Reaching its 300th issue, Black + White Photography magazine stands as a quiet giant in the monochrome world, a testament to its staying power when colour-soaked Instagram feeds dominate our screens. This milestone edition, brimming with evocative features, soulful interviews, and a gallery of jaw-dropping images, reminds me why black and white still cuts through the noise. It’s not just a magazine; it’s a love letter to a medium that strips life bare and finds beauty in the shadows.

Take “Music + Life,” where Dennis Morris talks about photographing Bob Marley and the Sex Pistols. I love a good origin story, and Morris delivers, kicking off at 11, then bunking off school in 1973 to snap Marley at the Speakeasy Club. That gamble paid off, catapulting him into a career capturing icons in raw, unguarded moments. His tale’s a good mix of grit and luck, and it’s got me wondering: what would my 11-year-old self have made of a camera? Probably just blurry shots of my skateboard, but Morris’ passion lights a fire, it’s a nudge to chase what moves you, no matter the odds.

Then there’s “The Roman Conceit,” where Don McCullin swaps war zones for Roman sculptures. Think Nemesis from Turkey’s Antonine Nymphaeum or Cupid and Psyche in Berlin’s Altes Museum, ancient stone caught in his lens with the same intensity as his frontline work. The textures pop: weathered marble feels alive, almost breathing. It’s grand yet oddly intimate, like peering into history’s soul. I reckon McCullin’s knack for finding drama in stillness is why this hits hard, it’s a masterclass in seeing beyond the obvious, something I’d love to steal for my own shots.

“60 Second Exposure” introduces Deanna Dikeman’s tender series on her family, started in 1986. This Q&A digs into how she turned everyday snippets into a universal story of love and loss. I’m drawn to these long-haul projects; they’re like diaries in light, piecing together life’s quiet bits into something profound and as someone who journals each morning it is right up my street. I’d try it myself, but my family all dodge the camera like you wouldn’t believe. Still, Dikeman’s work whispers a challenge: keep shooting the mundane, it’s where the real stuff hides.

Magdalena Wywrot’s “Photographing Pestka” is another gem, all abstract and heartfelt. Her daughter’s childhood unfolds not in posed grins but in reflections, shadows, and wee feet poking out of bed. It’s less about faces and more about feelings, fragments that feel like half-remembered dreams. I adore this slant; it’s a reminder that photography can sidestep the obvious and still gut-punch you. Next time I’m out with my lens, I might just chase a shadow instead of a smile, Wywrot’s got me hooked on the poetry of the unseen.

For classic street vibes, “The Paradox Weegee” dives into Usher Fellig’s gritty New York. His mid-century scenes, crime, chaos, and all are raw as a skinned knee. It’s tied to a Thames & Hudson book I’ll tackle later on the site, but here, it’s pure Weegee: unpolished, in-your-face, and brilliant.

The “Photo Showcase” is a visual feast, spotlighting Travel Photographer of the Year winners. Black-and-white frames leap from America to Northern Kenya and Angola, each a study in culture and landscape stripped to its bones. The lack of colour amps up the emotion, think a lone figure against a vast plain or a market’s bustle in stark contrast. It’s the kind of work that makes me itch to grab my camera and hit the road, though Aberdeen’s grey streets might not quite match Angola’s wilds.

Nick Smith’s “Masters of the Art” unearths Alvin Langdon Coburn, a name I stumbled on while digging into old photo movements. His early 20th-century work blends Pictorialism’s softness with a modern edge, and an unpublished essay, Photography Through the Years, hints at a mind ahead of its time. I’m chuffed to see him get his due here, it’s like finding a hidden gem in a charity shop, and it’s got me pondering how many other forgotten talents are out there.

The news sections, Newsroom, World of B&W, and Bookshelf are as sharp as ever. Royal Portraits: A Century of Photography shifting from London to Edinburgh’s King’s Gallery catches my eye; it’s a trek I might make. New exhibitions and photobooks tease what’s coming, and I’m already eyeing a few for my shelf. Daniel Meadows’ “On Show” revisits his 1970s Bancroft Shed project of steam, cotton, and workers frozen in time. Fifty years on, it’s a poignant look at how both he and his subjects have shifted, a bit like flipping through an old family album and spotting the changes you missed.

“In the Frame” lists UK exhibitions, but I’m gutted Aberdeen’s missing again, Dundee, Glasgow, and Edinburgh steal the show. It’s not the mag’s fault, just a reminder my corner’s often overlooked. Brad Temkin’s “American Connection” Q&A, with shots of Alice Cooper and Jerry Garcia, is solid.

Tracy Calder’s “30 Photo Projects” is a goldmine of creative prompts I wish I’d had last month when I was stuck for ideas. It’s tucked away now for my next slump. “Tests & Products” reviews Sigma’s 28mm-45mm f/1.8 lens, world’s fastest zoom for full-frame.

“Your Black + White” wraps up with subscriptions, reader galleries, and submission calls. Issue 300 shines. Morris and Weegee steal the show, the travel shots inspire, and the imagery’s a monochrome marvel. For anyone hooked on black and white, it’s a must-read, a fitting 300th hurrah that proves this mag’s still got soul.

Regards

Alex