YEARS AMONG COMMERCIAL CLIENTS – THE HALEKULANI HOTEL ON HAWAII, VASSARETTE LINGERIE AND THE TELECOMS CORPORATION AT&T, TO NAME BUT THREE. FROM LANDSCAPES AND ARCHITECTURE TO INTERIORS AND STILL LIFE: JILL ENFIELD´S SUBTLY COLORED PHOTOS, MOST OF WHICH ARE TAKEN USING INFRA-RED FILM, EXUDE A CALM AND GENTLENESS WHICH PLEASANTLY SETS THEM APART FROM MUCH WORK BY OTHER CONTEMPORARY PHOTOGRAPHERS. SHE CREATES HER PHOTOS BOTH IN HER HOME COUNTRY AMERICA AND IN EUROPE, WHERE SHE REGARDS ITALY WITH SPECIAL AFFECTION. HER FIRST ACQUAINTANCE WITH THIS – IN AMERICAN EYES – ANCIENT COUNTRY TOOK PLACE IN HER TEENS, AND

CONTACT:

JILL ENFIELD 211 EAST 18TH STREET APT 2-T NEW YORK, NY 10003 TEL: 001 (212) 777-3510 E-MAIL: [email protected] WWW.JILLENFIELD.COM

44

NUDE
PHOTO 1/03

Photo-Imaging Jill Enfield Amphoto, Watson-Guptill, USA 160 pages, 8 1/2 x 10 1/2“ 50 b/w illustrations, 150 color illustrations ISBN 0-8174-5399-7 $29.95 Available through http://www.watsonguptill.com http:/www.camerabooks.com

HER PARTICULAR ATTRACTION TO THE NORTH, ABOVE ALL TUSCANY, HAS LED HER BACK TO ITALY AGAIN AND AGAIN. JILL ENFIELD PASSES ON HER EXPERIENCE TO OTHER PHOTOGRAPHERS IN NUMEROUS WORKSHOPS, WHICH SHE HAS HELD FOR THE INTERNATIONAL CENTER FOR PHOTOGRAPHY AND THE PARSON´S SCHOOL OF DESIGN IN NEW YORK, THE PALM BEACH PHOTOGRAPHIC CENTER, THE WELL-KNOWN SANTA FÉ WORKSHOP AND THE TOSCANA PHOTOGRAPHIC WORKSHOP. IN ADDITION HER WORK HAS OFTEN APPEARED IN PHOTOGRAPHIC JOURNALS AND EXHIBITIONS. JILL ENFIELD RECENTLY WROTE HER FIRST BOOK, TITLED „PHOTO IMAGING: A VISUAL GUIDE TO ALTERNATIVE TECHNIQUES AND PROCESSES“, PUBLISHED BY AMPHOTO. THE BOOK PRESENTS MANY OF HER OWN WORKS, ACCOMPANIED BY DETAILED COMMENTS ON THE TECHNIQUES USED. IN RECENT YEARS THESE TECHNIQUES HAVE INCLUDED OTHER ALTERNATIVE PROCESSES, ABOVE ALL EXTENSIVE EXPERIMENTS WITH LIQUID EMULSION APPLIED TO CERAMIC TILES, A PROCESS AND A MATERIAL WHICH FORM A BRIDGE BETWEEN ARTISTIC PHOTOGRAPHY AND THE TIMELESS IMPRESSIONS LINKING HER TO ITALY. R.H.

L A R G E F O R M AT

An elegant and stylish appearance, with a lot to offer in technical terms too: the Tachihara 4x5“, here in the version with black bellows and silver-look fittings. Robust and nicely finished at a reasonable price, the camera is especially attractive for beginners.

Tachihara 4x5“

HIGH-CLASS WOOD ANYONE TOYING WITH THE IDEA OF LARGE FORMAT PHOTOGRAPHY FACES A FEW OBSTACLES – NOT LEAST COSTS AND WEIGHT. TACHIHARA FIELD CAMERAS FROM JAPAN ARE AN INEXPENSIVE WAY OF STARTING. DESPITE THE REASONABLE PURCHASE PRICE, THEY ARE ROBUSTLY BUILT WITH AN ATTRACTIVE FINISH.

50

NUDE
PHOTO 1/03

A FIELD MODEL IS LIKELY TO BE the first choice of camera for an ambitious beginner at large format photography, at least if the camera is intended to be used outdoors. This camera type combines the advantages of the large format with compact dimensions and low weight, making the complete 4x5“ equipment with lenses, magazines and basic accessories easier to transport than many a bulky 35mm or medium format apparatus. The wooden models of flat bed camera in particular are characterized by an especially light weight. Here the Japanese manufacturer Tachihara offers excellent value. Tachihara cameras are made from high-class, well seasoned Japanese cherry wood. All fittings are of hard, tough brass and, given that appearance matters too, the purchaser has

L A R G E F O R M AT

the choice of fittings in either silver or gold finish. In the color of the bellows there is also a choice between two alternatives: black for the cameras with silver fittings, bordeaux red for those in gold.

The settings possible with the Tachihara cameras meet the requirements most fre-

To meet the various needs of large format photographers, the manufacturer provides for the three most popular film formats (4x5“/ 9x12cm, 8x10“/18x24cm and 11x14“/28x35 cm), each one with different features. The 4x5“ models are most suitable for beginners, but with increasing skill and ambition, nothing stands in the way of an upgrade to 8x10“ or even 11x14“. For occasions when the maximum format is not needed, reducing backs for 4x5“and 5x7“ are available for the 8x10“ versions, and of course 6x7“ and 6x9“ rollfilm holders from Toyo or the 6x12cm panorama format from Calumet. One significant feature is valued by experienced photographers: Tachihara cameras have the brightest and least grainy focusing-screen of all manufacturers, as it is attached to a Fresnel lens. This makes focusing easier in poor light and with long extension. The settings possible with Tachihara cameras vary according to the film format and the lens used, and correspond to the normal practical requirements. The 45 BR, BRF, F, GFR, GFRS and GS models are fitted with standard bellows permitting focal lengths from 75 to 300 mm. Alternatively the SW-BR and SW-F models have wide-angle bellows as standard, permitting focal lengths down as far as 35mm with the board recessed. The lens boards of the 4x5“ models are compatible with those of Linhof Technika, while the 8x10“ models, which can also be supplied in different versions (2x or 3x extension), use the usual Sinar and Horseman board size.

quently encountered in practice. To reduce the transport volume all models can be folded.

The photographer looking to start out at large format will find these visually appealing cameras are excellent equipment and good value for money. Rudolf Hillebrand

Useful links and sources Adorama (www.adorama.com) B & H Photo (www.bhphoto.com) Midwest Photo Exchange ( www.mpex.com) www.epinions.com www.largeformatphotography.info

Even if extreme movements are not needed: shift adjustment to

Considering the enormous improvement in quality compared with smaller formats and the flexibility of settings, the starting costs for large format photography are surprisingly low: the simplest version of the 4x5“ models costs around $650, the 8x10“ version around $1300. A high-quality lens is needed too, as well as magazines, focusing magnifier, cloth and tripod, of course, but in other formats too the camera alone is not the whole story.

prevent converging lines in architectural photography or extended tilt according to the Scheimpflug rule are advantages which inflexible cameras cannot provide.

NUDE
PHOTO 1/03

51

DA R K R O O M T E C H N I Q U E S

Paper: Select VC, developer: SE 15 Polychrom, Photos: Alfred Särchinger

Creative Toning Techniques

COLOR FOR BLACK AND WHITE THERE CAN BE NO DOUBT ABOUT IT: PHOTOGRAPHERS WHO DEVELOP AND PRINT THEIR OWN BLACK AND WHITE PHOTOS CAN FOLLOW UP A PHOTO SESSION BY USING THE WHOLE RANGE OF TECHNIQUES IN THEIR OWN DARKROOM TO PRODUCE MANY INTERESTING IMAGE EFFECTS. WOLFGANG MOERSCH, AN ACKNOWLEDGED EXPERT IS THIS FIELD, DESCRIBES IN THIS AND THE FOLLOWING ISSUES A NUMBER OF PROCESSES BASED ON HIS OWN EXPERIENCE. 52

NUDE
PHOTO 1/03

METHODS OF COLOR DEVELOPING from black and white emulsions were known as early as the end of the 18th century. Here, as in other fields, the pioneering studies of Pizzigheli and Eder are especially significant. In his 1929 publication „On Toning by Color Developing“, Professor Miroslav Milbauer of Prague described processes which produce acceptable results even today. In the days of our grandfathers, as in our times. this depended on the existence of suitable emulsions. Recipes for developers, which produced wonderful results when used with one particular

DA R K R O O M T E C H N I Q U E S

paper, could fail with other emulsions. As far as the choice of paper is concerned, today we can only dream of the options available to photographers in those times. Anyone fortunate enough to have looked at a paper sample book of, say, Gevaert, may have a hazy idea of what black and white paradise was like. Today photographic paper without incorporated development accelerators have unfortunately become scarce. The market leaders in particular seem unable to manage without this nonsensical practice. East European producers such as Foma and Forte and the British companies Kentmere and Fotospeed show, at least with some of their products, that there is an alternative.

While we are on this subject I would like to suggest awarding a „Golden Lemon“. The undisputed prime candidate for this is Kodak, whose decision to kill off the incomparable Ektalure is completely incomprehensible to me and many other quality-minded photographers. It was apparently thought unnecessary to explain the decision – at least, no explanation of this disgraceful deed has yet come to my attention.

Top left: Paper Fomatone, developer Metol 1+15 with ammonium chloride + potassium carbonate, pH10.10. The gradation was improved by adding alkali, but the previously red-brown tone became green. Top right: Paper Select Sepia, developer SE5 LITH 1+10; the developing process was stopped after 4 minutes, before the lith effect could set in. The resulting low density of shadow is intentional, as it is perfectly adequate to continue the process. Below left: Paper Select Sepia,

The reason why papers with developer substances or development accelerators are unsuitable for toning developing lies in the superadditivity of two or more developer substances, which causes the speed and reduction capacity of developers to increase enormously. What is necessary to create colored tones

developer SIENNA (Glycine + additives) 1:10 pH 9.10 Developing time 6 min. Very colorful but weak. Below right: Paper Select Sepia, first developer LITH 1:10 4 Min, stop bath 20sec, water bath 1min, second developer SIENNA 1:10 4min. Photos: Wolfgang Moersch

NUDE
PHOTO 1/03

53

IMPRINT NUDE
PHOTO is published quarterly at the beginning of each quarter (January, April, July and October) Publisher/Editor in Chief: Rudolf Hillebrand, Kiefernweg 21, D-41470 Neuss, Germany Subscription management: Petra Hillebrand Tel.: ++49/(0)2137/7 76 76, Fax: ++49(0)2137/7 76 35 E-Mail: [email protected], Web: www.nudeandphoto.com Contributors: Ralf Georg Czapla, Jürgen Günther, Michael Hein, Wolfgang Moersch, Claus Rose, Thorsten Schimmel, Andreas Weidner

If you don’t want to cut out the form you can also copy it or send in your order individually by mail, fax or e-mail. PLEASE PRINT FOR LEGIBILITY, THANK YOU.




No. 1/2003__United States: $9.50 United Kingdom: £5.95 Europe: C8.95

NUDE
PHOTO

Magazine for sensual photography

PORTFOLIOS JILL ENFIELD RUDOLF HILLEBRAND ANDREAS WEIDNER JENS WERNER

Copy price: $9.50 / £5.95 / EUR 8.95 plus postage costs indicated below

WORKSHOP BETTER NUDE PHOTOS STEP BY STEP (1) HAND-COLORING BLACK AND WHITE IMAGES EASY COLORING: SPOT PENS

Postage costs:

CREATING IMAGES FROM THE MOTIF TO THE PHOTO

PRO REPORT JENS WERNER – BODYSCAPES

Single copy, Europe and overseas/surface mail: $/EUR 2.60 (£1.70)

CAMERAS TACHIHARA 4X5“

DARKROOM CREATIVE TONING TECHNIQUES – COLOR FOR B/W IMAGES (1)

Subscription: Europe EUR 39 (£25), overseas/surface mail: $44 The magazine is mailed in a solid card board envelope for maximum protection.




No. 2/2003__United States: $9.50 United Kingdom: £5.95 Europe: C8.95

NUDE
PHOTO

Please charge my credit card

❒ Visa ❒ American Express

Magazine for sensual photography

PORTFOLIOS HERVÉ LEWIS YVES G. NOIR THORSTEN SCHIMMEL GORDEN THYE

WORKSHOP





Expiry date











/









BETTER NUDE PHOTOS STEP BY STEP (2)

PHOTO DESIGN FROM THE MOTIF TO THE PHOTO

CAMERAS KONICA HEXAR RF

DARKROOM CREATIVE TONING TECHNIQUES – COLOR FOR B/W IMAGES (2) NEW SERIES: PRINTING MASTERCLASS WITH THORSTEN SCHIMMEL

BOOK REVIEWS JENS BRÜGGEMANN: EROTIC ACTS DAHMANE: DRESSED NUDES JOCK STURGES: NEW WORK

First name, last name: ____________________________________________________________________ Street:________________________________________________ City: _____________________________________________________ Zip:________________________________________________ Country: ___________________________________________________ Signature: ________________________________________ E-mail: _____________________________________________________

Please send to: Rudolf Hillebrand Publishing, Kiefernweg 21, D-41470 Neuss, Germany

For easier and more convenient handling US and other overseas orders can also be adressed to: Petra Kellers Photo/ACR Book Service, Boulder Creek, CA 95006, USA, Toll free (US & Canada): 1/888-338-1350, Tel: 1-831-338-1350, Fax: 1-831-338-7675 E-mail: [email protected]. Please also visit their website at www.camerabooks.com Petra Kellers will be happy to accept Visa, MasterCard, Amex, Diners, Discover and US money orders.

1st Fine Art Forum Wetzlar with exhibitions and sale of fine art and nude photography

The e b/w ntire w o pho togr rld of aph y

In the Stadthalle (town hall) of „Leica City“ Wetzlar

Photo: Vincent O’Byrne

Saturday/Sunday, 7th/8th June 2003

Photo: Andreas Weidner

• exhibitions of outstanding fine art and nude photography • lectures and workshops held by internationally reknown photographers such as Howard Bond/USA and Vincent O’Byrne/Ireland and Klaus Kampert, BFF/Germany • „Vintage“ – presentation and sales show for fine art photo graphers • product show and demonstrations • portfolio review by a competent jury including Robert Häusser and other experts

Photo: Thomas Eckl

The entire world of fine art photography

Photo: Christos Manousakis

from 11 a.m. till 6 p.m.