The Proof SUMMER 1987

The Royal Photographic Society of Great Britain

SUMMER

post free to registered subscribers

DEDICATED

87 TO THE PROMOTION OF GOOD PHOTOGRAPHY

THE ANTIQUITIES AND t-ERIT AGE OF Tt-£ EARTH

"IN DARKES T COB' HAMAF RIC A"

OF

2.

CONTENTS

PAGE COVER

Sir George POLLOCK Hon fellow & J. CHINN "IN DARKEST COBHAM'AfRICA"

2b

"fLING fLONG WRONG" -

J

"EDITORIAL '87"

4

"IN DARKEST COBHAM'AfRICA"

5 - 9

"GLASGOW - AN ARCHITECTURAL TREASURE HOUSE" by D. SLOAN

10/22

"CAMPSITES I HAVE KNOWN" by

11 - 12/23

"GROUP WORKSHOP '87 - BRITISH MUSEUM"

1J .:. 14

"SKELETONS GALORE" by E HOULDER LRPS

15/22

"TO DATE fOURTY GRAVES" by R. ALEXANDER

16 .- 17

"THE DIG AT STAffORD CASTLE'' by G. SITTIG ARPS

18

"LOOKING AHEAD" by Dr M.R. APTED

19 - 21

"CIVIL ENGINEERINGIN WALES" Exhibition

by

with apologies

VICTOR continued

'RIKKI'

by O.M. GIBBS LRPS

24/26

"READERS LETTERS"

25

"LETTERS TO AND fROM THE EDITOR"

26 - 27

"A & H.GROUP MINUTES fROM YESTERYEAR"

28

"THE DAVID CHARLES SUN DIRECTION INDICATOR" by T.E. GREY

29

"THE RPS GETS THE BIRD" - with apologies to Amateur Photographer magazine

JO

"GO fOR A DISTINCTION - 2"

31

"THE §1!¥:1:CRYSTAL PALACE GROUP CONfERENCE" by VICTOR

COVER

PROGRAMME '87

FLING

by J. BROWN ARPS

by JIM BROWN ARPS

- FLONG

WRONG

Dear Sir - Herbert Smart is wrong to suggest that the Batchelor Mill at Little Chart was founded to make f!ongs for stereo production in 1940 (PW November 5) I have only been able to check its history back as far as the first Excise General List of 1816, when it was issued with Excise Number 35 in the name of Edward Pine.

Many people would consider it chief claim to fame was that in the late 19th century under the ownership of Joseph Batchelor' it made the paper for William Morr.is. It seems that Morris himself designed s·ome of the mill's watermarks, including that used in the Kelmscott 'Chaucer' for which the paper was made at Little Chart.

with apologies

When the mill ceased making fine pa -by hand the rights in the name passe Barcham Green, which still makes paper : hand at its Hayle Mill at Maidstone.

During the l 970's the mill had 90% of market and was jointly owned by Bea _-brook Newpapers and the Wood F. Corporation of Hoosick Falls, New Y Its Chairman, Calvin founding member of the Ephemera Soc. here, and on his visits to Little Char: to watch the waste paper bei through the bearers on the off-cha spotting some interesting item of ephemera.

EDITORIAL

Members of, the A &: H Group were fortunate in having in the April "Special Issuue" of the Journal, an entire magazine devoted to articles from our members. ~f you did'nt see a particular article that interested you, YOU know whom to blame for I_feel certain ~hat Editor Reggie Maso~ published everything that was submitted by our members.

Whilst a gr~at many members are quite content to sift through the not inconsiderable variety of offerings in "PROOF", it only takes ONE COMPLAINT at the paucity of articles - generally in the specialised subject of "FIELD ARCHEOLOGY" for the words "COMPLAINTS HAVE BEEN RECEIVED" to creat ripples that make themselves felt quite disproportionately.

T~e. net effect has in a way been benef1c1al to those whose interest is dominated by "THE DIG".

For this issue of "~ROOF" _seems almost top-heavy with a single subject.

We aim to please.

While many A &: H group members will be interested in this esoteric subject, and even in the details of a small and remote "DIG", of more interest still would be detailed information on how to obtain a good_ . photographic record and perhaps deta1hng methods of achieving work up to a good DISTINCTION standard.

'17

3.

I wonder how many members appreciate that Groups have to be run by an elected Committee who (and for this YOUR voting paper is needed) put in hours of work just to make sure even the most ordinary things happen.

This they do very much alone and unaided by R P S headquarters, except for payment of half the postage on Newsletter and provision of the address labels themselves.

Everything else in the name of the A &:H Group is by courtesy of one or other members of the Committee.

Funding for EVERYTHING we do has to come from the Group subscriptions, from which 1596 VAT is deducted before it is passed on to our Hon Treasurer.

The balance of £2,98 after VAT permits reasonable communication with every single member, even those on the other side of the world, but not often and certainly NOT to the standard of the R p S Journal.

The reason that some R P S Groups can publish professionally typeset and printed communications must be that private funding is available to their Committee or, as can happen, a Group member is in the PRINTING industry, Those Groups with a thousand or more members are also fortunate in that their orders are l_arge enough to attract •special rates, drastically ,re~ucing unit costs.

No, we are not envlous ~nd 'we are PROUD. If, however, our circumstances dictate that we . wear a ragged shirt, you may be dammed sure it's a clean shirt!

VICTOR

...

IN

DARKEST

COB'HAMFRXKA:-

"Our two intrepid explorers standing at the entrance to the Great Surrey Gypsum Mine, whose mysterious galleries they are about to enter in an attemp to penetrate their furthest recesses."

Translation: Mr Jack Chinn and Sir George Pollock, Group Member and Hon _Fellow, standing in the main chamber of the Grotto at Painshill Park, Cobham, ·Surrey.

The roof of this chamber collapsed many years ago, and the archeological clearing operation involved the collection and remqval of over a ton of gypsum crystals, the mineral used to create the glittering effect inside.

Mr Chinn and Sir George are making an audio-visual programme on 'Archeology at Painshill Park' for schools, colleges and anyone else interested in learning about the work of the Park Trust during the past 3-4 years.

This work is an essential preliminary to . ·the restoration of the .buildings in this· exquisite 18th Century landscaped garden.

Mr Jack Chinn photographing the remaining gallery in the Grotto at Painshill Park which is at present undergoing restoration by the Painshill Park Trust.

The Park can be visited by parties by prior arrangement with the Trust: contact the Painshill Park Trust, Sandown House, l High Street, ESHER, Surrey.

GLASGOWs

AN

ARCHITECTURAL

By

DA YID

Ask anyone to name those towns and cities in Britain today which represent the most important repositories of our architectural heritage and the likes of Bath, York, Edinburgh and London will spring to mind.

But surely not Glasgow?

However, within months of moving to Glasgow where I was based for three years from 1980, I was to appreciate just why the late Sir John Betjeman saw fit to declare that Glasgow had the finest Victorian architecture to be found anywhere in the world.

TREASURE

HOUSE

5.

SLOAN

bring in the way of monotonous modern monoliths errected in such dismal abundance during the sixties and seventies.

Indeed the massive, almost blank fenestration of large areas of the Glasgow School of Art and the twin stair towers which dominate the front of his Scotland Street School bear a disturbing similarity to that which adorns, or should I say blankets the "glass stumps" of the post-war period of reconstruction and development which are .. so righly reviled by Prince Charles. ·.·

Despite the wholesale destruction of much of the inner city which was wrought by town planners and motorway builders alike during the sixties and seventies, Glas~ow is still endowed with a rich and varied legacy of buildings from the last century.

The exuberance and enormity of Glasgow's rich architectural inheritance is especially evident in the opulent 19th Century villa suburbs such as Kenvinside and Pollockshields West - not to mention the city centre which _is liberally studded with some of the more spectacular creations of the architects who dominated the Glasgow scene in the last decade of the last century and the first decade of this one.

Indeed, the Glasgow scene at the turn of the century was graced by a veritable galaxy of architectural starts, of which my personal favouraites are: Sir John James Burnett, John A Campbell, J. Gaff Gillespie, James Salomon II, Willliam Seiper and last but not least, the partnership of Donald Bruce and Edward May. One especially famous name who made an indelible impression in sandstone and mortar on the city during this particular golden era was that of Charles Rennie Macintosh (1868-1-928). For all that he is the one Glasgow architect who, above all others, is likely to be mentioned from Land's End to John O'Groats by anyone who is even remotely interested in arch·tecture.

I must however confess that he is not one of my personal favourites and strikes me more as a pioneer of the Modern Movement and all that was to eventually

Having said that, there is one elevation and errection of his which is a particular favourite of mine; namely a purpose-btµlt structure which he designed for the "Glasgow Herald" newspaper.

This was completed in 1895 and represented his first major contribution to the architecture of the city.

Although it was constructed in partnership with one John Keppie of the Honeyman and Keppie practice and Keppie was formally in charge, all the preliminary sketches were Mackintosh's.

6.

GLASGOW:

AN

ARCHITECTURAL

TREASURE

.HOl,JSE

This building, his first major work, marked the commencement of the fourteen year period which saw Mackintiosh at the peak of his creative powers. It was during this hectic phase of his life that the two most critically acclaimed designs were translated into reality in the form of the Glasgow School of Art and the Scotland Street School.

His involvement in the building of the School of Art came about when the Governors of the School announced a competition for a new building in 1896, Having duly won the contest, Mackintosh · executed the construction of the School complex in two phases; the east wing came first in 1899, but due to financial constraints the School was not able to commission the errection of the west wing for another eight years, with the actual completion taking place two years later The symmetry of the facade to both the east and west of the main entrance clearly shows that in the eight year hiatus - with all that implied in terms of rapidly changing architectural fashion - he was still adhering to the original overall ground plan.

What I like about this particular pile was the ever-so-subtle use of shallow relief, especially the minor segmental at pediments which are so deftly and d~li~ately reminiscent of the fuller blooded Baronial buildings of an earlier age.

For an additional and slightly less restrained effect, two triangularly pointed 'Arts & Crafts' gables - a la La Voysey add to the building's overall attractiveness, However, at complete variance to all this. cleverly restrained subtelty is a gigantic water tower which errupts 150 feet fron the corner of the building.

In keeping with the 'Arts & Craft' idiom of the day this tower is capped with an ogival roof.

What is particularly interesting is that of one looks immediately beneath the overhand of this roof one finds that for reasons which defy all architectural and aesthetic logic the top floor of the tower is constructed of red brick - in sharp contrast to the red sandstone which was used for the rest of the tower and indeed, for the rest of the facade.

However, the east facing elevation, with its pronounced 'Arts &. Crafts' overtones, is is in sharp contrast to the forward-looking west side of the building.

One can only assume that he kept to his original competition winning entry, deciding to do the logical thing and leave his more modernistic designs for the later stages of the School's reconstruction.

Indeed, it is the eastern facade which ls so highly acclaimed by architectural historians for its three twenty six foot high oriel windows, wheras contemporary Glasgow critics - rightly in my opinion compared its functionalism unfavourably with the floridity of the creations of Burnet et al.

It is precisely because of his overt tendency toward Modernism that one cannot really regard him as the ultimate Art Nouveau architect Indeed, the actual external architecture of his buildings is either distinctly Modern Movement (the Willow Tea Rooms in Sauchiehall Street being another example of this aspect of his work) or decidedly

GLASGOW:

AN

ARCHITECTURAL

Arts &: Crafts as illustrated by his occasional incursions into church building, with the Queen's Cross Church to the north of the city being a particular example.

In the case of Hill House, a large villa which he constructed in nearby Helensburgh, he actually plumped for a synthesis of Baronial and Arts &: Crafts when settling for a final choice of design.

Despite such a relatively conventional external treatment it is what he did within that revealed the true extent of his flair as a designer.

Hi11 House, which was errected in 1902, was a showpiece for his penchant for total design which took in everything right down to the subtly Art Nouveau floral motifs with which he embellished the wardrobes · n the master bedroom.

Another interior which he tackled as a otal design concept was that of the Willow Tea Rooms (1904) in Sauchiehall Street which, unlike Hill House, is not .:otally preseved for posterity.

Enough, !'\owever, remains of the interior to give '11ore than a hint of what the tea rooms -nust have looked like in their full glory.

Even the street front of the building is '11issing its original ground floor level, : eluding the florid Art Nouveau swing oors which once graced its entrance.

However, with a few exceptions, including this door, his 'Modern Movement' exteriors - along with his almost entirely 'modern' ·nteriors complete with matching furniture and fittings - tended to sport only the '110St subtly refined Art Nouveau embell·shments.

These would usually be floral in nature; doubtless a direct reference to is youthful passion for painting watercolours of flowers.

This dabbling in Art Nouveau is in contrast to the more full-blooded works of the likes of Gaudi and Guimard on the continent.

This was often just too sinuously curved and outlandishly and outrageously decorative to be anything as remotely straightlines and geometrical as Mackintosh at his most modernist.

TREASURE

HOUSE

7.

In summing up one can describe Mackintosh as an architect with a traditionalist heart and a modernist with his head most definitely ruling his heart when it came to the interior work which he carried out on his creations.

He most certainly was not the extravagent exponent of art Nouveau that he is sometimes made out to be.

Whilst on the subject ·of Art Nouveau in whatever guise it takes, it is perhaps appropriate to exa.mine the career of James Salmon II whose undoubted masterpiece is his 1902 office building in the heart of the city at 144 St. Vincent Street.

Although the facade is fairly restrained by continental standards, there is enough in the way of subtly sinuous and curved decoration to suggest that Salmon's designs were influenced by contemporary European practice.

The curved lanternlike oriel windows above each of the entrances are decidedly Art Nouveau, whilst the segmental pediment adornding the first floor, although more subtle, is in · the same vein •

8.

GLASG01h

AN

ARCHITECTURAL

TREASURE

HOUSE

Despite the ornate nature of some of the S<tulputre, the overall treatment of the facade is highly restrained.

This is particularly exemplifed by the fact that the four bay windows, which are symmetrically arranged in pairs at each end of the front elevation and which run from the first to the fourth floor, are embellished with nothing more than segmental p~diments carved in the shallowest of relief at first floor level.

These protruding ·bays are in fact all part of a cleverly symmetrical composition, with the gl'.ound floor comprising nine recurring. arches, of which eight are infilled with shop fronts, while the middle one comprises the main entrance to the building.

The Art Nouveau theme recurs in the gentle curvature· of the two balconies fronting the sixth floor, and in the odd and unusual shape _of the dormer windown on top.

In its original state this building sported a massive finial above, thus earning it the nickname of "The Hatrack".

So much for the fine details of the facade.

It should however be said that the overall frontage of this building was very cleverly worked, Ten stories all told, including the basement, on a single Georgian house plot a mere 29 feet 6 inches wide and fronted . to such an extent by glass that the stonework is whittled away to virtually nothing.

There is however no need to throw one's hands into the air and cry out "Modern monolith!".

Far from it.

The overall compositional arrangement of the facade is based in three interlocked bays with the result that, save for the attic and the floor below, all of the windows are either recessed or protruding; thus obviating the fenestration monotony one would normally associate with such a highly glazed frontage as this.

Although "The Hatrack" is undoubtedly his best building, this is just one of ~everal with which he graced the city during a highly productive period from 1894 to 1905 {often in collaboration with his partner J, Gaff Gillespie).

His other nominally solo creation of note is the Mercantile Chambers at 53 Bothwell Street, which went up in 1898, Although he undoubtedly worked without the assistance of Gillespie when it came to the overall design and layout of the building, this essentially low-key but modern interpretation of the Germanic Gabled idiom would not have been bought to life without some stunning sculpture by J. Derwent Wood of London and James Youn of Glasgow. Of particular note is the pin sandstone depiction of "Mercury in hi Niche" which is located immediately abov the main entrance.

Almost equally stunning are the fou gigantic caryatids which embellish th facade at second floor level.

Althoug this female statuary is undoubtedly mo umental it is not purely ornamental.

Th pink ladies are arranged in pairs to ser as elaborate brackets to support the tv. small balconies on the floor above.

GLASGOW:

AN

ARCHITECTURAL

Like the building referred to earlier, these arches are particuarly cleverly worked, with the four levels split into three distinct segments.

The flanking bay window areas are on either side of a flatfronted central portion which is virtually unadorned save for Mercury and his four female friends which so cleverly break up the vrtual blankness of_this middle third of the composition.

This division into three distinct segments is continued into the upper floors, and each set of twin bay windows leads up to the subtly Baroque upper floors which are topped off by steeply pitched gables, continuing the symmetrical effect, whilst the plainly treated higher levels of the central section capped by nothing more than a small dome and flanking dormer windows only serve to further emphasise the symmetry of the composition.

In the next issue I shall focus on the work of J, Gaff Gillespie, including work done in collaboration with Salmon. I shall also be aking a look at just some of the many t·ne buildings erected by the prolific partnership of Sir John James Burnet and John A, Campbell.

DAVID SLOAN

TR~ASURE

HOUSE

9.

10.

CAMPSXTES

by

X

RXKKJ:

In thirty years of archeology, more than twenty with a camera of some ·kind, I have lived in all sorts of places.

HAVE

KNOWN

On one occasion we held and open day for the locals, and an old farm labourer lost no time regaling us with local history.

"Did tha know, " he said "that Great Danes came up that theer river?" !!

Our director asked politely of they stuffed their Jong ears inside the horns on their helmets, but this witticism was totally lost on our local historian.

A few years later, the dig was on a Roman road on the outskirts of Leeds.

The spot was again idyllic, with trees and a small stream.

H Q was a caravan, with the diggers in tents around it.

Each morning we filled the water-containers from the stream, and during tea breaks filled the_ I recall one site (in the earlu seventies) One which, on arrival presented the impression teapots from the same source. of a Somme battlefield.

Mud was thickly evening after work a couple of us walked plastered all over and some of the un- upstream to try and find the source of this Imagine our horror when we fortunate diggers lost shoes WITHOUT lovely beck.

REALISING IT! There was one tap, but it found it flowed through a farm cess-pit! was at the wrong side of the mud, as was Amazingly nobody came to any harm from drinking that water, but the idyllic spot is the ELSAN. Luckily we were forewarned, and decamped to an excellent field behind now, of course, covered with houses. the local pub, with clean toilets, fresh Quite the nicest camp-site was during the water and the public bar within easy first couple of seasons of the last SUTTON reach!

HOO dig. This would be 1967 /68 and the Another site we dug about the same time director and his wife were staying at the was in idyllic surroundings, situated among Wood Hall Hotel, Shottisham. pine trees on the edge of a pretty river.

We lesser mortals were camping in the As I remember, the diggers were a walled orchard behind the hotel, and all particularly sociable lot, and on at least around us the apples and pears were one occasion we all clubbed together to beginning to ripen, but the best part was yet to be revealed.

In the centre of the buy dozens of frozen chickens, sausages etc. from the local supermarket, and the orchard there was a large marquee, and lot were barbecued on an old wrought iron 1 each evening dinner was served straight from the hotel kitchens!

Talk about a gate over a wood fire.

Gourmet Excavation!

On the same site I awoke one morening to Most evenings we walked into Shottisham the sound of rustling in our waste-box which was just inside the awning of the to the SORREL HORSE, where the Landlord and his wife made us most tent.

Peering out, I saw a little creature There was a Juke-Box in the straight off the label of a BABYCHAM welcome. bottle with its nose in the box.

The back room, but for some reason it would following morning my wife, hearing a only play "The Carnival is Over". To this similar sound, carefully edged to the day, that tune immediately brings back memories of SUTTON HOO as do the calls entrance in the hope of seeing the bambi.

This time it was a bunch of rats and she of wood-pidgeons which were common in the orchard. woke me with a piercing scream!

During the very early sixties, we dug a We had several "Do's" in the SORREL HORSE. Mrs Markham baked all sorts of Romano-British small far.ming settlement close to where Drax power station now goodies, and the diggers, nearly a hundrec strong one year, sat around drinking. stands.

Out there, the lcmd is very flat and it is no unusual occourence to see a eating and singing. sea-going ship apparently moving across the fields.

Looking back, I now wish I had taken a picture of each campsite at the time.

Of course, in those days, the impressions were so vivid that it seemed as if they would · stay in my memory forever.

Unfortunately that has not been the case, so I decided to set down some of the more interesting and amusing memories before they fade away.

BRITISH

MUSEUM

11.

VISIT

ABOVE: Brian Tremain FRPS, Chief Photographer at the British Museum, pl~tured here by John Walden In the egatlve/transparency archive during the A&H Group Workshop on Saturday 14th March 1987.

;, VE:

Puzzle picture

taken during the Workshop at the British

Museum.

fum

page to find the answer.

12.

ABOVE -

BRITISH

IIUSEUII

VISIT

Skull of Homo Saplens shot at British Museum - March 1987 - JW

BELOW: Members waiting for the "PERIPHERY CAMERA to complete Its rotation during Brian's demonstration.

Photo

by G. Chapman LRPS on 400150 colour fi Im.

LEfT: Answer to Puzzle. leica camera placed on the turntable of the "PERIPHERY CAMERA".

SKELETONS

GALORE!

13.

by Brian Houlder During the past eighteen months or so I have become sick and tired of excavating and photographing skeletons.

It all began in September 1985 when our local archeological society, in conjunction with the County Archeological Service, began a weekend dig close to the parish church in Pontefract, Yorks.

At first all went well; post-medieval and Civil war features were dug and recorded, then medieval houses and workshops.

Beneath these were found human remains, aligned east-west in the Christian manner.

As we were only twenty yards from the churchyard, it seemed logical to supposed that we wer'e looking at a long-abandoned portion of the church burial grounds.

The area was ·scheduled for re-development, and as it seemed likely that there would be medieval levels here, close to both church and castle, a dig was arranged.

Direction was by Tony Wilmott, a taciturn professional of vast experience, the local society provided the diggers, and in my folly I volunteered to do the photography.

Many of the skeletons were badly decomposed, one having only a set of tooth enamel remaining, and he/she was promptly labelled THE CHESHIRE CAT COFFIN,

14.

SKELETONS GALORE! -

By this time our deadline for quitting the site was fast approaching, and it was decided to work over Christmas, having only Christmas Day off!

So, whilst the rest of the nation spent Yule in a happy haze of wellbeing, a small band of dedicated archeologists laboured away to peel back the pages _of the past!

Actually we !lad to chip away the said pages, as by now the ground was frozen .hard. Fortified with flasks of turkey soup and other combestibles, we chipped away while cursing the weather.

The few passers-by must have though we were crazy, but probably secretly envied us.

As each grave was cleaned, I photographed it from the tripid using HP5 and RDP 100.

We finished on New Year's Day and, apart from the processing, my job appeared to be over.

Towards the end of January, the workmen doing a road re-alignment close to the site found a lot more skeletons.

Our team was re-constituted (sounds like Campbell's Soup!) and the cemetry, as it turned out to be, was dug. · The full story was told in my articles in the PHOTOGRAPHIC JOURNAL in May 1986. This time the mud was so thick that any tripod work was impossible, and I had to rely on the good nature of HP5 and 3M 400.

The discovery of a Saxon church ended the threat to the site, and the Unit took over and completed the excavations.

As I write, the foundatiuons of the Saxon chl!rch are being conserved, and Cl4 dates now available for two of the skeletons give dates of AD 920 :1: 50 and AD 690 :1:50.Our church and its associated population are amongs · the earliest Christian sites in Yorkshire.

The professional dig finished around Spring Bank Holiday (correctly speaking, Whitsuntide), and most of us thought our contact with skeletons on the site was ended.

BUT, one Saturday morning halfway through November last, I received a telephone call to the effect than another ancient ·cemetry had been discovered.

As it was a Saturday, it was up to me as Excavation Director of our local Society, to arrange a dig.

The Unit helped with volunteer diggers and tools, but everything else was done by we amateurs. having said this, some of the said amateurs have been excavating skeletons for thirty years and more, whilst one was an ex-professional archeologist.

A Home Office Licence is required to excavate human remains, but luckily the proximity of the new site to the old one allowed us to utilise the previous licence • During one Sunday afternoon, our small team cleaned, recorded and lifted sixteen deposits of human bones, and the site is illustrated in many of the· pictures in my first article in the April 1987 issue of THE PHOTOGRAPHIC JOURNAL. Site-code BOX 86.

Early in February, having just delivered a short paper on the excavations to the C BA (4) Symposium in leeds, I returned home to a 'phone message that more skeletons had been found. This was becoming more than a joke!

The following morning, two of us investigated, finding that workmen with a JCB had skimmed the edge of a cliff near the previous site and cut into seven or eight graves.

Clearly visible in the section were the intrusions with two femurs sticking out of each.

Bob and I carefully photographed the section, bagged the skeletons and returned home to write a report.

As I write this, I am expecting another phone call to go out and photograph yet more skeletons!

A

MOVING

STORY

AUTl-0~ and photographer Roger Darker tells us he is on the move this month to the sunnier climes of Malaga. Spain.

Roger has built himself a villa complete with darkroom and studio, and he suggests fellow photographers doing projects in the area should contact him at La Villa Rosetta, El Curate, Campo de Camara, Almogia, Spain.

-To

DATE

40

Dear VictQr, The wonderful North Downs is where I, in 1946, decided I would like to live.

The area was then sparsely populated, being largely farmland, open downland, and of course the Epsom Downs Race Course.

My wife and I with our two young children soon made friends, two of' whom were armers who worked large fields nearby.

Housing development soon began apace, and the farmlands gradually made way for houses.

Some of the farmland was not immediately developed, but had no doubt already been earmarked for housing. Meanwhile it had returned to common land in appearance, a sort of no-man's land.

I had meanwhile become more and more interested in photography as a hobby, and rather inclined to the 'before and after' record variety.

I had also joined the local Camera Club, and this year, 1986, we at the 'Club' are running a project 'Epsom Record'.

GRAVES

=

1.5.

While prowling around for · suitable material for this project, I came upon another new housing development at Tadworth.

The site-work appeared to have been started recently, and seemed a suitable subject for submission to our 'project'.

I met the builder's foreman and after a few moment's discussion he informed me that whilst preparing the site they had found some remains in the form of human bones.

Would I like to see them on the site, which by now was being visited by the Curator of the local Museum.

I introduced myself as a member of !the R P S and the Epsom Camera Club find humbly and anxiously offered myself! as perhaps being of assistance ,as a photographer.

contz- p21

16.

DIGGERS

AT

INSIDE

STAFFORD

THE

KEEP

CASTLE

DERELICT

I

•

STAIR

WELL

17.

LOOKING

AHEAD

using their own photographic and printing Conscientious readers of the Archeological Journal will know that our group was foun< resources and therefore lacks the. polish of a fully professional publication. in the mid 70's with appropriate ceremon'Proof' is certainly not (and was never inial and a characteristically entertaining tended to be) a vehicle for the publication speech from Sir Mortimer Wheeler, surely the most renowed archeologist of the 20th of reports of excavations or similarly scholarly articles.

It does however century. provide a forum which could be used for A decade later we survive as the Archeoinformal discussion of the methods used in logical and Heritage Group, with about 200 . site photography and the like. members, a full programme of events, an annual conference, a regular series of But the Editor can· only print what he reoutings to a wide variety of places of ceives, and this is normally the illustrated interest and a Christmas party, ali duly accounts of the Group's activities provided by members of the Committee combined recor~ed in "Proof", the Group's Newsletter. with items of interest the Editor himself However, in recent months the Group has collects from other publications. been criticised for failing to matcti up with We must ther.efore admit we have become the ideals expressed at the inaugural largely a Heritage rather than an Archeolmeeting, or to achieve the standards ogical Group, and that the numer of Group worthy of a learned Society.

These criticisms are, of course, of the Group as a. members who take any active part in our whole, not just of the Group Committee· or affairs is very small. So where can and do of the Editor of Proof, since the Comm- we go from here? ittee's role is to provide the services the In the first instance the Committee has Group members require, and likewise the agreed to spend more on the production of Editor of 'Proof' can only print what 'Proof', and the quality of reproduction material he receives. should improve accordingly.

But that on Are these criticisms justified, and if so, its own is not enough. what are we going to do about it?

Write to the Editor about your archeological interests and experiences, no matter It is firstly worth noting that the what they may be.

Surprisingly, if they Chairman at the inaugural meeting took interest you they will also interest other care to define archeology in the broadest like-minded people.

Why not come along terms.

He stated that we had to be clear to one of our meetings where you will find that "archeological photography" covered that the Group provides precisely what the the whole range of antiquities, not only Vice-President of the RP WS referred to at excavations, and included the photography the inaugural meeting:of coins, the photography of museums, and the photography of ancient monuments as "An opportunity for people with photogthey stand i_n the fields. raphic interests to gather together for meetings; conversations and exchanges of Our recent programme, with visits to thoughts to build up and improve the places as diverse as Westminster Abbey, standards of archeological photography".

Windsor Castle, the home of Charles Darwin and the Photographic Department However, the amount of attention devoted of the British Museum, fits this pattern to excavations and related subjects will well - with one exception.

We have not only increase of field archeologists within visited a single excavation. the Group decide to play a more active If this happens then other excavThe reason for this is quite simple.

When role. ators may also decide to join the Group visits to excavations have been arranged, and this could lead to something really and there have been a number in recent worthwhile. years, few if any of the Group members have turned up. If we are honest, we must Never forget that the photographic recor also admit that the number of Group of an excavation is the only (nearly) obmembers who turn up at any of our jective record of something that is usual!) meetings is small, usually comprising the to be destroyed, so that any improvemen: the Committee and "1-ie'- families. in the quality of that record is something to be welcomed.

In a sense the same th) g can be said of 'Proof'.

This is proi"•Jiced at cost by The achievement of such an improvemen· members of the Group 1n their own time is surely an· objective worthy of an learned Society.

Dr M.R. Apted

"CIVIL

ENGINEERING

IN

WALES"

EXHIBITION

19.

O.M. Gibbs LRPS The idea for this exhibition arose from a discussion I had some four years ago with Richard Keen, an Assistant Keeper at the Museum, who recentl y left to join the National Trust.

Richard has an extensive knowledge of Telford built notable canal aqueducts and Industrial Archeology as well as a keen improved the Holyhead road, while Robert ·nterest in the lives of Welsh people Stephenson designed the Chester-Holyhead :nvolved in the Industrial Revolution.

I Railway.

The Welsh themselves were had retired somewhat early from a career more prominent on the contracting side. ·n civil entineering and had been, for We strove hard to present the exhibition in several years, representative for South one historical sequence, but concluded ales in the Institution of Civil Engineer's eventually that such a wide variety of Panel for Historical Engineering works, out, particularly in whose task it is to record notable works of work was carried recent years, that adopting this approach -he past, and sometimes even the present. would only lead to confusion.

We e both felt that it was difficult to therefore divided the exhibition into four etermine a date on which to commence a broad categories: Transport: Power and istorical review of the subject, although it Energy: Public Health and Building. · s generally agreed that the term "Civil The material for the exhibition was Engineer" came into use during the 18th collected almost entirely by the Museum, Century, and that John Smeaton was the first in this country to call himself thus. my role being confined to suggesting possible sources; for the most part Conevertheless the skills and techniques of sulting Engineers, Contractors and Public ivil engineering clearly go back to Authorities. earliest times. The Pyramids, and he many Roman aqueducts, harbours and roads all , In the later stages we had a great deal of assistance from Mr Stan Salt, who required accurate surveying, pre-planning assembled much of the Public Health and the assembly of large labour forces material; Mr Melfyn Lewis, who prepared and material resources to overcome the display on weld testing at Port Talbot atural obstacles.

Steelworks and from Dr Tom Shaw of the t is sometimes suggested that the term Severn Tidial Power Group who prepared "civil" is used in the sense of being the the display on that topic. opposite to "military", and no doubt there I am not able to give a full list of the is some truth in this. But I suspect that it sources, although the table of acknowmay also have been related to the ledgements will give a fair indication.

I increasing extent to which those with the appropriate skills found themselves comm- believe that a number of the historical photograps were provided by Gwynedd issioned by civilians, either private Record Office. individuals or corporate bodies, and that Although it could be argued that some of this helped give rise to the term. the works shown are not civil engineering In any event, many of the early civil as such, I feel that photographs depicting engineers were millwrights, accustomed to "the way we were" attract a good deal of harnessing the power of wind and water.

Others, such .as Thomas Telford, were public attention and add greatly to the interest of the exhibition. skilled stonemasons, turning to architecture before becoming civil engineers.

Gwynedd Record Office also loaned plans deposited prior to the Ffestiniog Railway Most of the great early Victorian and Telford's reconstruction of the Holyengineers carried out work in Wales. head Road, now the A5.

Brunel engineered the standard gauge Taff Vale Railway in 1841 and the broad gauge South Wales Railway (now the main line), some ten years later, and docks at Briton Ferry.

"CIVIL ENGINEERINGIN WALES"

The Welsh ··office, Transport and Highways Division, produced a photographic _album showing works carried ou~ in the '3~s, in<;luding a number of Opening Ce~em~nies which are full of interest to the h1stor1an.

How the hat-making industry must have prospered in those days!

The framed engravings came from the Ironbridge Gorge Museum Trust _and are, I believe, from the Elton Collection.

The large oil painting, 'The Conference of Engineers at Britania Bridge', was loaned by the Institution of Civil Engineers and normally hangs in the entrance hall of the Institution off Parliament Square.

The copies of portraits of Smeaton and.

James Simpson, the sixth President, came from the same source.

The latter, a . Consulting Engineer, designed the first pumped water supply to Cardif and his steam beam pump, near the entrance door, is part of the Museum's permanent display.

This gave us an effective introduction to stories of cholera epidemics and the early days of public health engineering.

Glamorgan Record · Office and the South Glamorgan Library Service both produced newspaper and other extracts on this topic.

The models of Crumlin Viaduct and of the Melingriffiths Water Pump came from the Cathays Park headquarters of the museum, as I believe d.q the three photographs by John Dillwyn ~1~wellyn of the building of Brunel's bridge·· at Chepstow.

The puUy blocks and wrought iron links from the Menai suspension Bridge have apparently been stored on site since the bridge was built.

Most of the remainder of the matrerial has been loaned by various firms or public bodies.

It is common practice to photograph civil engineering works duri.ng construction, as photographs can contribute significantly to the establishment or refuting of claims for additional payment.

The quality varies widely, but there are some examples of first-class industrial photography, which firms have used both for advertising and to decorate their offices.

Finally I must pay tribute ·to the. Museum staff who worked exceptionally hard to have everything ready in -time for · the opening;· I must also thank the Curator, Dr J. Geraint Jenkins, for his friendly support.

20.

References: "Industrial Archeology of Wales" by D. Morgan Rees, first Curator of the WIMM, published by David &: Charles.

"Civil Engineering Heritag·~,. Wales & Western England" Thomas Telford Limited "A Glimpse of the. Past" Wales Tourist Board.

EXHIBITION POSTSCRIPT The term "Civil Engineer" is little more than 200 years old, but engineering skills have been practised for several thousand years.

Initially these efforts were devoted to building memorial structures--' such as pyramids, hill forts and castles.

In the mid-eighte_enth century the growing need for power and for better transport facilities led to a number of individuals establishing themselvses as civil engineers, able to advise potential clients, to design and executre large-scale works and promote them through Parliamentary and other means.

Many of these pioneers carried out work in Wales, and there has been no difficulty in showing examples of their activity, for much as endured to this day.

There are also illustrations by contemporary artists, indicating the degree of public interest aroused at the time.

In later years many other engineers, rather anonymously, have built the railways, roads, dams, power stations, docks, airfields and factories which have helped Wales to become a modern nation.

We still have examples of pioneering works today; the Dinorwic hydro-electric scheme, the Conway submerged tunnels, the Grangetown viaducts, and hopefully soon. the Severn barrage - all notable by international engineering standards.

On a more domestic level our ability to travel, to enjoy the amenities provided by electricity, gas and water supplies, the telephone and television, all depend on large-scale civil engineering.

Civil engineers therefore play an important part in a very large industry which undertakes work in all parts of the world.

=

CIVIL

ENGINEERING

IN

1JALES

All sorts of engineers work in the civil · Engineering is such a wide field that ~ ere are upwards of a dozen profess1ona field, from the University-trained -Chartinstitutions to cover such individual ered Engineer to the newest "tea-boy" on a activities as Mechanical, Electrical and small contract.

Skilled engineering Electronic, Chemical, and Mining ~n~inoperatives in various trades as well as eering etc. etc.

All perform similar highly experienced General Foremen m~ke functions for their members. a vital contribution to all construction work.

Technician Engineers and Engineering Technicians also have their own specialist Those with academic qualifications are institutions and sc:><:ieites. divided into Chartered Engineers, Technician Engineers· and Engineering TechnicWithin the last few years Government has ians.

Both South Wales University established the Engineering Coun~i~ ~hose Colleges, UWIST and the Polytechnic of function is to co-ordinate the activities of Wales, run degree courses, while the latter, the various institutions, to maintain a along with the Technical Colleges ~un register of qualified engineers ~nd to course for Technician Engineers and Enginpromote a realisation of the vital importeering Technicians.

All three g~ades ance of engineering to the economy of the require on-the-job training and experience country. before becoming fully qualified.

As well as a headquarters in Londo~ the The Institution of Civil Engineers, founded Engineering Council has 19 Regional in the 1820's, is the examining body ~n_d Organisations.

In South Wales the local learned society for all Chartered Civil "ECRO" promotes the "Openin~ Windows Engineers.

The Society's London headon Engineering" scheme, m ~hich yo':1n_g quarters are in George Street,. o~f and recently qualified engineers visit ·Parliament Square, and house the Society s schools to talk about the nature of their Library. work.

The library contains a collection of the ECRO also organises an annual lecture for books and papers of the first President, members of the public and of the eng· Thomas Telford, as well as paintings of his ineering profession and arranges an annual two finest engineering works, the Menai lecture in both Cardiff and Swansea for Suspension Bridge and the Pont-y-Scyllte school children.

Canal Aqueduct.

Several of the larger institutions have Qualified Civil Engineers have a wide careers advisers active locally, and most variety of occupations to chose from. will provide written information on re9uest Those with an academic bent may become regarding career prospects_ and educational members of the University teaching staff requirements for their speciality. or work in one of the research establishments.

1986 has been designated "Industry Year" with the intention of "Increasing underThose practically minded, and in search of standing of the role of industry and its travel and an open-air life will work for service to the Community".

Virtually all contractors on site, while many others our industry is based on the work of become consulting engineers, advising engineers, and it is now recognised that clients ranging from goverments to pri~ate our future depends on our being able to individuals, and designing a great variety produce goods and services ·which compete of works in every corner of the world. in all respects with those produced elsewhere throughout the world.

Civil Engineering earns the U.K. upwards of £500 million per year in foreign Considerable shortages of qualified and currency. trained engineers exist today in several branches of the profession and it is widely Many Civil Engineers are employed in the . acknowledged that too few of our cleverest various public services, some designing and young people, male and female> chose building works for central and local engineering as a profession. government, others doing research and, of Why not give it a thought? course, there are many in the Corps of Royal Engineers. · FIN O.M. Gibbs

22.

TO

•o GRAVES

DATE

...

,;_

-'

'· -~~

;: ):;.:

y~ .:..

~:s-'.

"·": ,'

·' ~ !

-.

.... '

~\· !•~-.

.. \,._,..

~. 's-,.-~ ..

.

.

CAMPSITES I HAVE KNOWN•

Looking back, it is often the evenings in some local hostelry which stand out in the memory, sometimes more so than the actual excavations!

My pictures of these times are regrettably few.

Now and then I take them out and wallow in nostalgia, putting a rosy glow on most occasions.

We still chuckle about the time our tent was pitched in the corner of a potato field in Northants. , One day the farmer sprayed the field to kill the tops and our tent was invaded by thousands of particularly longlegged spiders.

Though f~nny now, this incident nearly caused a divorce.

My excuse for having so few eveni pictures is that the size and wei~ht of t_ equipment then needed made 1t part1: ularly hampering to lug about, especial. the big wet-cell battery operated pac :which my electronic flash used in tho days.

There is no such excuse today, and I have already made a start recording tl 'sociable' side of local digs. Work furth_ afield will now have to wait till tchildren leave home.

If you are just getting into archologic=. photography, do not neglect to take so memory shots. More importantly, you w. be able to write a fully illustrated artic for "PROOF", which I have not been ab to do on this occasion.

-by Rikki

BRITISH

someof invitation

MUSEUM

the A&H Group members who attended of the Chief Photogrepher,Brien

TO

DATE

VISIT

the GROUPworkshop at the special Tremeine FRPS et The .'British Museum.

•o

GRAVES

cont. from p. 15

1 appeared to be most welcome in that role and for three days 'covered' the excavation of dozens, or so it seemed to me, of graves.

In addition to my photography I helped with other such menial tasks as stripping the top-soil-chalk to expose the outlines of the graves and treating the whole area preparatory to the more detailed and plan-of-site photography.

The skeletons were subsequently exhumed and I reverted to the task of photographing them as they became visible. I humbly submit some samples of the hundred or so photograhs, as yet unsorted.

I have been advised that I must declare my ownership of the copyright of all my photographs of this 'find', but would hope that the Archeology and Heritage Group and the R P S would graciously consider using copies of your chosing for publication or display and _I await your in_structions.

I enclose a few 'samples' and a copy of the local paper report. The site is believed to be Saxon.

Yours sincerely, Ron Alexander p.s. John Adams also became

involved.

24.

REAI)ERS

LETTERS

Dear Victor tiers "1.ews oear !,\r \-1.... r appeal tor me~t Journal.

Enclosed ;Y . of Offic nominations for the electi·on 1 note you l.n the curren years ers of the A&HG ,._,.\-1 GrOUP ed tor 2 Liv in roup. ha"e be 1on9 to attend 0 t the g so fer eway from -Although 1 1 t,a'l/8 t,ei,n unable a result of activities and not h the centre contact with othe aving any personal noW,so tar ihl.S is not as because · tl.on. t bUt . r members make anY tune dl.sl.nteres • factor, -1ng anyone rether difficult s nominat· athY or ·& the tl.!118 have nominated • I therefore ot ap l.n"ol'lfed, I. ding accot11· h members of th of di.stance~ n the cost ot t n bOUt tnl.s· w o heve run the show e Group so far.

Quite successfuly not to ment io not bleat l.n9 a to tind -odetl.on.

1 .""' 1.s 1.111p0ssibl8 1 tllfl ly it for now In order• for mem -ob"1.ous . t 8"ery00 8 • .

••\-1GrOUP erent regions to ~rs living in diffto sui O t the ,...

"8nues ad eccounts I. h 1 1)81009 acquainted w"th ome aware of or t,apPY to re :; Groups to wh c nd look i eech oth be possibl er• WOUld it t the l ne A&H a e to issue e dol.ngs-o a1<in to t l 8 to tel<e complete with membership list st I teal t110 oein9 ab t . addresses Thi 1 d one daY to I oncroft 1.s no pinpoint ereas out id • s should forwar ti'lle part. "" t p..utu111n1 where membershi s e The London Region re ac J nd 1as . _ a tll0 nerl a hibition It may then ~ is Pl!rticulerly strong t<X> ter frOIII ea the. p..&H8)( doWn11 possible to • ed in to s ! b88" ta1<en meeting.

Even if it arrange a call find it ~ad l the help of the r . meens enlisting onlY to Journal was wron9• d dont despair of the R.P.s. egionel organizers nne RPS the good worl< en ood 111anYot 9 KeaP up nee~ t rOIII a 1.nterests I em elso enclosing don't your a route map from the u.c if you blY he'l/8 ,._,.HGrOUP . ..., motorway to '!le pr.oba t of the Hoping that it will Stefford castle.

JS• rt and teal par find it. help members to 3t nea ·necti"l.ty.

I< tor l.ndl.'llid• 1 1espi te s you as 1.s Looking forward to "dentallY• a archeeol09Y day soon. meeting you one 1nc1 ces-whilst ues l preferen l interest · 1y ua IIIY rea I< pr1.111arl G,Sittig,ARPS. fascl.nat 1.ng• aspect. 1 wor h '1/8 tiec· ST17 9YH nerl.tage st and a nd the Nat 1.onal i ru c I.dent a tor the l" bY ac "protess 1.one bY a111bl. t 1.on Ofll8 a tner then ,P6 interest ra GL20 . ... st1.rlin°ish de S 1.gn. ~ours etc.Ell.1\~\" to pUb• . b8 prac f 1118111 b8rs. p S '!lould it d addresses o a. {1.st of na111esan

Letter

,

from overseas

member "Leo Ireland"

Leo & your ed 1tor keep in touch during the yeer, Leo by 11Bssage tepe which seems a nice friendly way to interchange ideas and thoughts, A good idea recently suggested

by Leo was that Metnbers might like to undertake a project, between ourselves. that of going forth with camera & recording the imtnidiate surroundings where we live.

Be it Metropolis or out of Town. Thet we make the effort to mount an exhibition of these photographs and what a worthwhile project this would be.

It we determined a certain size or number of ; mounted prints, these might be exhibited for . other photographers to enjoy,even the public at large and who knows the interest roused could increase membership significantly.

A number of say 16xl2inch photographs tightly mounted on lightweight card would make a handy package to be exchanged between counties and COUNTRIES, We must ell know OF someone going abroad who would not object too much to taking e small package abroad & posting it in that Country Come on members. let

fruit

this

year .........

Leo see thet his Idee bears ..

Kenses 66102 USA.

TO

ANO 25.

5th Extract Dear

from

a letter

from

K.Warr,RPS

December

86.

Secretary,Bath.

Victor,

The Executive Committee of the Society has asked me to drop you~ line on the matter of your Group Newsletter.

The Comm-ittee is most anxiuos that the Newsletters published

by Groups should be a credit to the Society and, although it fully appre-iates the enormous amount of effort which must go into the prod-uction of "Proof", quite frankly it does not think that the publication befits a learned Society.

I am sure you are very much aware that the Archaeology and Heritage Group was launched on a very high plain, with the opening ceremony performed by Sir Mortimer Wheeler, and whilst the Executive would in· no way wish to stifle the enjoyment which members of the Group obviosly get from the Group's activities, it would like to see articles of which the Royal Photographic Society - remembering that it is a Learned Society - can be proud.

I think if you were to examine the membership of the Arch·-aeology and Heritage Group it might become apparent that many of the renown Archaeologists who were originally members of the Group are no longer and one wonders wether this could be that their reputations might be adversely affected if they were known to be associated with the Groups present activities.

I hope very much that you will not take offence at these remarks, but in view of the discussion at the Executive Committee, it is only right that you should know of the views expressed.

Surely there is no reason why just as much fun and lighthearted content cannot be included in your Group's newsletter whils.t at the same time catering for the more learned aspects of the branch of photog-raphy with which the Group is concerned.

-

&A&H

GROUP

MINUTES

COMME!~TS ON LETTERFROMKENNETH WARR. ref:KRW/MA5-12-86.

Jim Brown ARPS. par 3.

RENOWNARCHAEOLOGISTS(quote) HAVE HAD THE OPPORTUNITYTO ENSURE THAT THE·GROUPWASRUN THE WAYTHEYWANTED. IT WOULDAPPEAR THAT THEY WERE NOT INCLINED TO DO SO OR WEREHAPPY TO LE.T OTHERS RUN THE GROUP·, AS THEY 'SAWFIT. Membership and Reputation.

IF THIS WERETHE CASE WHYDID NOT THESE MEMBERSMAKE THEIR VIEWS FELT AND CONTRIBUTE TO THE ACTIVITIES CiF THE GROUP7

FROM

YESTERYEA

OTHERPO!NTSTO NOTE. GROUPFOUNDED AS "ARCHAEOLOGY" "GROUP". SOME10J12 YEARSAGO.

BY THE TIME OF THE "FINANCIALCRISIS" MANYOF 'IllE ORIGINALMf21BERS HADLEFf 'IllE GRO.JP.

THE GROUPNAMEWASCHANGED TO REFLECT THE INTEREST AND ACTIVITIES OF ITS MEMBERS. HOWMANYOF THE RENOWNED ARCH-AEOLOGISTSARE STILL MEMBERS OF THE R.P.S. ? COULDIT BE THE R.P.S. WITH WHICH . THEY DID NOT WISH TO BE ASSOCIATED ? ( I WOULD THINKTHE ORIGINAL INTENTIONWAS ONLY TO USE THE R.P.S. ADDRESSAND NOT TO BE PART OF THE SOCIETY.

CONTENT. SHOULD THE GROUPDISBANDAND ALL A&H LEFT TO THE CBA& ENGLISH MORELEARNED ASPECTSCOULDBE INCLUDED PHOTOGRAPHY IF THE MORE LEARNEDMEMBERSOF THE HERITAGE? GRO~PWOULD WRITETHEM. ME,MBERSHIP

COULD THE RPS EXECUTIVE COMMITTEE SUGGESTMEMBERS WHOWOULD FORMA COMMANYACTIVITIES OUTSIDETHE LONDON ITTEE WHO WOULDDO AS REQUIRED ?

AREA ARE ATTENDEDBY MEMBERSFROM MEMBERSOF THE GROUP?APARTFROMTHE THE LONDON AREA. ACTIVITIES IN LONDON "FEW" WILL NOT TAKE AN ACTIVE POST.ATTENDED

BY THE SAMEMEMBERS. THEY WILL NOT CRITISIZE WHATIS DONE NEITHERWILLTH.EYSUGGESTALTERNATIVES. PROOF 0

WHY WAS THIS LETTER WRITTE. "PROOF"IS INTENDED FOR CIRCULATION TO THE CHAIRMAN ANDNOT THESECRETAR TO THE GROUP MEMBERS. THERE HAVE BEEN· NO COMPLAINTS FROMMEMBERS ABOUT THE EXECUTIVE EXPECTS US TO ITS GONTENT ANDSTYLE. REPLY TO ITS SECRETARYNOT DIRECTL TO THE PRESIDENT.

********·*

Dr M.R.A.formerly of D.O.E. Dr B.B.FRPS. C.B.Associated the C.B.A. T.B.ARPS.RCHM.YORK. C.C."Journey :into space" Dr V.G.W.H.Hon FRPS.(past PRESIDEN'P) Lt.Col.CDVK.MBE.Hon FRPS(past PRESIDENT) M.S.K.3chool Conservation COPENHAGEN. Ms M.M.ARPS.NRJN.LRPS.GtrMANCHESTER Archaeology UNIT. GJO.ARPS.Univ of CAMBRIDGEdept ANTHROP. DrPGHP.ARPS.AVONCROFT Museum of BUILDING. GBQ.FRPS.D.O.E.?(Scotland) CJVR.Hon FRPS.(past PRESIDENT) MsL.S.S. Photo dept:(Christies) B.A.t.FRPS.BRITISH MUSEUM. (A few names known personally of considerable "REPUTATION".ltomention just a few.

THIS MATTERIS ONE WHICH MUS~ BE DISCUSSEDBY THE GROUP'SCOMMITTEE. IT IS IRREVELENTTTTHAT THE PRODUCER OF THE "PROOF" IS ALSOGROUP CHAIRMAN."PROOF" IS PRODUCEDBY HI'.

ON BEHALF OF THE COMMITTEE,ITSELF ACTINGON BEHALFOF THE GROUPMEMBERS. 1978 1981 1986

169 group members.

131 group members 230 group members.(We

must be doing something right)

cont. p. 27

MINUTES

MINUTESAGMFeb 1977.(Earliest

-

MISCELLANY

available)

"THE GROUP WAS FORMEDWITH VARIOUS PROJECTS IN MIND; MANYOF THESE HAVE NOW HAD TO BE MODIFIED OR ABANDONED".

LETTERS

27.

Dear Mr Walden, I should have written this letter ages ago.

In fact straight after receiving the last Group Magazine, as I have a possible venue ~or a Group outing.

Providing the Group 1s prepared to travel to Stafforshire once again!

MINUTES. THE SOCIETY PAID £50 LAST Year FOR THEIR ISSUES OF "ARCHAEOLOG". The place is Stafford Castle, a working archeological site, but it would have to be o~ a Sunday because our Sunday diggers 2nd JUNE 1980. will be at work and guides, in 15th century 62 members not renewed.(MARY'S OFFER. costumes, are available to show visitors OF £500). around.

CHAIRMANS REPORTAGM1980.

"IF MEMBERSHIP CAN BE HELDAT A REASON- Suitable dates are 21st June, 19th July and ABLELEVELTHE GROUPCAN BE FULLYACTIVE 23rd August, and I am including an illustrated article, which could be used to AGAIN".... John STUBBINGTON. advertise the outing, or as a filler for "PROOF".

15th August 1981 ARCHAEOLOGY GROUPREPORT. I can be contacted by phone on Stafford (0785) 52653 after 5pm, and preferably not "ON THE WHOLEARCHAEOLOGY PHOTOGRAPHERS later than 7pm as I am very much in IN THE FIELD ARE MOSTLYARCHAEOLOGISTS RATHERTHAN PHOTOGRAPHERS

BY TRAINING demand by the local Photographic Society, AND INCLINATIONAND ARE NOi: INTERESTED IN JOINING THE R. P. S." "CONTINUINGSUCCESS OF 2nd INTERNATIONALEXHIBITION, MANYOF EXHIBITORS ARE IN FACTNOTGROUPMEMBERS. ARCHAEOLOGY GROUPNEWSLETTER No:l.

AUGUST1981.

1980 WAS A BAD YEAR FOR THE GROUP .

OVERSPENT,STOPPEDARCHAEOLOG (newsletter) CANCELLEDPROGRAMMES AND LOST MUCH OF OURMEMBERSHIP.

******

(Archaeology group * minutes extracted and supplied by J.BROWNARPS.)Janl987.

(Retiring Hon Secretary)

28.

THE

DAVID

CHARLES

Back in the l 950's I had the oleasure of corresponding briefly with a fine photographer named• David Charles.

I think he was then in his seventies and still active in P,hotography. lie ~rote a book called "Commercial & Industrial Photography" which was, and still is, one of the most commonsense and pr:actical guides to be had.

He did not _believe in the purchase of some expensive chrome-plated gadget if a couple of bits of string and perhaps an improvised plumb bob was likely to solve the problem.

Consequently, in a materialistic and gadget conscious age, his book never proved as popular as it ought to have done, but it has a lot to· offer the archeological photo_grapher.

One problem which he solved neatly and cheaply was how to decide at what time one ought to arrive at a site for photography in order to ge~ the most suitable angle of lighting· from the sun.

He P,Ublished and described his "Sun Direction Indicator" in the British Journal of Photography Almanac of 1953, and my own re-drawn copy of this appears below.

Photograph this drawing on line film to produce a negative and print this negative on to another line film of around 7 x 5 inches to produce a black line positive on a . completely dear background.

SUN

INDICATOR

This can then be laid on one's proposed subject on either a 1" or 2.5" map, or a large-scale drawing of an archeological site, with the North-South centre line parallel to the N-S grid lines on a map.

A line is chosen which gives the correct direction for the fall of the shadow, and the time shown on this line is then noted as being the best for photography.

Be careful to chose the time on the angle (summer) line, the double (Spring/Autumn) line, or the heavy black winter line, whichever is appropriate.

The Indicator can be accurate to within 15 minutes or so.

If the site. is a small object, such as a Pectish-Symbol Stone, a preliminary visit with a compass may be necessary to measure the bearing of the main face which one was wish to photograph with a glancing side sunlight to show the carving.

Reference again to the Sun Direction Indicator wi11 show a suitable time.

Lengths of shadows can also be forecast by following the instructions at the bottom of the 11S DI".

David Charles was a great enthusiast and I know it would have pleased him immensely that later g.eneration might find his idea useful.

by T.E. Gray

a

THE

R-P-S-GETS

THE

BIRDI

29.

REPLY TO THE Joe Partridge Column by:----------Victor J. HEPPLETliWAITE ARPS Not as might be thought in the season of I need not go on to enumerate the obvious goodwill, a Christmas turkey.

I refer of course of joining a local Camera ~lub, with the eventual aim, if the need is felt, course to that article by "Joe Partridge" in of becoming a member of THE ROYAL. If the Amateur Photographer this December the day ever dawns when people whose when he reviewed the value, or in this work you regularly admire begin to make instance the non-value of RPS DISTINCTapproving nods in your direction, then, and IONS. (Quote) ''How can DISTINCTIONS· possibly help you to take better pictures?" only then should you even dr~am of submitting a panel for an RPS DISTINCT(unquote) ION. I well remember Victor Blackman, also a regular contributor to "Comic Cuts" This formula is NOT written on scred uttering similar heresies years ago. It's all, parchment and nailed over the portals of different these days as Victor is now proud that hallowed Centre of Photography.

It to display his FRPS, offered after a is simply my own homespun logic, evolved suitable interval for forgiveness.

How as each year seemed to produce more and long before our "Joe" will be Joe Partridge ever more photographic disasters than the FRPS one wonders? previous one.

All sarcasm aside, many will be wondering When the output from my darkroom and perhaps thinking along these lines. cupboard eventually began to emerge as a The answer cannot be a flat condemnation force to be reckoned with in my local of the underlying principle of EARNED Clubs, I then felt I might be ready to learn DISTINCTIONS, and in any field of what that next step should be from those endeavour, the opposite in fact must be far perfectionists who always had their work closer to the truth. hung at major exhibitions.

Admitting that in the case of Judges I had much fun, as well as heartaches, accustomed to "traditional" photography, finding out about the production of exthey will sometimes apparently fall over hibition prints.

All advice is not good themselves to praise this and that pictorial advice, and not all that appears in print is FAD in an attempt to be "with it", truly GOSPEL. Taken with the traditional although it seems to many to be in the "Pinch of Sodium Chloride", the advice, most appallingly poor taste, and merely an the sweat and the empty boxes of attempt to lend credibility to work of expensive paper eventually added up to photographers who exhibit a total lack of the distinction of ASSOCIATE. adequate technique.

Saved in many cases only by the sheer professionalism of the How can ANYONE question the value of a DISTINCTION so obtained?

It is currency laboratory .actually producing the photois a world where there are no standards, its graphers work. true value transcends all inflation and One only has to recall Exhibitions of not nothing surely, can DEVALUE the worth of too many years ago when the very finest a DISTINCTION that has been so hard won. work (all processed by the Exhibitor) just Even leaving .the "ROYAL" and thus losing happened to be the work of - you guessed the right to append the letters after one's it - an Associate of Fellow of the Royal name in NO WAY lowers the achievement Photographic Society. any more than being a PAST PRESIDENT The very sight of photography of this lessens the value of the office. calibre is enough to create one of two ideas in the mind of the average amateur Nobody in their right mind can expect to (and for that matter not a few Professobtain a distinction without EARNING it. ionals). "I" will never be able to· do work If that is so, surely the very act of "Learnlike this - this idea being firmly based on ing How It's Done" must simply make one a the viewer's net output to that moment. better photographer.

No? Or, as in my own case, a fixed and abiding Some of us simple mortals just hav~ to resolve to find out, however long it takes, have a goal to aim for.

Getting there is the means_ of producing work just appwhat it's all about, so admit it "Joe Partroaching such elevated . standards. ridge" and don't expect everbody to be DISTINCTIONS are not even considered at nacherly perfec." this point. Not that is, unless you P.S. Good· luck with your "Application" habitually put the cart before the horse!

__________

.30.

GO

FOR

A

DISTINCTION

In the Summer '86 edition of "PROOF" John Walden wrote about gaining his L.R.P.S. I want to tell you how the Group helped me to gain distinctions.

When I joined the Society - well the date doesn't really matter - I also joined the then Archeological Group because I liked to photograph old buildings, abbeys, canals anq so on.

i really did not know what to expect, but when the Group's Magazine arrived I was both impressed and intimidated.

These guys were EXPERTS, and it seemed to me that I was the only member of the Group without a distinction.

I went to a couple of the Group's meetings at South Audley Street (yes, it was that long ago!) and was delighted to find everybody so friendly.

Nobody asked "What distinctions do you have?"

I was simply accepted as a member of the Group.

Then came the notice inviting prints to be submitted for the Group's Exhibition at Abingdon.

Not for me, I thought.

This exhibition will be full of pictures from the · experts, and· work from mere mortals would not even be considered.

The phone rang.

"I am Chairman of the Group.

Do you have three prints for the Exhibition?" (The Chairman lived near me - it was a local call!)

"Bring me some prints and come to the Exhibition Dinner" he said.

With great fear and trepidation I selected three of my best prints and delivered them · to him.

(Looking back at them now with their exhibition lables on the back I wonder how I dared submit them!)

I even went to the Exhibition Dinner and the people present were not unkind to my pictures.

Another 'phone call.

"As you are living close by, would you help with the Crystal Palace Conference ? 11 Before I really knew what was happening I was Group Secretary - but that is another story!

I continued to produce prints and members of the Group began to suggest 1'Apply for a Distinction."

By now I was gaining confidence.

I knew I could do it.

I sent off ten prints thinking that the L,R.P.S. was mine.

In due course back came a letter: "Dear Mr Brown, I regret •

-

2

I took the prints to an advisory evening in London, and allowed them to be displayed for criticism.

"This one wastes paper with a large area of nothing."

"This one shows a complete lack of understanding of lighting."

"I don't like cows anyway ••• " They left me with two pictures out of ten that were acceptable, but I now knew what they were looking for.

I made eight more prints and sent they away.

The postage is unbelievable!

In due course a brown envelope arrived addressed to: J.E. BROWN LRPS I'd done it!

I had arrived!

The nagging doubts ceased - I had gained a distinction!

I was God's Gift to Photography - the Society should be pleased to have me as a member.

Within a few weeks the nagging doubts started again.

"Of course the LRPS is only a start.

Everybody should be able to get that. When are you going to apply for your ARPS? O.K. I thought.

I've got my LRPS, so the ARPS should be easy.

I sent off twelve prints.

"These are well below standard" they said.

I sent off twelve more. "Not sharp - poor lighting".

Twelve more · "Lack of imagination".

I was beginning to get disheartened.

Then I saw a successful panel at the Group's Exhibition.

At last I knew what the judges were looking for.

I modelled my fifth application on this panel.

The elation when the brown envelope arrived from Bath addressed to J.E. BROWN, A.R.P.S. was indescribable.

Only I knew what disappointment and frustrations has occoured along the way. Only I knew how much encouragment I had been given by members of the Group.

Only I knew how to celebrate this success!

The celebrations had not died down before I got a 'phone call: "ARPS is fine, but when are you going to apply for Fellowship?"

I will, I will, but right now I'm God's Gift to Photography again. • • • • • • •

THE~•&

CRYSTAL

PALACE

CONFERENCE

31.

THE*('& CRYSTAL PALACE CONFERENCE This should of course read THE 1987 etc, but not operating the SHIFT KEY for the date results in an apparently rude exclamation • • • • • Maybe not, come to think about it!

0 en to all members

the sub·ects selected as lectures workshops must of course cater for all aspects of A &:H Group activities.

FRIDAY: 5.30 for 6pm sherry reception with the President, Arthur Downes FRPS, followed by Brian Tremain, Chief Photographer of the British Museum on "EXPLORING CROSSED POLARISATION", followed by dinner at 8pm (Non-residents MUST book).

A late-night filmshow will be preceeded by a lecture from John Adams ARPS.

6.30am - early morning JOG in- the parklands.

10.30am - Dr Mike Apted on: "The UNESCO Convention for Monuments of World Importance" 11.30am - Gwyll Owen ARPS on: "JCB &: Onions" illustrated with slides.

12.30am - Lunch.

2.15pm A&:H GROUP A.G.M. 3.45pm - Reggie Mason FRPS, Editor RPS Journal on: "Pictures for Publication".

6.15pm - President Arthur Downes FRPS "Qualities sought in a Distinction panel".

7.30pm THAT SATURDAY NIGHT DINNER. (dress optional) Guests of Honour: the RPS President and his Lady.

9.30pm - After-Dinner technical discussion led by Gwyll Owen "Copying Slides &: Photographs".

Towards midnight - Late night film show: "Coventry Cathedral" &: "Built to Sink".

SATURDAY

6.30am - early morning JOG in the parklands. l 0.30am - Mr CAD. 11.30am - Nigel Neil on: "Work of the Greater Manchester A_rcheological Trust" 12.30am - LUNCH 2.15pm - Rev. R. Pitt on "The Siting of Herod's Temple".

Other well-known speakers at the weekend include Derek Merfield ARPS, John Walden LRPS, and further speakers as yet unconfirmed.

There will be a short talk on atempts to ensure "THE PERFECT NEGATIVE".

SUNDAY

The

Conference

ends

around

4.30 / 5pm

As I write up the summer edition of "PROOF" - having requested Big Derek (our captive printer member) to go out and spend what is necessary to produce an issue just like the other Group Newsletters, I can't help a little nail-biting in case HQ refuse to meet the additional expenditure.

THE A & H GROUP NEWSLETTER IS PRODUCED VOLUNTARILy AT COST or MATERIALS AND BOUGHTOUT SERVICES. EDITED by Victor Hepplethwalte ARPS TYPESET (mostly) PRINTED AND BOUND BY:Oerek Merfleld ARPS, who also did the HALf - TONE SCREENINGend PLA TEMAKING.

PROGRAMME R.P.S.Archaeology

& Heritage

Group

-------PROGRAMME-------Friday

7th to Sunday 9th August 1987.

A & H Group weekend in Durham. We will be spending the weekend at Durham Castle & lope to visit & photograph several places~! great historical interest including the Cathedral & Hadrian•s Wall. By now all the places may have been taken, but further information can be obtained by telephoning Arthur J,Page, A.R.P.S., Sittingbourne (0795) 75950.

August 8th/9th

&

15th/16th.

R.P.S. Archaeology & Heritage Group's Summer Exhibition 1987.

This will be on display at the "Dutch Barn" adjacent to the Horniman Museum, 100, London Road, Forest Hill, London, S.E.22. Admission is tree, & photographs taken py members 0£ the Gro~p will be on display.

The· exhibition will be open £or the above two consecutive weekends.

It will then transfer to the Avoncro£t Museum 0£ Buildings, Bromsgrove, Worcestershire, telephone 0527 31363,·where it will be on display for about a month.

Wednesday 23rd September 1987.

The R.P.S.Historical Group is organising a private visit to the QUeen•s Gallery, Buckingham Palace, to see the exhibition "Crown & Camera".

Tickets are t1.60 each & must be obtained in advance from: Richard Morris, Chairman RPS Historical Group, "Long Gable", Cherry Tree Lane, Chal£ont St. Peter, Bucks.,SL9 9DQ. Richard's phone number is 0753 883020.

The meeting will start at 6 pm & will include a talk.

Sunday 27th September 1987. 2pm.

The A & H Group has again this year been invited to return to the Horniman Museum, 100, Lond,n Road, Forest Hill, London, S.E.22. to see & to photograph some of the Museum's arti£acts.

Studio facilities will be made available for our use, but numbers are limited.

To reserve a place please telephone John Walden, L.R.P.S., 01-856 1026.

Sunday 18th October

1987. 10am.

Last year's Group visit to Windsor Castle was thoroughly enjoyed by everyone who attended, & in response to several requests we have aranged a further visit.

We will be meeting at the home of one of our members who lives next door to the Castle,at 10am. There is a wealth of historical interest & heritage in the town 0£ Windsor & the Castle is, 0£ course, magnificent.

Another event not to be missed, Saturday 14th November 1987.

Archaeology & Heritage Group meeting,

to be arranged,

Satur<iay 12th December 1987. 10.30am.

A & H Group visit to see & photograph the stately home of Polsden l'Acey, near Dorking, Surrey. Special permission has been obtained to take photos of the interior 0£ this fine country house, which will be opened especially £or us on this occasion. Bring your tripodst A charge of (2.00 will be made £or this visit.

Following photography at Polsden l'Acey, the Group will be holding it's CHRISTMAS PARTYat the nearby home 0£ one of our members. For further details contact John Walden on 01-856 1026.