There’s a certain comfort, a familiar embrace, in the world rendered without colour. Perhaps it’s the way it strips away the superfluous, forcing the eye to engage with form, texture, and the subtle dance of light and shadow in its purest form. For me, black and white photography has always been a foundational love, a style I instinctively gravitate towards, both in my own practice and in the images that truly captivate me. It’s with this inherent affinity that I find myself increasingly drawn to the pages of Black + White Photography magazine, a publication that feels less like a periodical and more like a curated journey through the monochrome landscape.

This latest issue, number 301, is no exception. It’s a testament to the enduring power and versatility of the style, thoughtfully segmented into sections that cater to every facet of the monochrome enthusiast’s interest. From the pulse of the “Newsroom”, keeping us abreast of the latest happenings in the black and white sphere, to the broader “World of B+W”, offering glimpses into international projects and publications, the magazine establishes a comprehensive overview of the current monochrome climate.

The “Bookshelf” section, as always, is a treasure trove for those of us who find solace and inspiration within the pages of photographic monographs. This month’s focus on Anton Corbijn’s extensive body of work is particularly enticing. Corbijn’s stark and iconic portraits have long been touchstones, and the promise of a comprehensive overview is something I eagerly anticipate exploring. Adding a personal note, the mention of MACK’s “Col Tempo 1956-2024” sparks a particular excitement, as this is a volume currently gracing my own bookshelf, waiting patiently for my dedicated attention and a future review.

Moving into the heart of the magazine, this often presents profound and thought-provoking narratives. This month, the conversation between filmmaker Raoul Peck and Graeme Green in “From the Belly of the Beast” regarding the life and work of Ernest Cole is particularly resonant. Cole’s courageous documentation of apartheid in South Africa, risking his own safety to capture the stark realities of injustice, is a powerful reminder of photography’s crucial role in bearing witness. The fact that his extensive archive yielded only one published book, “House of Bondage,” underscores the immense challenges he faced and makes Peck’s documentary project all the more significant in ensuring Cole’s vital legacy endures.

The “On Show” section by Tracy Calder, offers a welcome glimpse into the world of photographic exhibitions. This month’s focus on Marc Riboud is a gentle reminder of how deeply ingrained some photographers’ images become in our collective visual memory, often without us even knowing the name behind the lens. Riboud’s iconic shots, such as the girl with the flower facing the National Guard during the Vietnam War protests, are instantly recognisable. The exploration of his lesser-known peacetime work and the “Peace in the Making” exhibition at Atlas Gallery sounds like a compelling opportunity to discover another facet of this influential photographer’s vision.

“In the Frame” serves as a guide to exhibitions across the UK, a vital resource for those seeking to immerse themselves in physical prints and experience the tangible presence of photographic art. While my own location in Aberdeen sometimes makes these excursions a journey, the mention of the “Arts of Creation: On Art and Motherhood” exhibition at Dundee Contemporary Arts sparks a local interest and a potential future visit. It’s always inspiring to see the diverse themes and perspectives being explored within the photographic landscape. The American connection, featuring Susan Burnstine in conversation with three photographers celebrating the multifaceted identity of Los Angeles and its people, offers a fascinating insight into the way place shapes photographic vision. Their discussions on the pull of specific locales and the inspirations drawn from the urban and natural environments of LA echo my own deep connection to the unique atmosphere of Aberdeen.

Within the technique & inspiration section, Elliot Ross’s exploration of long exposures in “Crows Ascending” immediately captured my attention. As I have begun to delve into the captivating world of slow shutter speeds, his ethereal transformations of crows into almost angelic apparitions against stark white backgrounds are both visually striking and technically intriguing. His insights into the trial-and-error process of mastering this technique are particularly valuable and inspiring as I continue to experiment with capturing movement and time in my own work.

The shorter, more personal pieces scattered throughout the magazine also add a unique flavour. “60-Second Exposure” with Johanna L Rönn’s heartfelt reflection on her love-hate relationship with the darkroom and those moments of sheer photographic panic offers a relatable and human touch. It’s a reminder that the journey of a photographer, regardless of experience level, is often filled with both triumphs and comical near disasters. The “Photo Showcase” featuring the winning images from the professional category of the Sony World Photography Awards provides a vital overview of contemporary excellence in monochrome photography. Examining the diverse subjects, approaches, and technical mastery on display is always an insightful exercise.

Sean Patrick Hill’s reappraisal of Robert Frank’s “The Americans” is a crucial inclusion. This seminal photobook continues to resonate and provoke discussion decades after its initial publication. Hill’s contemporary perspective on its impact and its visual language is essential reading for anyone seeking to understand the evolution of documentary photography and its ability to capture the zeitgeist of a nation. Adam Fowler’s tribute to Bernd and Hilla Becher in “Water Towers of Glasgow” offers a fascinating local connection. The Bechers’ rigorous and objective documentation of industrial structures has always been a source of intrigue, and seeing Fowler apply that same systematic approach to the familiar landmarks of Glasgow provides a fresh perspective on the urban landscape of Scotland.

Tim Daly’s “Remnants of a Once Rural City”, where he uses old maps to trace his childhood haunts, deeply resonates with my own ongoing exploration of memory and place within Aberdeen’s changing urban fabric. His journey of rediscovery through the lens of photography and historical cartography speaks to the powerful connection between personal history and the evolution of the landscape.

Black + White Photography magazine, with its thoughtful curation of features, news, technical insights, and inspiring imagery, is steadily solidifying its place as a favourite within my photographic reading. It consistently offers a rich and diverse exploration of the monochrome world, reminding me of the enduring beauty and expressive potential of a world seen in shades of grey. Each issue feels like a valuable conversation with fellow enthusiasts and practitioners, further deepening my appreciation for this timeless art form.

Really is a great magazine,

Regards

Alex