![]() ![]() Nowadays, if you wish to get published in magazines etc. One had to take care with Kodachrome because if one was out by more than half a stop the photo was ruined, but it worked for over 30 front covers of CHESS magazine. Some used Fuji, which could be processed in most labs, but I found the colour too saturated – a question of taste. ![]() For colour I used Kodachrome 64, which had to be processed in Paris because for many years there was no lab in England that could handle the transparency. So I purchased the best equipment I could afford, including a massive De Vere enlarger, ex Ministry of Defence, purchased in Huddersfield, which I just about managed to get on the train, and a secondhand Apo Rodagon f2-50mm lens, equipping me to do all my black and white developing and printing in my bathroom. He protested that for the price I asked he could buy a whole box of photos, but he paid.Īt first I got my photos printed and developed at Sky or Joe’s Basement in Soho, but like most photographers I wanted control over the final image. Wood asked me for a photo of Angie Day, who was helping organise the Grandmaster Association and the S.W.I.F.T. My first encounter with the magazine CHESS was when B.H. At that time there was a lot of interest in chess and I got photos in all the major newspapers, some chess books, New In Chess and the British Chess Magazine. My introduction to chess photography was at the 1986 World Chess Championship, Kasparov v Karpov, where I took some photos for a small booklet on the sideshows at the event. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. Archives
March 2023
Categories |