Issue No. 8
The Big Picture
In a 22-page special feature, we talk with John Burris, Director of the Brett Weston Archive, whose release of 24 never-seen photographs and 15 portraits of Brett — the first taken at age 14, the last when he burned his negatives on his 80th birthday — allows arevealing look at the life and work of one of photography’s greats.
Austrian born, he emigrated in 1941, settling in Manhattan, where he soon made a name for himself as an art director and photographer (Esquire, Show, Harper’s Bazaar) focusing on advertising and fashion — we feature work from the 1962 Paris Collection.
He has taken the super stylized, maximum minimalist approach to new heights, making magical images that exude peace and tranquility.
Michael Phlip Manheim
How to capture the movement of dance in a different way has occupied his creative eye and mind for years — now he is finally breaking new ground.
Ansel Adams was Chip’s childhood hero — but he chose a music career. Now he is back on track, living in Carmel and making music with his camera.
Javier Silva Meinel
His photographs, filled with curious juxtapositions and hidden meanings, reflect the magic and mysticism of customs and beliefs among the indigenous people of his native Peru.
Maude Schuyler Clay
After many years in New York she returned to Mississippi to photograph the fields and bayous of her childhood.
James Whitlow Delano
Taking “street photography” to new levels, he has made it his life’s work to capture — in dark, rich, dramatic images — the enchanted world of “old” Asia before it’s lost forever.
Stirred by the photographic heritage of his native San Francisco, he worked in relative obscurity for nearly two decades — a new book reveals his vision, and shows him worthy of being discovered by a larger audience.
Having discovered the intrigue of night-time photography — he has produced over 100 images as part of an ongoing series. The drama and the subtlety of the nocturnal light, the movement of the stars…it’s all part of this most impressive body of work.
We didn’t know Black & White Magazine could be bought in Latvia — it was only when Balcus sent us his portfolio that we knew. It’s intriguing to see that art has no borders — the fact that he turned the lens on himself in such creative ways made his submission even more eloquent.