Heritage Photography by Royal Photographic Society

Contents

From the Chairman

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Reflections on Photographing Church Architecture in France Richard Ingle FRPS .............

Digging up the Holyland Ken WoolvertonARPS

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Facing the Past Simon Hill FRPS

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Cambridge Conference Pauline Spence

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The Art Photography Workshop John SpenceARPS

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From the Chairman Welcome to this second edition of Heritage Photography and a big "thank you" to all the contributors who have made this issue possible. As photographers we are able to record the changes which happen around us: the influence of modern life on the environment, the consequences of international strife or economic chaos and all the results of progress. Indeed , it could be said that we have a duty to document these changes so that the photographs may be used for historical comment sometime in the future. Such photographs need to be taken, even if we do not like or approve of what is in front of our lens. In this issue you will see fine photographs by Richard Ingle, Simon Hill, and Ken Woolverton illustrating their articles; these record events, buildings and people that are centuries old. Had the camera been available at the time, would photographers have enjoyed the scene and circumstances at the time of taking? Our abandoned factories, offices, warehouses and churches have a historical value which needs recording even if society decides that maintenance and preservation is undesirable or too expensive.The photographs that we choose to take will reflect a personal reaction to current social, political and economic influences. Therefore they have great value to us now and probably more to those who will see them at some time in the distant future. The Archreology and Heritage Group continues to visit sites of interest where ever possible . Members have found that custodians / curators / guides are very willing to help or advise when asked. If you have the opportunity why not join in ? You can be sure of a warm welcome.

Clive Tanner ARPS

Reflections on Photographing Church Architecture in France by Richard Ingle FRPS

My First Visit to France In September 1948, my father, a school friend and I set out on an expedition to the Pyrenees in an old pre-war Morris 14 car. At Newhaven, the car was lifted on to the boat by crane by means of chains attached to each wheel. It was alarming to see the car swinging to and fro, and we prayed that it would not be dropped into the water! Once in France, it was wonderful to be able to explore the French countryside, from the Chateaux of the Loire to the high mountains of the Pyrenees, and to visit some of the finest churches and cathedrals in Christendom. It mattered little that our car's maximum speed was scarcely more than thirty miles per hour. So soon after the end of the war, conditions in small country hotels were basic, yet the quality of the food was far beyond anything available in Britain. My abiding recollection is of a remarkably tranquil countryside, and an almost complete lack of traffic on the roads as soon as one was fifty miles or so away from Paris. I do, however, vividly remember our arrival in Chartres on the Feast of the Assumption. The city was thronged with people, and it proved impossible to find a hotel. Eventually we went to the Police Station to ask for help. At first, the gendarme on duty seemed unable to help us, but when we enquired whether there was a youth hostel he immediately escorted us there. On finding the place locked up - by now it was late at night - he managed to gain entrance to the hostel through a window, and saw us to the dormitory. We were almost the only people there, and there were no mattresses on the beds, but we were relieved simply to have a roof over our heads. In the morning we were unable to find the

Clive Tanner ARPS

Reflections on Photographing Church Architecture in France by Richard Ingle FRPS

warden, and I regret to say that we still owe the French Youth Hostel Association for one night's lodging!

As far as the churches were concerned, our main guide was Arthur Gardner's French Church Architecture (Cambridge 1938). Perhaps the greatest experience during the holiday was coming upon the mountain village of Saint-Bertrand-de-Comminges, set on a hill in the verdant Pyrenean landscape. Although its population was, and indeed still is tiny, it contains a cathedral with cloisters (Figure 2) that look out onto pastures and wooded hills. Totally different, but equally impressive, were the cathedrals of Toulouse, Albi and Bourges, which I attempted to photograph with varying degrees of success.

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am - e ran - e- ommmges, Haute-Garonne Cathedral of Notre-Dame, The Cloisters, 1948 645 camera, no details recorded

warden, and I regret to say that we still owe the French Youth Hostel Association for one night's lodging!

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am - e ran - e- ommmges, Haute-Garonne Cathedral of Notre-Dame, The Cloisters, 1948 645 camera, no details recorded

Throughout this holiday, I used a Thornton Pickard Quarter Plate camera recently purchased from Brunnings in High Holborn. Although second hand, it was a really beautiful instrument made of finely polished mahogany and brass with triple extension, and equipped with a variety of movements including the vitally important rising front which enables parallelism of verticals to be maintained. My main guide was the excellent little booklet by R M Fanstone All about Architecture, one of the Focal Photo Guides. The greatest difficulty was estimating the exposure in the dark interiors without a sensitive exposure meter . As it turned out, most of my plates were (as I now realise) considerably overexposed, yet they printed reasonably satisfactorily. However, many of the windows were burnt out; this is one of the most troublesome technical problems in photographing church interiors - one which still sometimes gives me difficulty.

Processing the plates and enlarging them On returning home I developed the plates in Ensign daylight tanks which took four plates each - a most convenient way of developing a small number. Being unable to afford an enlarger for quarter plate (3Âź x 4Âź inch) I set about trying to make one with the aid of the useful booklet by Hugo van Wadenoyen and John Holtam entitled "Making an Enlarger" (Focal Press). The essential purchase was a large condenser, some 6 inches in diameter, again from Brunnings. The main body of the enlarger was made of wood and zinc sheet, and I attached the camera to the enlarger so as to make use of its bellows. The trickiest part was making the negative carrier, the weakest point in many an enlarger. The body was mounted, not on horizontal wooden rails, but on ones inclined at an angle of about 20 degrees to the vertical, with bricks to counterbalance the weight of the enlarger. This gave it the rigidity of a horizontal model combined with the compactness of a vertical one. Although inelegantly finished - indeed it was a Heath Robinson contraption - the enlarger functioned well.

Fig 3 A/bi, Tarn Cathedralof Sainte-Cecile, The Choir, 1988 5x4, T-Max 400, 65 mm lens 1 f32, 1 minute

I printed on fibre-based paper (resin coated ones had not then been invented) on a paper made by Kodak called Ivory White Lustre. The closest paper I have found to this today is Agfa Portriga Rapid,which may be toned in Agfa Viradon for about 5 minutes to give a warmth reminiscent of the old papers. Both the paper base and the image are toned by this treatment. Although I now use modern photographic papers for most of my work, I like to experiment with the old printing processes, and hope one day to explore printing in platinum.

Fig 3 A/bi, Tarn Cathedralof Sainte-Cecile, The Choir, 1988 5x4, T-Max 400, 65 mm lens 1 f32, 1 minute

A Full and Busy Life In 1953 I took a number of photographs in black and white, as well as a few on Kodachrome, of some of the great churches of Northern Italy, including those of Ravenna. From then on, there was little opportunity for travel in Europe, and my photographic interests took the form of illustrating domestic life and family holidays, for which I used an SLR camera. Eight wonderful years living in Uganda (in East Africa) followed, during which I was involved in teaching science and in training teachers. This period provided many opportunities for photographing my students, as well as landscape and big game, but few for ecclesiastical photography! However, I did photograph Namirembe Cathedral in Kampala. Situated on a hill overlooking our house, it was a site that beckoned to me every day. Back in England in 1969, education took me into curriculum development with the Nuffield Science Teaching Project. A period with the Ministry of Overseas Development followed, before moving to the University of London Institute of Education. While on assignments in Asia during this period, I was occasionally able to photograph religious buildings. Buddhist temples and monasteries, and Islamic mosques exerted a strong influence upon me, and I would love to spend time and thought in photographing them.

My Return to Photographing Church Architecture In 1979, I determined to specialise in photographing church architecture. I wondered how the quality of my work in this field could be improved? What would be the most suitable camera to use? What further techniques should be developed? I decided first to find out what could be achieved with my 35mm camera which served me so well for other types of photography. I experimented with a variety of medium speed and slow films (including Kodak Technical Pan film) in an attempt to avoid th

appearance of grain. I then tried out my old Thornton Pickard again, but although it worked perfectly, it was not easy to use after becoming accustomed to the feel of a modem camera. It took several years to identify, to my satisfaction, the various technical and other difficulties which centred around the avoidance of visible grain, a desire for subtlety of tonal rendering, and effortless sharpness in large prints. But solving them was another matter! Clearly I was very much in need of advice, and in 1985 I joined the Royal Photographic Society. It proved a wise decision and I was soon in touch with two Fellows of the Society - Professor Margaret Harker and the late Mr Tom Williams - who were extremely helpful to me, both in matters of technique and artistry. As a result, I soon decided to work in 5 x 4, and before long had purchased a Wista Field camera from Teamwork. It proved to be an excellent camera on account of its wide range of movements and its lightness combined with rigidity - and it was a pleasure to handle. It also looks well in a medieval environment, such as in a French cathedral! This remark is not an entirely frivolous one, because most forms of photography involve a degree of intrusion, and this sort of camera is less intrusive than, for example, a monorail camera made of metal. Six months in England enabled me to sharpen up my techniques before setting out - after an interval of s_ome25 years - to photograph once again the wonderful cathedrals, monasteries, and smaller churches, in the land of France to which I had for so long yearned to return.

' Summary of the Technical Methods Used The methods I used for large format photography may be summarised as follows. Most interior views were taken with the 90 mm f6.8 Grandagon lens made by Rodenstock. Since church interior scenes generally have a wide brightness range, and because I use a condenser enlarger, it is

necessary to overexpose and underdevelop to obtain negatives of appropriate contrast. Exposures were generally made at f22 (or f32 for extra depth of field) on T-Max 400 film. The film was exposed at ASA 100, using a digital spotmeter to measure the darkest shadow which I judged requires reproducing with full textural detail. This was placed on zone 3. After allowing for reciprocity failure in accordance with Kodak 's recommendations, this generally entailed exposures in the range of 10 seconds to 2 minutes. One of the reasons I started using T-Max film is its modest departure from reciprocity; an indicated 1 minute exposure becomes only 2 minutes. I developed in IDll stock solution for about 70 per cent of Kodak's recommended times, but even so the negatives tend to be of somewhat high contrast.

developed in such a way as to require less burning and dodging during printing. not a matter of simply reducing the contrast of a negative throughout its density range, which can be done readily by reduction in development time. It would, I believe, be helpful to use a compensating developer which would compress the contrast particularly in the highlights. At present I am experimenting with HP5+ using a variety of developers including IDll diluted 1 + 1, as well as with highly diluted developers which provide much greater compression of the highlights. This appears to make it easier to print the stained glass windows, which are frequently of high brightness, as well as high contrast. I would be particularly interested to hear from any reader who has experience of developers suitable for use with wide brightness range subjects.

Exteriors were also taken on Ilford FP4 which I also rated at ASA 100. Since most of these scenes were of modest brightness range, I developed this film in accordance with Ilford's normal recommendations. Incidentally, my exposure meter remains set on ASA 100, so errors due to having it set on the wrong speed were avoided!

ReturninR to France in the Eighties

The most difficult part of the whole process lay in trying to make really good prints. I tried to make prints which reveal the very special qualities of light to be found in French Romanesque interiors. Some degree of manipulation by means of burning and dodging was invariably required because of the wide brightness range of the scenes, but I have found that it is important not to carry this process too far. For the last five years or so, I have used Ilford Multigrade Fibrebase paper for making exhibition prints. I have tried to learn as much as possible about the art of fine printing, and have been fortunate to have had helpful advice from Gene Nocon and Mike Walden, the Chief Specimens Printer at Ilford Ltd. To return to the difficulty of printing negatives of high brightness range interiors, it would, of course, be a great help if negatives could be

The only continuous interruption to my photographing medieval churches (other than that resulting from work which occupied the best part of eleven months a year!) was caused by a nine-month sojourn in New .zealand teaching at the Auckland College of Education in 1986. For me, the years 1985, '87, '88, and '89 were wonderful ones for photography in France and gave me the opportunity to visit once again some of the great cathedrals and churches which I first encountered in 1948, including the fortress cathedral of Albi with its magnificent choir (Figure 3).

Of the three main styles of church architecture found in FranceRomanesque, Gothic and Flamboyant, it is the Romanesque to which I am most strongly attracted.This is because of the exceptionally harmonious proportions which impart a sense of timelessness so fitting in a religious building.The finest of the French Romanesque buildings are imbued with a wonderful atmosphere, due to the skilled manner in which those who designed them exploited the natural light. During these years

ReturninR to France in the Eighties

Fig. 4. Poitiers, Vienne Church of Saint-Hilaire-le-Grand, The Steps, 1987 5x4, T-Max 400 , 90 mm lens, f32, 1 minute

Fig.5. Vezelay, Yonne Basilica of Sainte-Madelaine, The South Transept, 1987 5x4, T-Max400 , 135 mm lens, f32, 30 seconds

Fig. 4. Poitiers, Vienne Church of Saint-Hilaire-le-Grand, The Steps, 1987 5x4, T-Max 400 , 90 mm lens, f32, 1 minute

Fig.5. Vezelay, Yonne Basilica of Sainte-Madelaine, The South Transept, 1987 5x4, T-Max400 , 135 mm lens, f32, 30 seconds

I became increasingly aware that this atmosphere had somehow to be translated into photographic form; some means of revealing it had to be found. Working in large format is essentially a slow process, and it encourages a contemplative and thoughtful approach to one's subject. I now have much less desire to take photographs of all the churches visited on an overseas holiday. Instead I strive to portray the harmony of design and the wonderful sense of light which is the very spirit and essence of these buildings. I want to give much more thought to the subject of light. This desire has been prompted by the French Romanesque churches, particularly those at Poitiers (Figure 4) Moissac, and Vezelay (Figure 5). It would be wrong to suggest that a large format camera is the only type that can be used satisfactorily with architecture. Sometimes, there is simply not enough time set up a large camera. At the ruined abbey of Jumieges (Figure 6) for example, I had only a few moments to mount my 35 mm camera (loaded with Agfapan 25 film) on a small tripod, as the shadows sped over the walls of the nave in the light of the late afternoon. We must be thankful that most of the finest ecclesiastical buildings in France , as well as many humble ones, are so well conserved both in their structure and their fittings. The handsome wooden chairs with their low caned seats and high backs are a delight. And seldom does one come across notices, plastic chairs, book shops and cafeterias which could so easily destroy their tranquil atmosphere. A visit to the great French churches, monasteries, and cathedrals is a wonderfully peaceful and refreshing experience. Photographing them is a great privilege, and can almost become a form of worship.

111

Fig.6 Jumieges, Seine-Maritime

The Abbey,

35 mm Agfapan 25, 35-70 lens

1987

111

Fig.6 Jumieges, Seine-Maritime

The Abbey,

35 mm Agfapan 25, 35-70 lens

1987

The process of photographing French church architecture is an absorbing and fascinating one. I shall be content if I have succeeded in communicating to others something of the sense of wonder and peace inspired in me.

DIGGING UP THE HOLY LAND by Ken WoolvertonARPS

Of all arcooeology, perhaps that which excites most interest and controversy is excavation in the Bible lands. When my wife was given , the opportunity this year to join a team from the British Museum which was excavating in the Jordan Valley I was able to join her for part of the time, in a country where we had once lived for two years.

This was the sixth in a series of excavations at Tell es-Sa'idiyeh, a double mount linked by a saddle (unmistakeably man-made), which arises from the flat plain of the River Jordan. The site has been identified by archaeologists as the biblical city of Zarethan which is mentioned several times in the Old Testament, notably in the Book of Joshua where it is lined to the passage of the Israelites bearing the Ark of the Covenant. But this biblical context can easily overshadow the significance of other finds in the stratification of occupation over a period 3.000 B.C. to the spread of the Roman Empire.

Note: Readers may be interested to know that Richard has two large 20 x 24 inch prints of Poitiers and A/bi, made by the master printer Gene Nocon, on permanent display in London, together with others taken in Spain and Portugal. They are in the University of London Institute of Romance Studies, which occupies a part of Senate House in Malet Street, WC1. Permission to view them may sought from the lnstitute's Administrative Secretary on 071-636 3017.

On the highest level, referred to as the "acropolis", were the remains of a palace of the Persian period consisting of seven rooms round a courtyard and dating from the 4th Century B.C. An earlier, American, excavation identified a staircase leading from the plain to an Iron Age city of between 1200 and 900 B.C. The British Museum teams, under the direction of Jonathan Tubb, have been concentrating on the Iron Age levels and the earlier Bronze Age period. They have discovered a hitherto unsuspected Egyptian influence east of the Jordan River in the 12th Century B.C. with burial customs and building techniques peculiar to Egypt at the time. They have also uncovered an Iron Age settlement of the 8th Century B.C. which was probably in the kingdom of Jeroboam II.

DIGGING UP THE HOLY LAND by Ken WoolvertonARPS

19 Jonat han Tubb (hands on hips), the leader of the expedition, briefs the Jordanian diggers

On the Bronze age burial site (about 2.700 B.C.) it was customary to break a pot over the buried head of the corpse

I was able to observe the team at work. The day began at 5.30 piling into the minibus for the 5 mile journey from the 'dig house', through the fertile agricultural lands of the Jordan Valley (waved on by friendly Jordanian soldiers at check points - for this is a very sensitive area), to the Tell. Here we were joined by the diggers; 70 local men who remove soil and, the more skilful, trowel and brush around revealed walls, bones and artefacts. It is still chilly at that time of the morning in April but by 1.00 p.m. it is too warm to continue. There is nothing quite like watching the gradual uncovering of a burial jar, with a human skeleton appearing for the first time for 5.000 years. Or seeing, still firmly embedded in clay, the rim and handle of a vessel not knowing whether it lies there complete or is simply a broken piece, because he

On the lower, Bronze Age, site two graves are carefully unearthed with brush and trowel

19 Jonat han Tubb (hands on hips), the leader of the expedition, briefs the Jordanian diggers

On the Bronze age burial site (about 2.700 B.C.) it was customary to break a pot over the buried head of the corpse

On the lower, Bronze Age, site two graves are carefully unearthed with brush and trowel

FACING THE PAST ~

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by Simon I Hill, FRPS

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INTRODUCTION

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Kate Woolverton sorts and catalogues some of the pottery sherds. (Those in the picture represent about two days' excavation)

site disgorges many hundreds of broken pottery sherds.Back at the digho~se the rest of the team are busy. The conservationists are gently removing earth and scale from valuable finds such as ivory knives and jewellery. :he archreological botanists are examining earth samples under the microscope for socio-economic evidence. The illustrators draw site discoveries from life. Other members of the team identify, mark and record bones and pottery. And Alan, the photographer, puts to use cameras and film provided by the partsponsors of the dig, Bronica and Agfa.

In building the Jorvik Viking Centre, archaeologists spent years painstakingly piecing together the evidence from the long-running Coppergate excavation . Houses, fences, paths and drains were all wonderfully preserved in the wet soil of the site, but still there were questions .... Were the- houses one or two storeyed? What were the roofs made of? What shapes were the roofs?

Evidence from the small objects - lost or discarded by their original owners over a thousand years ago - told us much about the trades of the people living in the houses - one was a moneyer, another a metalsmith, yet another a boneworker. As the Jorvik Viking Centre was recreated, every step was rechecked against the evidence to make it as true to life - as authentic - as possible. Even the sounds and smells of the city were brought to life. But one thing still eluded us - the people themselves. What did they look like? In the end, the figures in the Centre had to be based on modem people, but the search for reality went on! In 1991, nearly five years after the Viking Centre opened, new computer and video technology at last enabled us to come face-to-face with the real inhabitants of Jorvik.

1 UNEARTHING THE EVIDENCE Of course, the archaeologist can only meet the inhabitants of Viking-age York in the city's cemeteries. But this poses a problem. The inhabitants of Vikingage Jorvik were buried in churchyards which continued to be used for burials well into the 19th century and so cannot be excavated. However, there were a

FACING THE PAST ~

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by Simon I Hill, FRPS

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INTRODUCTION

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Kate Woolverton sorts and catalogues some of the pottery sherds. (Those in the picture represent about two days' excavation)

23 few graveyards used in the Viking Age that soon after fell out of use. Two of these have been excavated since the Coppergate dig: one in Swinegate and another in Fishergate. The Swinegate graveyard belonged to a small wooden church which had fallen out of use by the 12th century. Research work on the skeletons found here is very thorough, giving a vivid picture of the inhabitants and life of the city. It was one of these skeletons that was chosen when, in 1989, developments in computer technology allowed the affordable recreation of faces from the past.

Dr. Robin Richards being scanned with the equipment which he helped to develop.

The screen model of the head takes shape

The sculptress put the final touches to the body cast

Dr. Robin Richards being scanned with the equipment which he helped to develop.

The screen model of the head takes shape

The sculptress put the final touches to the body cast

2 RECONSTRUCTING THE INDIVIDUAL Whenever a cemetery is excavated, each and every skeleton is carefully photographed and recorded. The bones are then lifted, boxed and sent to a specialist for closer examinatio â&#x20AC;˘n. Although from a s~eleton we can't tell a Viking from an AngloSaxon , we can distinguish between a man and a woman . A man, for example, has a much narrower pelvic cavity than a woman , whose wider cavity is an adaptation for childbirth . The skeleton also provides clues to the age at which an individual died. With those who died before the age of 20, it is possible to be accurate to within about five years. However, for older people , where skeletal changes are less obvious , it is much more difficult. From the evidence that we have, it appears that only about half of those born in the Viking Age survived to the age of 20. It is also evident that more women than men died in their twenties and early thirties. This could well be due to the hazards of pregnancy and childbirth. On the whole , people in the past were not very much shorter than our grandparents . The average height for a man in the middle ages was 5'7" and for a woman about 5'2". Today men and women are, on average, about 1.5" taller due to a good and balanced diet. From the skeleton, it is sometimes possible to identify a deformity or disease from which a person suffered. Bowed legs suggests rickets, caused by a defic iency of vitamin D in the diet whereas fused or deformed joints may indicate osteoarth ritis. Old fractures to the bones , tooth decay and abscesses are also easi ly found.

25 Most diseases, however, leave little or no trace on the skeleton and so it is often impossible to determine the cause of death of a particular individual. Only in very few cases do things like unhealed wounds provide some clue . So the skeleton can reveal many clues. It can tell us the sex of a person and how old they were when they died. It can give some idea of the diseases from which they suffered, and sometimes how they died. But now, we can do more. Using the skull, the actual face of an individual can be reconstructed. For the first archreological application of this new and exciting technique, one of the skeletons from Fishergate was chosen. The skeleton told us that the individual was a man, that he was about 5'6" tall and of slight-tomedium build. Although only in his late twenties or early thirties when he died, there is no evidence for disease on his skeleton, or any clue as to how he died.

3 FACE TO FACE WITH THE VIKING AGE The facial appearance of any individual is dictated largely by the shape of the skull. Given an intact skull together with information about the sex, age and build of the person, it is possible to reconstruct the muscle groups of the skull and so reveal the features of that individual. Until recently, this could only be done by specialist medical illustrators having a thorough knowledge of anatomy and great artistic skill. The process is slow and expensive, with many hours spent drawing and r drawing. So, it has only been the faces of the great and famous that have h n reconstructed - Phillip of Macedon (the father of Alexander the Great), and Kin g Midas (the man with the "golden touch").

To reconstruct the faces of whole populations - which is what we need to do for the Viking Centre - demands a technique which is much faster and cheaper. Working with a team of computer scientists at University College Hospital, in London, we have at last found such a technique. As a skeleton lay buried in the ground, the weight of the earth above it could cause some damage. The skull, being hollow, is particularly at risk . Missing parts of the skull are filled or reconstructed using plaster of Paris . Much care is taken to follow the shape of the intact pieces.The repaired skull is then mounted on a turntable, towards which is directed a low-power laser beam . As the skull rotates, the beam is reflected back from every contour, pit and blemish of its surface. This reflected light is recorded not by film but by a video camera linked to a very powerful computer. It is then necessary to find someone of the same sex and build as the individual whose face is to be reconstructed in this case a slightly-built male. His hair and beard, if he has one, are dusted with talcum powder to ensure they reflect the laser light. His head is then scanned in the same way as for the skull. When both the ancient skull and modem face have been recorded the two are combined in the computer .... the modem face is mdulded around the skull. As it is the skull and facial muscles that dictate the shape of the face, the reconstruction looks like the historic and not the modem person! How do we know that this technique works? Where the skulls of unidentified murder victims have been used, the resulting faces have been recognised by their friends and relatives. Forensic data has then confirmed the identity of the unfortunate victims.

Face to face with Eymund for the first time in 1.000 years

Our technique, however, doesn't stop here. The computer used for the recreation can also drive a milling machine. This allows us to shape a block of hard foam into a 3-dimensional model of the face. This model, together with detailed still photographs of the original skull, allows a sculptor to recreate the face with life, expression and colour. The sculptor can also add the features that do not remain on the skull and cannot , therefore, be recreated by the computer. Features such as the shape of the nose and ears or the colour of the eyes and hair can, as with the murder victims , be predicted with some accuracy.

CAMBRIDGE CONFERENCE by Pauline Spence At the end of the conference at York last year we all felt that it would be difficult to follow such a successful weekend. However John Adams, with Gwil and Eis Owen in Cambridge, organised a conference that equalled or surpassed last year's and we had a very enjoyable time.

We can now, for the first time in a thousand years, come face to face with an inhabitant of Viking-age York. Over the next few months, more of the figures in the Viking Centre will be replaced with recreations of the real inhabitants of Jorvik. At last the streets and alleys of this Viking-age city - found by archaeologists over ten years ago - will be populated by their original inhabitants.

Wl arrived in Cambridge on Thursday so that we could have some time to look 11uund the colleges and take photographs before the conference started.

Friday evening was registration in the medireval School of Pythagoras in College with cheese and wine followed by a film on cricket as played 111 th South Sea Islands where the MCC rules were greatly modified by local ·11stoms. Hence the teams ·were of an indeterminate number and ritual dances \ 1 • performed after each wicket had fallen. '1 John's

Saturday morning was devoted to talks in the Museum of Archreology ,111dAnthropology, starting with an account of the work carried out by the

Wl arrived in Cambridge on Thursday so that we could have some time to look 11uund the colleges and take photographs before the conference started.

Saturday morning was devoted to talks in the Museum of Archreology ,111dAnthropology, starting with an account of the work carried out by the

photography unit of the Museum of London given by Miss Cox. This was followed by a demonstration of Bowens lighting equipment by the staff of KJP. Dr Sandor van der Leeuw then showed the use of photography from satellites in the study of archreological sites. After lunch Dr. Anita Herle gave a talk on the Museum of Archreology and Anthropology followed by a tour of the museum.

The Art Photography Workshop at the Horniman'sMuseum John Spence ARPS

The conference dinner was held in the impressive Wordsworth room of St John's College and an excellent meal of courses, each from a different century , was followed by an amusing speech by Brian Tremaine FRPS.

Archceology and Heritage is concerned with understanding the life of the past. The remains of buildings and the artefacts used by the inhabitants are often the main evidence used to reconstruct the lifestyle of both primitive societies and civilisations.

Sunday morning was a guided tour round Cambridge. This was comprehensive but left little time for photographs. After lunch Mr.Martin Gienke reviewed the current trends in video and Mr. Chris Hurst talked about his work with old paintings to find evidence of overpainting to repair or alter the original work. The afternoon finished with a talk by Professor Renfrew, Master of Jesus College, on the meaning of Heritage. The conference closed with tea in Emmanuel College followed by a tour of some of the rooms.

Most towns have a museum, often with photographic facilities or a room which could be used as a studio, where museum exhibits could be made available to interested photographers.

We stayed in Cambridge until the Tuesday for more photographs and a visit to the Fitzwilliam museum. Once again the Archreology and Heritage Group have organised a highly successful and very enjoyable conference and our thanks must go to all the people who helped to run it.

A pioneering example of cooperation between museum and local photographers is provided by the Horniman Museum in Forest Hill, I ondon, where for the past 14 years an Art Photography Workshop has I> n run as part of an Adult Education Programme. The workshop is â&#x20AC;˘ upervised by Bernard Brandham, the Museum's Exhibition Manager. tudio and darkroom facilities are available with full lighting equipment. Art facts are provided from the museum's collection and these range lrorn Palceolithic tools to twentieth century ethnic carvings and masks. The students must have a basic knowledge of photography and d.trkroom techniques and provide their own cameras and films. The ourser is informal with each member free to follow his/her own artistic 1 r ferences, which range from 'pure record' to 'near abstract' lr 1t rpretation of the subjects. The Horniman Museum specialises in llmic subjects and has a fine collection of musical instruments.

I came across the workshop by chance, when I picked up a leaflet visit to the museum. I have always been interested in archceology

The Art Photography Workshop at the Horniman'sMuseum John Spence ARPS

Most towns have a museum, often with photographic facilities or a room which could be used as a studio, where museum exhibits could be made available to interested photographers.

I came across the workshop by chance, when I picked up a leaflet visit to the museum. I have always been interested in archceology

32 and heritage as well as photography and I decided to enrol for the year. This was the start of a 12 years' association with the workshop and museum. Incidentally this also led to my joining the Royal Photographic Society, becoming the secretary of the ArchcBologyand Heritage Group and organising the group exhibitions at the museum.

I soon found that the class was very friendly and the discussions between tutor and members were of equal value to the practical work. One of the advantages of being and amateur photographer is that there are no constraints on pictures produced and all creative approaches can be explored. My interpretation depended both on the nature of the artefacts provided and on my prevailing mood. A delicately detailed subject such as a bronze Hindu deity would call for a plain background and a single light with a white card reflector to lighten the shadows. Monochrome would probably be used. However, dramatic effects could be obtained in colour with a main red light and blue or green in the shadows. With plain objects such as iron tools a more elaborate setting could be used, such as part of a shed window or small logs. With a brass palm tree from West Africa one student used a hibernating locust to add interest. The year's work came to its climax at Whitsun with a print exhibition in the museum.

The success of the workshop as shown by the large proportion of members who attended for several years and by the number of Royal Photographic Society distinctions obtained. Several Licentiate and Associate grades have been awarded with panels of prints from the workshop.

The Royal Photographic Society of Great Britain

Archreology and Heritage Group

Heritage Photogra:phy Spring 1996 Issue 3

Designed and produced by Alex Simmons

C,101111

II lo â&#x20AC;¢c:oddiu-ds'- Lutycns &Jekyll House in Surrey

ISSN 0958-0565

Heritage Photography

Articles inside

Cambridge Conference

From the Chairman

Digging up the Holy Land

Reflections on Photographing Church Architecture in France

Facing the Past

The Art Photography Workshop at the Horniman's Museum