Heritage Photography editor David Bryson FRPS heritage.editor@rps.org
Honorary Secretary
Amanda Miller LRPS heritagesec@rps.org
Finance Officer
David Bryson FRPS heritagetreasurer@rps.org
Web editor Jim Souper ARPS
Military Heritage and Distribution Shaun Parkes LDPS heritagemilitary@rps.org
Published by the Archaeology and Heritage Group of the Royal Photographic Society, July 2024.
Copyright in all text and photographs are held by the credited authors, or as otherwise stated. No part of this publication may be reproduced, transmitted or stored in any form without prior written permission of the Publisher.
Print ISSN 0958-0565
Online ISSN 2632-3346
Front cover photograph
Sutton Hoo Burial ship
uncovered Photograph: Eric Houlder LRPS
CONTENTS
EDITORIAL
3 Perspective: A&H 50th Anniversary 1974-2024
DAVID BRYSON FRPS
4 Chair’s Chat Hello from Heather HEATHER LAURENCE PhD
FEATURES
5-17 Celebrating our publications and editors
DAVID BRYSON FRPS
18-20 Memories of early group conferences
ERIC HOULDER LRPS
21-24 ERIC HOULDER LRPS 1940-2023
25-27 Editor’s reflections or what does the editor do?
DAVID BRYSON FRPS
28-34 50 photographs for 50 years.
35-36 Members’ photographs to celebrate 50 years. 5 18 21
Perspective: A&H 50th Anniversary 1974-2024
DAVID BRYSON FRPS
Welcome to the anniversary issue of Heritage Photography. The aim of this issue is to celebrate some of the publications over the 50 years of what started out as the Archaeology Special Interest Group (SIG) in 1974 and from 1987 transitioned to the Archaeology and Heritage SIG of the RPS. It is also designed to show a range of photographs by members from the UK and around the world from the 50 years of published photographs.
For more about the SIG’s history and Eric Houlder do look at the Special edition published in 2020, available via the RPS’s Issuu site at https://issuu. com/royalphotographicsociety/docs/heritage_ photography_special_issue_2020
We are also using this issue to celebrate the life and work of Eric Houlder LRPS one of the founding members of the A&H SIG who died in March 2023 at the age of 82.
If you have any ideas for articles or series of
photographs or would like to get feedback about an idea for a submission please contact me by e-mail. heritage.editor@rps.org
E-mail Reminder
Do remember to add and if necessary update your e-mail details on your RPS profile so we can contact you through the RPS’s Broadcast system.
Facebook
The facebook photograph winners will return in September’s issue. Our private facebook group is at https://www.facebook.com/groups/rpsah
What do we mean by heritage? What counts for each of us? Fish drying on Inish Boffin Island, Donegal.
Chair’s Chat: Hello from Heather
HEATHER LAURENCE PhD
Hello Folks,it is a huge honour to be here as chair, on our 50th anniversary. I wonder just how many moments, we as a collective have captured during the last ten years, let alone the last 50.
As we battle the elements in archaeology, it has been an increasingly difficult year to get out and take photos, and I wish you luck in your photographic endeavours for the rest of the year, let’s hope for a late summer and fabulous autumn. It is not the weather that has hampered my own project this year, we have been inhibited by the presence of Giant Hogweed on the site. This leads me to think about what plants we have, that we would consider to be a part of our heritage, or plants that have changed our heritage. A competition or even larger project for the future perhaps?
We are nothing if not resilient, we sent in a drone to record the site I am involved with as it is at present. A huge thank you to everyone who has contributed images over the years for this special anniversary edition.
Thanks as always to David and Shaun for their hard work in getting the magazine out to us all.
I am always looking for suggestions for the group. Due to the logistical issues of managing face to face meetings, I would like to suggest that we begin to plan a project or two that can be carried out individually, and then collated to become a larger coherent final exhibition/book/talk or whatever we decide upon as a community. Please let me know your ideas and thoughts on this one.
As a final note, there are a lot of changes going on at RPS house at the moment, from staffing changes to the rolling out of new software alongside volunteer training, the creation of new rules and regulations and the selling of RPS house itself. These changes impact every part of the RPS, which means that we may not be able to complete tasks as quickly as we might hope to. However, the CEO has a roadmap in place and things should be able to move forward soon, with events and website updates working as they should. I will keep you updated as much as possible as things progress. Stay focused, Heather.
Drone views of an archaeological site I am working on for a health and wellness project locally
Celebrating our publications and editors
The Special Interest Group has had three publications over 50 years starting with “Archaeolog” in April 1978, then briefly “The Proof” before the change to the Archaeology and Heritage SIG in 1987 when “Heritage Photography” was established along with the transition to full colour with changes in technology. DAVID BRYSON FRPS
Over the years we have been fortunate to have a number of editors to compile, design and produce regular publications. All of the available past issues have been digitised and archived onto the RPS’s Issuu site https://issuu.com/royalphotographicsociety as well as current issues as they are produced and published.
Archaeology and Heritage Photography SIG Publications and editors
PUBLICATIONS
Archaeolog
Nos1-6 April - December 1978
Archaeolog No8 April 1979
No. 10 - No. 14 August Archaeolog June 1979 -April 1980
The Proof No1 1985 - Summer 1987
Heritage Photography
Issue 1 Autumn 1989
Issue 2 Spring 1993
Issue 3 Spring 1996
Autumn 2009 - Spring 2014
EDITOR(S) FORMAT/ISSUES
Angela Clarke
Editorial Team Angela Clarke, Clarke Conyweare, Su Fox, Peggy Pearce, Tony Pearce
Dr. Mike Apted
Victor J. Hepplethwaite ARPS
Black and white A5
Black and white A5
Black and white A5
Black and white A5
Black and white A5
Autumn 2015
Autumn 2016 - Spring 2018
September 2018 - Present
Nigel Neil
Alex Simmons
Alex Simmons
Publications Committee
R. Keith Evans, Eric Houlder LRPS (Archaeology
Editor) Garry Bisshopp LRPS
Gwil Owen ARPS
Dr Mike Sasse
Eric Houlder LRPS
Editorial Board: Chelin Miller ARPS
and Eric Houlder LRPS
David Bryson FRPS
Full Colour A4 with some Black and White issues
2 Issues per year.
2 Issues/year
2 Issues/year
2 Issues/year now 3 Issues per year
January, March and September
The Royal Photographic Society of Great Britain
Archreology and Heritage Group
Heritage Photography
Spring 1996 Issue 3
Group visit to 'Goddards'- Lutyens &Jekyll House in Surrey ISSN 0958-0565
Memories of the early group conferences
My memories of the Group’s earliest days are bound up with recollections of a dear friend and colleague Harry Battye who died in 1979.
ERIC HOULDER LRPS
Harry Battye was a lecturer in sculpture at Scawsby College, Doncaster, and a keen local historian of Pontefract. He and I collaborated on a number of projects, including the location of Pontefract’s eponymous broken bridge1. He used photography a great deal, and I printed his monochrome pictures for publication. Following a serious coronary, he was casting about for things to occupy him during his convalescence when the Group’s first conference, at Wicken Bonhunt, was announced. This was ideal, and he came as my (paying) guest. He appears on Bert Crawshaw’s excellent group picture behind Betty Nagar and my left shoulder.
Being a sculptor by profession, he was eventually co-opted to make a preliminary blank for the
Mortimer Wheeler Medal2, which the group was proposing to present to deserving members.
Harry attended every Group conference until his death in 1979, though he never joined the RPS, or anything else for that matter. He had a remarkable range of friends and acquaintances too. On one occasion we were driving from a conference to my sister in law’s home in Harrow when he noticed the name of a village on the route and suggested we call on an old friend, who just happened to be Henry Moore! We did too, and were treated to a studio tour and coffee and biscuits in his home.
Living about two hundred miles from the centre of the Group’s activities, and having a young family the conferences were really the only meetings I could attend. When one was proposed in Durham,
Wicken Bonhunt, 1975, by Bert Crawshaw ARPS.
Bob Pitt and several other Committee members decided to travel north to make arrangements. They planned an overnight halt on the way, so Harry put them up – he had a much bigger house - whilst I invited everyone to evening dinner here. This was a resounding success, though most of the credit belonged to our wives, both named Joan. Each conference had a similar format, modelled upon the Wicken Bonhunt original which was very successful. The first event was dinner on the Friday evening, followed by a preliminary talk, usually illustrated. Then everyone repaired to the bar where we renewed acquaintances and met new friends. The following day, Saturday, was devoted to a series of presentations, again illustrated or perhaps with demonstrations. The main event was Saturday evening dinner. Again we eventually ended in the bar. On the final day, Sunday there were presentations/demonstrations, followed by an afternoon outing, after which we all headed home.
As far as I can remember, we only had three full group photographs of attendees; Bert Crawshaw ARPS’s excellent group on the terrace steps at Wicken Bonhunt, his informal group of everyone at Lincoln, and my own rather ordinary group in front of Durham Cathedral in 1978. The latter including Tom Middlemiss (tall man in raincoat, front right) the Photographer at the University Department there, and our guide around the city (in beret) whose name sadly escapes me. The latter
was over ninety, very active, and had to rush off to feed his goats! Durham was particularly rich in archaeological personalities including our host, Professor Rosemary Cramp herself.
The conferences were reported in detail in our newsletters. Readers needing more facts should find the reports in our on-line archives. On a personal note, the demands of my family, career in education, and local and regional archaeology meant that after the early 1980s I took a step back from the Group, though remaining a member and occasionally contributing papers to our newsletter and The Photographic Journal. I hope that the photographs accompanying this paper give younger Group members something of the flavour and atmosphere of the early Group conferences.
1. Eventually published as “Search for the Broken Bridge”, Eric Houlder. Local History magazine, March 1990 pp10.
2. What happened to this blank? It was sent on by his widow, so should be in the Group archive.
Durham 1978, Photograph: Eric Houlder LRPS
Lincoln 1976 Photograph: Bert Crawshaw ARPS.
Eric Houlder LRPS 1940-2023
Since his early teens, Eric had harboured an ambition to be an archaeologist. During his interview with the Headmaster J D Lean (the only concession to careers advice then in evidence) at King’s, Mr Lean told him in no uncertain terms that he was not intelligent enough to be one.
ERIC HOULDER LRPS
Regrettably, Eric accepted this judgement and instead decided to go into teaching. His first choice of Training College, The City of Leeds, accepted him and he started there in September 1959. However, in 1957 he had been a founder member of the Pontefract & District Archaeological Society, and the digs he attended enabled his ambition to be fulfilled. Indeed, he proved to be so adept at archaeology that within a very few years he was working at a high level, and had Mr Lean lived, he would have seen his ex-pupil appearing alongside national figures on television.
From joining the excavation of St John’s Priory, Pontefract, in 1957, Eric had been deeply involved in Archaeology. From the beginning, he had tried to
record the various digs with photography, beginning with his own Brownie 127, moving on to his father’s Vest Pocket Kodak (obtained in Cairo during the war), and then on to an Ideal Color (sic) 35, purchased from his Aunt Gladys’s catalogue club. As early as 1959 he moved into colour, becoming something of a specialist in colour excavation photography by the late ‘60s. On qualification in 1961, he bought for £39/19s/11d an Aires Penta, one of the first Japanese SLR cameras imported. This early SLR had no means of exposure estimation, so he used his Mini Rex III, to be followed by a second-hand Sixon. For Christmas 1964, Joan Eric’s wife bought him at great expense (£9/19s/11d) a Weston V, the best exposure meter then on the market. This combination served until
Eric Houlder LRPS Photograph: Chelin Miller ARPS
Eric’s first photograph for the A&H SIG Published in 1978 in Archaeolog showing his use of aerial photography. Accompanied by an article on the mechanics of aerial photography.
A Complex of Sites ln the North Midlands (Minolta SRlv. 4x orange. Plus X 400 ASA) the Penta was part-exchanged for a Minolta SR1v in October 1967.
From then until the advent of digital, he used a series of Minolta SLRs, a Yashicamat TLR, and two Mamiyaflex TLRs with appropriate lenses. His first published picture was of a road accident outside ‘Balmoral House’ in 1960, and his first illustrated article was on site photography in Photography magazine in about April 1971.
Eric was founder Chairman of the Castleford and District Historical Society, and once played cricket
with Freddie Trueman, Yorkshire and England bowler, at one of that Society’s events.
First published book cover was The Archaeology of Disease, by Keith Manchester. By the turn of the century he had achieved many published pictures, mainly in colour, and was recognised as ‘one of the best, if not the best, photographer working in archaeology.’ He joined the RPS in 1975, and achieved its Licentiate the following year.
In addition to the sites listed on the next page, Eric flew with Derrick Riley during the drought years of
Main Excavations and roles
St John’s Priory, Pontefract. Volunteer.
Kirkstall Abbey, Leeds. Volunteer.
Drax Roman Villa, Nr Selby. Volunteer.
Drax Medieval Moat. Volunteer.
Bishop’s Palace, Otley. Volunteer.
Ilkley, Roman fort. Volunteer.
Glass Houghton Manor, Nr Castleford. Director.
Ilkley Roman road. Director.
Castleford Vicus. Director.
Sutton Hoo, Suffolk 1967. Volunteer.
DMV, Northamptonshire, Volunteer.
Sutton Hoo 1968. Supervisor, ¼ site.
Sutton Hoo 1969. Supervisor, ½ site.
Wanborough Roman town, Wiltshire. Volunteer. West Stowe, Suffolk. Volunteer.
Hartshead Moor Roman road. Photographer.
Thorpe Audlin Roman site. Director.
Thorpe Audlin. Director.
The Booths Saxon Cemetery. Photographer.
Box Lane medieval cemetery. Director.
Wood Hall moated manor. Photographer.
St Aidan’s Sunken Ships. Photographer/Deputy Director.
Humber Hulks. Photographer.
Immingham RB site. Volunteer.
Stamford Bridge RB site. Volunteer.
Catterick Vicus. Volunteer.
Hundhill Roman road. Photographer.
Waterton Park, the first ever hide. Photographer.
the mid ‘70s, and pioneered infrared colour film use on crop-marks. He also took the definitive photographs of the Towton Battlefield skulls. His first book, Recording the Past: a handbook for photographers appeared in 1988, and his second, The First Fifty Years, appeared in 2007.
He appeared on television in the first Sutton Hoo documentary shown on BBC 2, in a Look North magazine programme about aerial photography in 1976, took the stills for Time Team Castleford, and appeared alongside Tony Robinson in Robin Hood: Fact or Fiction. He also provided Michael Wood with aerial pictures for a paper he was writing on the ‘lost’ battle of Brunanburh.
Eric has written very many illustrated articles, for various photographic magazines, for Dalesman, for the Journal of the Royal Photographic Society, in Current Archaeology, and in British Archaeology.
He was elected Chairman of the Council for British Archaeology’s Yorkshire Region (the biggest by far) in 1998, and has remained on the Management committee ever since.
Eric continued to publish even in 2022 when his book “From roman roads to the broken bridge” was reprinted https://www.pontefractcivicsociety.org.uk/ product/ancient-routes-through-pontefract-fromroman-roads-to-the-broken-bridge-by-eric-houlder/
This fascinating publication updated and revised in 2022, by respected archaeological photographer Eric Houlder, records the ancient routes through Pontefract from the early dark ages to the medieval period.
Drawing on evidence discovered as a result of archaeological excavations throughout the area, and amply illustrated with maps and full colour photographs throughout, this 36 page publication is a must for anyone with an interest in local history. The author also speculates on the exact location of the “broken bridge”, after which the town was reputedly named.
Eric Houlder and Heritage Photography
Eric was involved in our publication over many years both as a contributor of photographs, writer and for a time its designer and editor at a point in time when the design tools were much more basic than they are today. Eric was involved with starting the colour version and as editor from 2009 to 2018.
Eric was always ready to support me when I took over as the editor of Heritage Photography in September 2018 initially as associate editor and then regularly providing articles.
His was a lasting legacy seen by the many articles over the years that have graced the pages of our publications.
Examples of books written or illustrated by Eric Houlder.
Editor’s Reflections or what does the editor do?
This year come September will be my sixth year as Heritage Photography editor and I thought it would be useful in this anniversary issue to look at what I actually do and the steps involved in producing Heritage Photography.
DAVID BRYSON FRPS
Starting out as editor
When I started out as editor one of the first steps included obtaining the rps e-mail heritage.editor@rps.org so I could easily communicate with the committee, RPS HQ and members.
At the start there was no hand over of a template just having my own copies of Heritage Photography to work from and details of our current source for printing copies.
I was able quickly as a volunteer to access the RPS’s publication template for InDesign. However my first task for the first September issue was using that process and the template to develop a proper InDesign template using paragraph styles, character styles and other time saving desktop publishing features including a colour theme for an
issue which were missing from the template.
Developing an issue
I do like to have materials ready in advance of creating an issue to allow me to plan out even if just in my head the best order and flow for articles and other contents and if an issue can be themed through the choice of contents.
Choosing the front cover is key to developing an issue as I use a small app called colorslurp to identify a colour to use for the issue for the RPS logo, headings and page numbers.
The RPS logo’s colour is changed using Adobe Illustrator and saved as .ai for importing into InDesign. Once the template had been created I only need to Save as and use the same .indd file for the next issue just replacing contents and relinking
Color Slurp selecting a colour for use in the RPS logo and other higlights in an issue. https://colorslurp.com/
the new logo once and it cascades into place where needed.
Calls for photographs and articles
This has been the bane of editor’s lives over the years and I will use some from previous publications over the years as examples of pleas. I am always pleased to have more than I need. So a submission may go straight into the next issue or when it best works in a subsequent issue. Over time I have been able to not only increase the frequency of publications from 2 to 3 per year but where feasible increase to 36 pages. The total number of pages for printing have to be in multiples of 4 so 32, 36 or 40 are fine per issue also a consideration if you are producing a photobook.
The more content you send me the better able I am to create the best publication possible.
“In taking on “Archaeolog” I have set high heights for its future - I hope you will help me bring this about. It is a magazine to reflect our group, your ideas and comments, and above all, your photographs.”
Angela Clarke April 1977.
“This publication provides a showcase for members work; allowing a much larger facility for illustrated articles than the newsletter and in this issue we have splendid articles to peruse. Of course your editor does rely on the contributions from members so please keep the articles flowing in.”
Clive Tanner 1996
Barely a year after I joined the Royal, our excellent Group journal “Archaeolog” bit the dust after just fifteen issues and less than four years in circulation. For those of you who don’t remember it, it often had as many as nine articles, some by non-members prominent in either archaeology or photography, covering a wide range of topics. It was published regularly enough to have announcements and a letters page. Our past chairman, Dr Mike Apted, was the last of a string of active editors. Victor Hepplethwaite kept the boat afloat with the cheap and cheerful “Proof” but he and we all wished we could rise to something more in keeping with the Royal‘s image. In a way we may now have come full circle.
For Heritage Photography to succeed your editor needs to receive copy and photographs on any archaeological or heritage topic; the more the merrier!”
Nigel Neal 1989
Setting out an issue and contents
Depending on a photograph’s orientation I can give them a half or full A4 page or a double spread across two A4 pages and if stunning enough portrait images can grace the front and back covers depending on page numbers and how things best fit.
Preparing for printing
From September 2019 we changed our printer to digitalprinting.co.uk halving our print cost from the previous provider.
As I come close to finalising an issue I send out a proof copy to contributors for checking and I also do a final spellcheck and visual check though on occasions things do slip through with minor final changes. I also have to check that the transparency blend space is CMYK which is for best printing when exporting to a pdf.
The final export also includes Marks and Bleeds for the printer then as I go through uploading I choose the gloss paper and lamination for front and back covers.
If you are unsure what to submit do have a good look through our large archive available on issuu https://issuu.com/royalphotographicsociety/stacks/
Example of the RPS logo from the September 2018 issue
e5208ecd8f7d49a7b1a1ef0043524256
If you have an idea for a longer series for a photobook for example you could always let me do the formatting then the pieces from several Heritage Photography issues could be combined into a pdf for you to print and submit for a distinction.
My background
I am not a Graphic Designer by training but whilst employed as a Clinical Photographer I created many posters for conferences and undertook training to use Adobe Pagemaker which eventually became Adobe InDesign. I can use Quark but never really took to it like InDesign which I have used to create training materials and manuals for students as well as my own posters.
If anyone would find it useful I could do training sessions on how to use InDesign for your work or photobooks just e-mail me to express an interest and we can run these through the SIG.
Through the kind support of long standing members I have been able to scan and digitise most of our older publications as can be seen earlier in this issue.
Digital archive
One final step for each issue is loading the digital version without marks and bleeds into the RPS’s issuu.com account. https://issuu.com/ royalphotographicsociety
Loading issues also creates separate stories for articles that can be linked to or viewed as webpages.
Digital issues are scheduled for publication after the next printed issue is sent out to members.
September 2022 issue showing marks and bleeds on pdf ready for printing
Printing and Distribution
Once printed and delivered we are very fortunate to have Shaun Parkes who puts issues in envelopes and overcomes the vagaries of Royal Mail’s postage ordering system to get the journal to your letterbox.
50 photographs from 50 years.
The following pages show a collection of photographs already published which show the breadth of images from the last 50 years and give some ideas of places to visit or revisit.
DAVID BRYSON FRPS
1.Durham Cathedral Photographed at Twilight Jsames Locke
2.
3 Durham City Town Hall Arthur Page, ARPS
4.
5.
6.
Fragment of Saxon Cross Shaft in the Porch of Jarrow Church (Home of Bede) Tom Middlemass LRPS
The fifteenth century porch at Shoreham Church, Kent by Bert Crawshaw ARPS.
Methodist Chapel in Moulsoe, Buckinghamshire.by Brian Eagan
Archaeolog August 1979 Use of a 5x4 Camera. Eric Houlder LRPS
7. St Mary’s Chapel, Dounreay, Caithness
The last surviving intact example of a wooden bed used as a grave memorial, recorded in 1967 and removed in 1978 for restoration. TE Gray
8. The 19th century pumping station at Broadmead John Stubbington
11. Beaker burial in earlier cairn, Cairnpapple, W. Lothian. M. Sharp. 12. Gavrinis, Golfe diJ Morbihan, Brittany. Part of passage with carved orthostats M Sharp
13. The latrine at Housesteads fort, Hadrian’s Wall NRJ Neil
14. Saint Betrand-de-Comminges Haute-Garonne Cathedral of Notre-Dame, The Cloisters, Richard Ingle FRPS
15. St Mary’s Church, Langley -The Tower Mike Maher LRPS
16. The Great Hill of Steps’, leading to the Chapter House in Wells Cathedral, Somerset. Ken Keen FRPS
17. The Carreras cigarette factory building in Camden Town. Garry Bisshopp LRPS
18. Walpole St Peter, the wolf is holding the head of King Edmund Mike Trendell FRPS
19. Mosaic map of Jerusalem at Madaba Ken Woolverton ARPS
20. Lytes Cary Manor in Somerset Mike Sasse
21. Second Floor, de la Warr Pavilion, Bexhill Garry Bisshopp
22. Canadian brown bear on the walls of St Dunstan ‘s House in Fetter Lane, London RK Evans FRPS
23. Spritsail barge May, built by Canns of Harwich in 1891, enters the Thames estuary. RK Evans FRPS
24. Even minor derailments could call upon the services of the steam breakdown crane. RK Evans FRPS
25. The Norman church of St Mary at Iffley, Oxfordshire Dr Richard Ingle FRPS
26. View from the Wood Hall tower, showing the excavated gatehouse in the foreground, and the 100 year-old approach road whose drainage ditches helped to feed the moat. Eric Houlder LRPS
27. A taste of liquorice Eric Houlder LRPS
28. Early rock painting in Australia’s Kakadu National Park. Gwil Owen ARPS
29.The Queen’s Chapel of the Savoy, London . R. Keith Evans FRPS
30. Compassion in Durham Cathedral Ken Keen FRPS
31. Dore Abbey,Herefordshire the Ambulatory. Ken Keen FRPS
32. St Mary and St David at Kilpeck in Herefordshire The Old Red Sandstone carvings on the south doorway, the corbel table and the chancel arch are Norman work.Mike Trendell FRPS
33. Hadrian’s Tomb and bridge across the river Tiber in Rome. Walter Brooks.
34 Bolton Castle, Wensleydale Eric Houlder LRPS
35. Lichfield Cathedral Lady Chapel, David Miller
36. an eighteenth century dovecote is revealed and recorded before being destroyed. Eric Houlder LRPS
37 Cromer Pier Rodney Thring LRPS
38 Burleigh House, The Blue Silk Bedroom Keith Lynch ARPS
39 Burleigh House, Ceiling, Second George Room Keith Lynch ARPS
40. Sluice gates on South Holland Main Drain, Lincolnshire. Mike Sasse
42 Traces left Behind at “Concrete Atlantis John Eaton ARPS
43. Excavating the cist at Whitehorse Hill, Dartmoor Chelin Miller ARPS
44. Reconstructed pueblo house, entered by ladders and roof openings, Arizona, RK Evans FRPS
45. An authentic reproduction of a 17th century pottery bowl, made and decorated by a Navajo craftswoman in the tribal reservation near Kayenta. The flute player is Kokopeli, the rainmaker. RK Evans FRPS 46 A later Wimshurst Machine, Geneva History of Science Museum Robert Galloway LRPS
47 Gaucho Nonna, dressed in traditional poncho and wide-brimmed hat. Chelin Miller ARPS
48 My set up in the imaging suite. The LED panel light is on the left of the photo, shining light across the papyrus. Photographing Ancient Egyptian Artefacts, Julia Thorne
49 Two deities from the underworld; one with the head of a hare, the other the head of a serpent. The serpent has a feather of Maat (truth, justice, cosmic order) on its head. Julia Thorne
50 Archaeologists at work on a major Minoan excavation in Sissi, Crete. Gavin McGuire
Members photographs to celebrate 50 years.
The next two pages show photographs submitted to the digital collection online at https://app.rompolo.com/en/album/6b30d5deaf more will be publshed in the September issue when they are uploaded.
DAVID BRYSON FRPS
TConstruction began in 1925 and was completed by 1929. On the 24th October 1929 the pumping station was inaugurated by the Minister of Health, the Rt Hon. Arthur Greenwood M.P. in the presence of many dignitaries. On the 8th November 1929 the two engines, Nos. 6 & 7 (which are mirror images of each other) were named ‘The Sir William Prescott’ and ‘Lady Bessie Prescott’ engines respectively after the Chairman of the MWB and his wife.
The installation meant an additional 24 million gallons of drinking water per day could be pumped to service reservoirs at Cricklewood, Highgate, Bishops Wood and Fortis Green. Water from these reservoirs would then flow by gravity for distribution to large parts of North, West and Central London.
The triple-expansion engines at Kempton Park are similar in design and size to the engines onboard the RMS Titanic. They are often used in films and documentaries about the ill-fated ship.
Photograph Edmund White
he amazing 62-foot tall, 800-ton triple-expansion engines at Kempton Park Waterworks. In 1924 the Metropolitan Water Board (MWB) accepted the tender of Worthington Simpson of Newark-on-Trent for two inverted marine type triple-expansion steam engines at a cost of £94,000. These engines would each have a maximum output of 19 million gallons of water per day and be amongst the largest steam engines ever built (now preserved by Kempton Steam Museum).
The fontaine Saint-Michel at the entrance of the boulevard was part of the great project for the reconstruction of Paris by Baron Haussmann during the French Second Empire. Photograph André Bergmans
India, Maharashtra, Ellora rock complex, 2015. UNESCO monument. The creation of 34 caves dates from around the 6th to 9th centuries. The picture shows an elephant carved from stone in the Kailash rock temple. Photograph Sergei ShchekotovAleksandrov
