I have always set up my cameras to zone focus by simply going into manual focus mode, setting the focusing distance scale to my desired focusing distance and shooting away. The problem with this approach is that it is difficult to keep the focusing distance consistent because more often than not I am accidentely bumping the focusing ring. However using the settings I describe below I have been able to circumvent both of these issues and have a reliable zone focusing setup….”
I made heavy use of zone focusing via setting hyperfocal distance during a years-long urban documentary project during the analog era when relying on a pair of Leica M-Series cameras and mostly 28mm and 35mm lenses.
Of the two my preference was the 28mm lens as its medium wide-angle focal length allowed me to be right in the middle of crowds and close-up to my human subjects while still revealing telling details of the environment in which they and I found ourselves.
Narrower or wider than 28mm or 35mm does not cut it for that approach, as I have proven to myself many times before and since, and ultra-wideangle lenses like the otherwise excellent Fujinon XF 14mm f/2.8 R and Fujinon XF 16mm f/1.4 R WR with their 21mm and 24mm equivalent focal lengths impose a so-called “lensey” look on the image the perspective distortion of which draws undue attention to the lens and not to the subject matter when using it up-close and in-deep in the street.
Setting one of two hyperfocal distances for either closer or more distant action with the 18mm-equivalent 28mm Leica lens was a brilliant solution to the need for maximum speed and meant I could concentrate on seeing and getting into the zone, achieving maximum flow, achieving extraordinary outcomes that evaded a slower, more deliberate approach.
My term for this high-speed, highly-focused approach to urban documentary photography was “visual athletics” and it produced challenging, heavy-muscled images that upset the denizens of my then-local art and photography community and challenged them in accepting my work as art much less as being in any way creative.
More fool them, now that photography is understood as an art form in its own right and that so-called street photography has become an acceptable creative practice.
It can be a thankless task, though, to be something of a provincial pioneer in any art form.
As I have written here a number of times, I am not a fan of Fujifilm’s ageing 18mm almost-pancake lens and have been waiting far too long for its modernized replacement.
A Fujicron-style Fujinon XF 18mm f/2.0 R WR lens would be an acceptable upgrade especially for urban documentary photography but even better would be a far more versatile professional-style manual clutch focus lens in the manner of the Fujinon XF 14mm f/2.8 R, XF 16mm f/1.4 R WR and XF 23mm f/1.4 R for stills and video.
Fujifilm, where is the Fujinon XF 18mm that Patrick of Fuji Rumors has been telling us is coming for ages now?
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Breakthrough Photography X4 Brass UV filters – B&H – I rely on this brand’s beautifully-made non-binding knurled traction frame UV filters to protect all my lenses with filter diameters from 39mm up to 105mm.
Fujifilm XF 14mm f/2.8 R Ultra Wide-Angle Lens – B&H
Leica CL Mirrorless Digital Camera with 18mm Lens (Black) – B&H – Leica’s APS-C sensor digital rangefinder-style camera with 28mm-equivalent f/2.8 interchangeable lens is one possible solution to Fujifilm’s lack of a decent 28mm-equivalent 18mm lens.
Leica Q (Typ 116) Digital Camera – B&H – Leica’s 35mm sensor digital rangefinder-style camera with 28mm f/1.7 fixed lens is another possible solution to Fujifilm’s lack of a decent 28mm-equivalent 18mm lens.
“FUJIFILM Corporation (President: Kenji Sukeno) will release free firmware updates for the FUJIFILM X-H1 (“X-H1”), FUJIFILM X-T2 (“X-T2”), FUJIFILM X-Pro2 (“X-Pro2”), FUJIFILM X-E3 (“X-E3”) and FUJIFILM X100F (“X100F”) X Series digital cameras. Due for release late April and May, the updates reflect the feedback received by FUJIFILM X Series users with regards to improving usability and adding new functions….
… FUJIFILM X-Pro2 (Ver.5.0.0) – due May 2018
1. Enlarged and customizable indicators or information
The upgrade allows users to enlarge indicators and information in the viewfinder and/or LCD monitor. This upgrade will also enable users to customize the location of where the information is shown on the display.
2. Enhanced Phase Detection AF
Latest updates to the AF algorithm provide the following performance enhancements
(1) The low-light limit for phase detection autofocus has been improved by approximately 1.5 stops from 0.5EV to -1.0EV, raising the precision and speed of autofocus in low-light environments.
(2) The range at minimum aperture has been expanded from F8 to F11. For example, even when using the XF100-400mmF4.5-5.6 R LM OIS WR with the tele converter XF2X TC WR, phase detection autofocus can now be used.
(3) Major improvements have been made to the AF-C performance while operating the zoom, which provides major benefits when shooting sports and other scenarios in which the subjects moves unpredictably.
(4) Finely-detailed surface textures of wild birds and wild animals can now be captured at high speed and with high precision as a result of improvement in phase detection autofocus.
3. Addition of “Flicker Reduction”
For enhancing the quality of indoor sports photography, the upgrade allows users to reduce flicker in pictures and the display when shooting under fluorescent lighting and other similar light sources.
4. Addition of “Select Folder” and “Create Folder”
Enable to choose the folder in which subsequent pictures will be stored. And also enable to enter a five-character folder name to create a new folder in which to store subsequent pictures….”
Fujifilm has done it again with its commitment to continually improving the functionality of most of its cameras long after their initial release with firmware updates that squash bugs, introduce major new features and update major and minor core functionality.
As an X-Pro2 owner my interest in the current round of announced and already released firmware updates is primarily to do with that camera but I note the usefulness of Fujifilm’s updates for the X100F, X-E3, X-T2 and X-H1.
I am grateful that with X-Pro2 Firmware Version 5.00 Fujifilm will be adding the ability to enlarge information and indicators in the X-Pro2’s remarkable Advanced Hybrid Multi Viewfinder and its LCD monitor as some, under the current firmware, are a little too small to be as useful and easy to read as they could be.
I am looking forward to the coming enhancements to the X-Pro2’s Phase Detection Autofocus although I tend to prefer using back-button autofocus in Manual mode for precision focussing when shooting documentary stills in available darkness.
The X-Pro2 is nothing if not versatile given its four different viewing methods – LCD, OVF-only, EVF-in-OVF and straight EVF – that effectively make it four cameras in one, and I use it for a range of other subjects and shooting conditions which call for improved AF-S and AF-C focussing functionality.
As the cliché goes, my X-Pro2 may well feel like a while new camera again, yet again.
The addition of a flicker reduction feature will also be very welcome.
I am based in a country with 50 Hz mains power and despite following the common advice to select shutter speeds that are multiples of 50, banding or flicker can be a constant problem especially in places lit by ageing fluorescent lights or mixed lighting that includes flickering light sources.
The ability to choose folders or enter five-character folder names on my SD cards is one the usefulness of which I have not considered but it may be worth trying if I am shooting two or more different subjects or projects in the same day to otherwise needing to keep files clearly separate.
X-Pro2 Firmware version 5.00 does not, however, include improvements that we have been waiting a long time for now.
Foremost of these is pixel-level view of photographs to ensure accurate focus of critical image elements, an essential professional-quality feature even the X-E3 comes with straight out of the box.
Second is exposure zebras for fast and accurate exposure-to-the-right aka ETTR, instead of the blinkies that appeared in an earlier X-Pro2 firmware update.
Blinkies on already shot images are fine when chimping in poor visibility but diabolical when actually shooting.
The X-Pro2’s blinkies often drive me mad especially when used in conjunction with focus peaking for manual focussing which also blinks in unison, a needless distraction that should, at the very least, be able to be switched off in the menu settings.
Thirdly, the EVF badly needs improving if that can be done in firmware alone so that its clarity and colour cast can be made to approach if not match the quality of non-Fujifilm EVF cameras such as those made by Panasonic or by Fujifilm in its also-flagship X-T2 and X-H1 cameras.
If this problem with the X-Pro2’s EVF is a hardware issue, then I hope it will be fixed in the X-Pro3 when it arrives, perhaps, sometime in 2019.
Missing feature number four is the ability to apply picture profile customizations to video in the same way currently exists for JPEGs.
I am grateful to Fujifilm for finally giving us the long-promised 4K video in X-Pro2 firmware version 4.00 but they forgot that decent quality video also requires the ability to customize Noise Reduction, Highlight Tone, Shadow Tone, Color and Sharpness exactly the same as exists in Fujifilm’s other stills and video-capable hybrid cameras.
Lastly, and as firmware wishlist item number five, I would love to see the X-H1’s Eterna film simulation come to the X-Pro2 as a more viable alternative to Fujifilm’s more stills-appropriate film simulations.
Other useful features come to mind but these five are first and foremost for me as a documentary stills and video creator who needs all her cameras to be as capable and as feature-rich as possible.
As a purely self-funded independent visual storyteller, I no longer have the commissions nor the budgets to maintain a number of different camera systems in parallel, nor do I have the physical strength to carry two complete sets of cameras and lenses with one for stills and one for video on any given project.
Accordingly, each camera system that I have must be capable of producing good enough stills and good enough video as the project, the subject and the often unpredictable circumstances of the day demand.
“We’ve taken a look at the Panasonic lenses that we’ve reviewed to date, crunched some numbers and have combined the results in a round-up that features the highest scoring lenses so you can make a more informed choice when making your next purchase….”
Panasonic Leica DG Nocticron 42.5mm f/1.2 Aspheric Power OIS prime lens, top of the list in ePHOTOzine’s Top 12 Best Panasonic Lenses 2018 list.
Panasonic Lumix G 42.5mm f/1.7 Aspheric Power OIS lens, not on the list but still an excellent and more affordable choice.
With a dearth of local retail outlets where one might see and try before one may choose to buy and an over-reliance on online reviews that are often not specific enough, sites with well-qualified reviewers and enough history to have broad, deep overviews prove invaluable.
I came across ePHOTOzine through the video reviews of former Fleet Street photographer David Thorpe and thus discovered his articles for the magazine as well as his own website, and now ePHOTOzine benefits by basking in his expert glow.
I have had few enough opportunities to discover the many pleasures and challenges of Panasonic Lumix and Leica Micro Four Thirds lenses in real life, and so rely on these “best lenses” lists to better my understanding.
Given an unlimited bank account I would first choose Olympus’ M.Zuiko Pro prime and zoom lenses for my professional documentary stills and video work given their many advantages and especially their manual clutch focus, but photography is my daily passion as well as my less frequent paid work and so cheaper, smaller hardware has its uses too.
Right now I am considering adding a handful of tiny Panasonic Lumix G lenses to my smaller daily carry kit bag, for use with smaller cameras like my beloved Panasonic Lumix GX8, and ePHOTOzine’s list as well as the ones below is proving invaluable to me as I hope they will to you too.
I will be buying some of these lenses online and secondhand as local camera stores seem have given up on buying and selling secondhand gear, and the usual caveat emptor (buyer beware) applies.
If purchasing from sites like eBay ensure that the seller provides a good selection of close-up photographs, all the correct information and model details, and pay through PayPal so that refunds can be made if the lens does not live up to its description.
Above all else, do your research and if you have access to stores that sell secondhand then give them a go before buying online as there is no substitute for try before you buy.
Here is my own long list of small, discrete Panasonic Lumix G lenses for purchase secondhand:
Panasonic Lumix G 14mm f/2.5 II Aspheric – my favourite M43 focal length for immersive documentary photography, equivalent to 28mm in the 35mm sensor format. Bizarrely, seems to have vanished from B&H’s listings.
Panasonic Lumix G Vario 12-32mm f/3.5-5.6 Aspheric Mega OIS – highly recommended by David Thorpe as a daily “walk-around” lens, but has also vanished from B&H.
This is my three-lens shortlist of small, reasonably fast Panasonic primes:
Panasonic Lumix G 14mm f/2.5 II Aspheric
Panasonic Lumix G 20mm f/1.7 II Aspheric
Panasonic Lumix G 42.5mm f/1.7 Aspheric Power OIS
If I could carry just one prime lens for any format it would be the equivalent of 35mm in the 35mm sensor format, which is 17.5mm in Micro Four Thirds.
Panasonic does not make a 17.5mm lens though, and the Olympus M.Zuiko Digital 17mm f/1.8 is reportedly suboptimal for effective video and stills use, so my affordable one lens solution needs must be a zoom lens that includes that focal length and others:
Panasonic Lumix G Vario 12-32mm f/3.5-5.6 Aspheric Mega OIS, or
Panasonic Lumix G Vario 14-42mm f/3.5-5.6 II Aspheric Mega OIS
Events involving more than a handful of people closely interacting with each other in public rarely occur where I live now and creative events are rarer still, so this year’s Fujifilm People with Cameras event in the city of Sydney provided an excellent opportunity to exercise my documentary photography muscle memory.
The Spectral 8 looks like anything but a typical camera bag, making it a great choice for working events and crowds, and it is the first shoulder bag that has not given me spine and shoulder problems whichever mirrorless camera and however many lenses I carry in it.
I chose the X-Pro2 for its Hybrid Multi Viewfinder (HMVF), a considerable evolutionary step beyond the non-digital optical viewfinder (OVF) cameras in all film sizes from my analog photography days.
My documentary photography style was shaped by my first rangefinder camera, a second-hand Leica M-4P, and my first Leica M-System lens, a Summicron-M 35mm f/2.0.
I soon added an Elmarit-M 28mm f/2.8 after finding the narrower 35mm focal length more suited to a feeling of contemplative distance rather than emotive immersion in fast-moving events.
I purchased my X-Pro2 along with the 23mm f/1.4 and 56mm f/1.2 lenses after reading about Kevin Mullins, a documentary-style wedding photographer and Fujifilm X-Photographer from the UK who often works in adverse lighting conditions, reminding me of when going down the mines as a corporate photographer.
Available light and gestural photography
I was excited about these two lenses due to their reportedly high image quality when used wide open in available darkness, a lighting condition common to events I had covered with other digital cameras and lenses for a charity for several years.
What I enjoy about using rangefinder cameras, as opposed to rangefinder-style cameras, is their conduciveness to being used in a gestural manner, seeing the world as if through a window into deep space, and making creative decisions and photographs within a fraction of a second without shutter blackout.
All that is the direct consequence of the cameras’ optical viewfinders showing you more than what will end up in your photograph, in combination with having both eyes open at all times, seeing the wider scene with left eye and through viewfinder with right, superimposing one upon the other.
A short movie was once made of me photographing a public event, and the cinematographer swore that I surely could not have been making photographs at all, so rapidly and so casually was I handling my Leica.
Camera in right hand attached by wrist strap, concentrate on the scene, anticipate and visualize the possibilities, wait until a fraction of a second before the perfect conjunction of people, objects and events, raise camera, pass in front of eyes, snap and it is done.
Repeat until you are in the zone and amazing images keep coming thick and fast.
I use my X-Pro2 in manual focussing mode in a similar but now digitally enhanced way, relying on the electronic rangefinder (ERF) set to show the whole scene at lower right of the OVF and with focus peaking set to on.
Fujifilm, exposure zebras please!
If the firmware for X-Pro2 and other Fujifilm cameras had exposure zebras built-in then I would swap zebras for focus peaking in full image ERF view to ensure perfect exposure under challenging extreme subject dynamic range such as blacks in deep shade combined with whites in bright sun.
In combination with back-button focus on the X-Pro2 via AF-L button or the 23mm f/1.4 lens’ manual clutch focus mechanism, I can see everything on all four sides of the lens’ field of view, have access to plenty of focus and exposure information, can make creative decisions rapidly and accurately, use joystick to select the most critical point of focus then make the exposure with minimal lag time.
As a result the X-Pro2 is the first digital camera that allows me to achieve split-second speeds to photograph the perfect combination of actions and encounters across the frame.
These are image design decisions I came up with years ago after studying painting and visual storytelling throughout the ages in art galleries and museums in Europe.
I find a particular satisfaction in suggesting possible deeper stories and apparent relationships than what may really be going on in the central focus of the action.
More than meets the eye?
In other words, my photographs are intended to suggest that there is more there than meets the eye.
Although I enjoy the remarkable optical qualities of the 23mm f/1.4 lens, I often find myself wishing for a similar but wider lens for more immersively photographing events outdoors and indoors.
My Leica 28mm lens hit the immersive sweet spot in comparison with wider or narrower lenses and there is no substitute for that specific focal length.
Its Fujifilm APS-C equivalent is 18mm, but having tried the Fujinon 18mm f/2.0 lens, I rejected buying it due to its lack of manual clutch focus, slow autofocus speed, clanky aperture ring and clunky construction despite its quite reasonable optics.
Fujifilm needs to produce a radically updated version of this lens, and although I prefer the clutch manual focus design of the 23mm f/1.4 and 14mm f/2.8 Fujinon lenses, I could cope with a Fujicron-style design such as that of the small XF 23mm f/2.0 R WR, XF 35mm f/2.0 R WR and XF 50mm f/2.0 R WR primes that are particularly suited to the X-Pro2 due to their small front end that protrudes less into the camera’s OVF.
The curse of funky chic
On Sunday I was told that the ageing XF 18mm f/2.0 lens has undergone a sales resurgence recently, and I suspect that is due to its olde worlde funky chic that is being promoted online by certain photographers.
If I really wanted funky chic there are plenty of other lenses that go the extra mile and were built specifically for that.
Fujifilm, please do not shelve your reported plans for a Fujicron-style Fujinon XF 18mm f/2.0 R WR just because funky chic has become a thing with a clearly mechanically inferior lens.
I have considered adding Fujifilm’s reportedly excellent kit zoom, the Fujinon XF 18-55mm f/2.8-4 R LM OIS, to my nascent lens collection but having tried it out at an event last year decided it was not for me due to its size and its front element protruding into the OVF.
At the 18mm setting, the X-Pro2’s 18mm bright frame is almost equivalent to the whole of the OVF window and with ERF activated I would be losing fast and easy view of a crucial percentage of the action.
That view would be further reduced with the addition of Fujifilm’s lens hood for the 18-55mm lens, a necessity in the extremes of light and shade found in an average city scene.
I like the idea, though,of the 18-55mm zoom for its access to much-loved focal lengths from my Leica days – 28mm, 40mm and 75mm in the 35mm sensor size or in APS-C terms, 18mm, 27mm and 50mm – as well as 35mm which for me is more of a video focal length than a stills focal length.
There is one less obvious solution to my 18mm dilemma and that is an X100F with WCL-X100 Wide Conversion lens to convert its fixed 23mm focal length lens to 18mm, with Peak Design Cuff and Clutch camera straps essential for good grip of its small, slick-surfaced camera body.
The one downside to that set-up is that Fujifilm has, bizarrely, failed to release an updated X100F version of its small but effective MHG-X100 hand grip previously made available for the X100, X100S and X100T.
Fujifilm’s hand grips are the only ones I have come across that have a notch for attaching Peak Design’s camera strap AL-3 Anchor Links and are smaller and neater than those of third party competitors.
A hand grip for the X100F, yet another silly Fujifilm blind spot?
Primes, not zooms
For me at least, zoom lenses are more suited to EVFs and LCDs, not OVFs.
During Sunday’s Fujifilm People with Cameras event I was lucky enough to have a few moments with a save-disabled pre-production model of the coming Fujifilm X-E3 rangefinder-style camera.
It is easy to forget that contemporary mirrorless digital cameras offer two or, in the case of the X-Pro2 and X100F, three ways of seeing in one due to offering an EVF and an LCD, and in the case of those two cameras, an OVF as well.
Two or three ways of seeing, two or three cameras in one. Each way of seeing equal to one camera only during the analog era, with the rare exception of the Linhof and Speed Graphic cameras that I used as handheld rangefinder cameras or tripod-mounted view cameras.
The X-Pro2 is, in my opinion, a superb OVF hand camera while other Fujifilm cameras have better quality EVFs better suiting them to use with zoom lenses, prime lenses outside the X-Pro2’s optimum range of 18mm to 56mm, and tripod-mounted use like a miniature view camera via the LCD monitor.
Matching cameras, complementary lenses
Having always relied on carrying two matched cameras for documentary photography I am uncomfortable with just one camera and two lenses, thus risking dropping while changing lenses at speed in the field, or missing shots because I have the wrong lens on it at the time.
I need a second camera for documentary photography projects.
Will an X-Pro2S or X-Pro3 improve their EVFs to match those in the X-T2 and its successors?
Will Fujifilm add the X-Tn series’ excellent and incredibly useful Dual viewfinder mode to cameras in the X-Pron series?
Will Fujifilm finally relent and add exposure zebras to all its cameras, for stills and video?
Will the X-E3 make for a good EVF rangefinder-style companion camera to the X-Pro2 so I can get back to my well-proven two-camera, two-lens documentary default mode?
Should I seriously consider a Fujifilm X100F with WCL-X100 II Wide Conversion Lens attached, now that the X100F sensor’s specifications are closer to that of the X-Pro2, X-E3 and other Fujifilm cameras?
Time will tell and, no doubt, so will access to a production-run Fujifilm X-E3 for a really good tryout in typical documentary photography conditions in the field.
One thing I know for sure, resulting from handling the X-E3 for even a short time is that, like the X-Pro2 and X100F, it needs a hand grip whether mounting small lenses or large ones on it, whether primes or zooms, as well as Peak Design Cuff and Clutch camera straps.
I attended my second Sydney Fujifilm People with Cameras event in Chippendale on Sunday, October 29, 2017. Here is a selection of photographs, shot on a Fujifilm X-Pro2 with Fujinon XF 23mm f/1.4 using the full ERF image within the OVF in manual mode with back-button focussing for the technically inquisitive, then quickly processed to proof quality in Capture One Pro.
I stared writing some tech notes to go with this gallery article and then they expanded far beyond the few words I had originally intended.
So now I have spun them off into their own fully-fledged article that can be found here:
Supervisor asked for my I.D. I informed him that unless he was a NYPD officer, I wasn’t giving him anything. He didn’t find that very humoring, and he started aggressively patting me on the back and shoulder, in that fake jovial kind of way you might imagine a mafioso would do. He escalated threats, telling me that they did in fact call the police and not only would I be going to prison for a very long time, but I was going to be put on some kind of secret “black list” that would forever haunt me for as long as I live. LOL!
Garry Winogrand, quintessential New York street photographer, is the grandfather of all street photographers in this age that seems to have turned street photography itself into something approaching a cult, with its rules, regulations, expectations, tropes, tricks, judges, juries, fans, heroes and followers many of whom, it appears, have forgotten how it all began or that it even has a history.
Just a little bit more than simply a street photographer, methinks. Perhaps Garry Winogrand should be referred to as a great documentary photographer or a brilliant urban documentary photographer or one of the fathers of us all, because that is the depth and breadth of his achievements and influence.
The art of urban documentary is no less than that of depicting the state of humanity in this very moment, so that we, our contemporaries and our descendants may understand this time and us just a little better and perhaps learn from our mistakes and our successes. Even better, avoid repeating those mistakes and understand how to be successful in their own right.
Garry Winogrand died too young to fully experience his own creative success and to be celebrated for his insight into urban America. His life and career followed and overlapped with that of Robert Frank, the photographer who almost singlehandedly kicked off the strand of urban documentary photography that asks questions more than it provides answers.
That is a strand of photography which which I identify, given that no artist can ever claim to have all the answers or even some of them and should not be making such claims. Instead, we can hope to stimulate viewers into asking questions of their own.
All were the artistic children of Robert Frank and Joel Meyerowitz was so inspired by watching Frank at work while he, Meyerowitz, was an advertising art director but only one of those creative offspring, Winogrand, had the same toughness and sense of difference from those he photographed.
The others, especially Meyerowitz who was so influenced by William Eggleston’s achievements in colour, possessed a lyricism that Winogrand’s hard-edged directness and desire to see life depicted in new ways mitigated against. Only American expatriate William Klein came close then surpassed that directness through confrontation.
“When I’m photographing, I see life,” he once said. “That’s what I deal with. I don’t have pictures in my head… I don’t worry about how the picture is going to look. I let that take care of itself… It’s not about making a nice picture. That anyone can do.”
The history and achievements of street photography – or social landscape or urban documentary or what you will – and its most influential practitioners such as Winogrand has yet to be definitely written or delineated in moving images.
It may never be fully so, but at least Sasha Waters Freyer can tell us about the one who is arguably the greatest and we who can should chip in in order to help her do that.
Do Not Bend: The Photographic Life of Bill Jay, a documentary movie about the life, photography and photography magazine work of the late Bill Jay, one of the most influential figures in the history and development of photography in the UK and who had an important effect on my own work, is currently in production.
My attention was drawn to this documentary via a photograph of Magnum photographer Martin Parr holding a copy of A Day Off, An English Journalby Tony Ray-Jones, one of the quintessential photography books. I bought my own copy years ago at an excess stock sell-off by the State Library Board of Western Australia. Their loss, my gain.
Mr Ray-Jones famously informed Bill Jay that his magazine was shit, when the latter was editor of Creative Camera magazine.
This morning a mention on social media reminded me of the late, great but undervalued, almost forgotten, documentary photographer Tish Murtha.
Tish Murtha’s daughter Ella Murtha has inherited her mother’s estate and is now working on ensuring the legacy of one of the great British documentary photographers is not forgotten but is commemorated with exhibitions and the publication of her core body of work, Youth Unemployment.