DARREN WOOLWAY ARPS ABOUT LIFE AS A FREELANCE PHOTOGRAPHER
THORESBY THE END OF THE MINE BY CHRIS UPTON ARPS
CAPITAL INTEREST JUNE 2016 / VOLUME 2 / NUMBER 6 / WW.RPS.ORG
‘The best images happen without warning’ Mike Longhurst FRPS on photographing people photographing London
JUNE 2016
IN THIS ISSUE Page 2
RPS book making workshop, DOPTY, The Magic Gallery
Page 4
Photographing tourists in London: Mike Longhurst FRPS
Page 8
The London interview: Darren Woolway ARPS
Page 12
Stuart Smith at Photo London
Page 14
Thoresby The End Of The Mine – an introduction to Chris Upton’s book
Page 17
Review: Fox Talbot: Dawn of the Photograph at the Science Museum by Lynsey Ford
Page 18
Distinctions: Robert Gibbons, ARPS and Fred Adams, LPRS
Page 22
Breathing London Update by Judy Hicks and Jen Pedler
Page 24
Useful links
RPS LONDON NEWS
WELCOME! Summer fun is awaiting and you might feel ready to try something new. Why not explore a more unusual technique of photobook making? The RPS is offering a workshop on the 23th of July in which artist Malcolm Raggett teaches how to make handmade photobooks. Skills learnt can be used to continue making books at home to any size. To book, follow the link.
Image © Malcolm Raggett
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Britta Giersche Capital Interest Editor
DOCUMENTARY PHOTOGRAPHER OF THE YEAR PHOTO COMPETITION This year, as a first, the Documentary Photographer of the Year photo competition (DPOTY) by the Documentary Group is opening the competition to ALL members of the RPS. In a nutshell:
• Free to enter • Two categories - Colour & Monochrome • 5 images per entry in just one category • Last date for entries: 31 August 2016 • Two fabulous Olympus Pen-F cameras each with a 17mm f/1.7 lens for the winners of each category. Each kit has a retail value of £1,200. • Other prizes to be announced. • Exhibition of winning entries Image: Ovambo meets Himba © Marilyn Taylor ARPS, Expert Third Place Winner 2015
Full details of how to enter and much more can be found at http://dpoty.com.
PRECIOUS, POSSESSIVE AND POSSESSED The Magic Gallery in the Underground Arcade leading to Charing Cross tube station is an exhibition space where the RPS has started a collaborative series of exhibitions that showcase the work of students alongside that of the Fellows of the Society. The first exhibition brings together Jane Hilton FRPS's beautiful and tender images of working girls photographed at legalised brothels including Madam Kitty's Cathouse and in conjunction with Rakesh Mohindra's intriguing images of a hidden presence. What is being withheld from our view? Is it something precious? Do we want to possess it? Until Saturday 24th June. More information here Poster design © Jonathan Taylor
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CAPITAL INTEREST TOPICAL
ABOVE Out in all weather
DOING LONDON London welcomes around 30 million visitors each year. As the high-season
for London visits has begun, Mike Longhurst FRPS is telling the story of his book project about photographing tourists in London.
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Like most Londoners, I suppose I viewed tourists as simply people who seemed to want to
stand in front of anything I was taking pictures of and generally clutter the place up. A benefit to the economy, but hardly an asset for photographers.
So it was with some trepidation that I decided at the start of the 2015 season to turn the tables and make them my subjects. I had not studied them as such and apart from a fetish for selfies
and a habit of pointing cameras at anything that stood still for a second or two, I was not really sure what they did, or what photo opportunities they offered. When anything is so obvious, I
believe it is worth starting there in the hope that other things suggest themselves as one goes
along. Certainly in street photography it is clear that the best images happen without warning, usually while you’re concentrating on something else, so by focusing initially on selfies and
shooting them shooting us, I had a chance to decide what to look for when tedium set in and those subjects were done to death.
I should say at the outset that I had decided it was all going to be about street candids. Tourists
are very obliging and happy to do whatever you want, so it would be easy to stage-direct them, but I decided this was going to be au naturel. What point otherwise? I would also, as far as
possible, try to put them into a context and give clues to where they were, without being too distracted by the attractions they were enjoying. BELOW Doing London
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It was not long before I realised they ate on the hoof, wherever they happened to be and much
as we might do in foreign lands, sampling foods was a significant part of their itinerary. Some nice snaps there of wrinkled noses, perching in uncomfortable places and picking and choosing.
Many were led by group organisers and the determination of these people to get large phalanxes
from A to B intact, in time and without too much hassle, impressed me. They often looked like the officer leading a cavalry charge and I tried to depict them that way. I was very surprised by the number of children in tow and to be enjoying themselves. Not a
to be throwing themselves into when it came to the street of the sight of Yoda statues very did act as useful magnets to attract
with his mouse in several locations.
the fact that they actually seemed
‘I had decided it was all about street candids’
beach in sight, but they appeared the London experience, especially performers. I must say I got sick
quickly, but some of the performers tourists and I met the Mad Hatter
People seeing statues apparently
hovering in space for the first time offered pictures I probably won’t get again, when they are
simply “that old thing”. Audiences became one of my categories of shots, as did navigators
shoppers, chillers and the kids themselves. Ironically I got a couple of my better kids shots in Piccadilly Circus shortly after being arrested in Leicester Square. On that occasion I had left the
BELOW Regent St navigator
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OMD EM1 at home and just had the little Fuji x30 with me, so I assume looked a bit surreptitious,
especially when snapping a few instant opportunities from the hip. I was suddenly surrounded by a posse of young-looking male and female plain clothes police and asked to accompany them to a quiet spot. I had my RPS card, which was a help, but really, they were so confused about what
pretext they were questioning me on that I found myself lecturing them on the art and practice of street photography and how to tell it from someone casing a joint. They finally admitted they had no reason at all to interfere with me and pointed out a guy blowing huge bubbles down in
Piccadilly and attracting crowds of kids. So with full police approval I started shooting kids. I have
to say deciding where the shot was in the chaos that was going on was a test and I was relieved
to get at least one that had some merit beyond being simply a photo record. Wet weather turned up on cue and allowed me to explore the determination with which tourists continue doing what they’d come for and I was also impressed by how they refused to stop seeing the sights on their
last day, trailing bags around with them after checkout, until it was time to head for the airport or Eurostar. I have often been asked how I got so close in many shots and yes a wide angle from the hip played a role, but I have to admit the thin end of a nice constant f2.8 35-100 Lumix lens on the micro 4/3 Oly was also a great help.
All images Š Mike Longhurst FRPS BELOW With police approval
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LONDON INTERVIEW
DARREN WOOLWAYARPS The freelance commercial photographer’s main areas of interest are Automotive, Car and Still Life. In his spare time, he loves to dive, fish and travel – and, so he told Dave Harris LRPS when he came to interview him, he has hopes to combine his hobby with his profession. Find out what he would like to do.
© Mike Chopra-Grant ARPS
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Can you give us a little history as to how you
as a car photographer for various magazines
came to be a professional photographer?
including Classic Ford, American Car, Custom
Back in 2003 I was studying for a degree in
Car, Performance Vauxhall and Retro Cars.
Garden Design when another student showed
Although photographing these beautiful
me some images from his DSLR camera - they
vehicles is great fun, my passion really lies
were amazing. Pin-sharp with lots of detail. This
in advertising. It is my goal to push forward
was the start of my passion for photography. I
into photographing campaigns. Having been
quickly bought a model similar to my friend’s -
brought up with motors since an early age,
a Canon 350D - and so my journey began.
automotive photography comes naturally
I went to work for Royal Caribbean as a
to me. Although the mechanics of the car
cruise ship photographer. When I returned,
never really interested me, the design and
I continued to cover weddings and portrait
shape of the body and interior did. It was that
sessions part-time and did a bit of teaching
appreciation of this design that led me to
photography privately, also working full time
photograph cars. I feel I am able to take an
in a school as a web and graphic designer.
object that is already beautiful and enhance
In October 2012 I decided to give myself
that beauty to its fullest.
the time to refine my photography, find my specialism and build industry contacts. I
Did anyone inspire you?
enrolled at Ravensbourne College to study
In terms of photographic inspiration, it was
Digital Photography and graduated with
Tim Wallace. He showed me that you can start
a first class degree in the summer of 2015.
photography later on in life and build a career
Since leaving University I have worked mainly
from it. My other inspiration is my fiancée, Dora.
RIGHT ‘One of my favourite images I have taken to date is the 2015 Citroen DS Prototype. I love the flow of the image, the wide stance of the vehicle, and the subtle inclusion of the tourists in the background.’
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LEFT ‘I really enjoy my image of a BMW 218d which is falling into bits. The idea behind this is that lots of people dream of owning a BMW, but as they start to wake from their dream, the car disappears and fades away.’
After being made redundant for the second
What’s been your most challenging
time she encouraged me to follow my dreams.
assignment?
What are you trying to say with your images?
My most challenging assignment to date is
With my images I want to create a story. When
one that I am currently working on. I have been
I look at each car, I see it has its own character.
asked to create moving image as well as stills
And that character will determine how I
and I have done very little moving image work.
photograph it, how it is lit and the location that
It is the first RWB Porsche build by RWB UK
I shoot it in.
and I have to document the build and the final stills sets. It includes many sponsors both on
Do you have any unfulfilled ambitions?
the automotive and photographic side. This
There is one thing I would love to do. For many
has meant liaising with lots of creative and
years I have been in touch with Scubazoo in
marketing people to make sure we have the
the Maldives who produce all the footage for
best equipment and brands involved, and that
the Discovery Channel. In the Maldives there
it receives the highest amount of exposure.
are issues with coral bleaching and fish species
The car’s design has been used in The Need for
dying off. My plan, as a qualified scuba diver, is
Speed video game and has a massive following.
to document the devastation and ask questions
The last GoPro video of a build hit 10.5m views
around how much is to do with global warming
on YouTube, so I am really feeling the pressure.
and how much is to do with pollution from the
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run off of rubbish. I have been warned that this
Is professional photography a viable income
is a really risky project but is something that
stream in our fast-changing digital world?
I am really interested in. If anyone would like
You can earn a good living from photography
to fund this project for me I would be most
and some people can become rich from it, but
grateful!
it doesn’t happen overnight. You can become a
salaried photographer and jobs will range from
Give one piece of advice to an aspiring
£14-35K but quite often you are signing away
photographer.
your copyright. It’s hard to earn a good living
Never give up if this is what you really want.
doing ‘Editorial Only’. You need to be shooting
You will get plenty of knock-backs on a daily
for lots of magazines to get regular enough
basis but you only need one person to say
work to earn a living. There is good money in
yes. Things do not always move as quickly as
advertising and fashion but there is also a lot of
you want them to. Remember your urgency to
competition!
get somewhere is not the same as someone else’s urgency to commission a piece of work.
How do you see yourself five years?
Network a lot, be seen and create alliances with
In five years from now I see myself working
other photographers and brands. Remember
mainly on automotive advertising projects.
the acronym for FAIL is First Attempt In
This is a natural follow-on, as I now work mainly
Learning. There is no such thing as failure, only
editorially. On a personal level I want to buy a
giving up. Learn as much as you can from your
house and get out of the money grabbing pit of
failed attempts and eventually you will succeed.
renting; and to get married to my fiancée who I have been with for five years.
All images © Darren Woolway ARPS 11
CAPITAL INTEREST EXPERIENCE
ABOVE The David Bowie wall was from the Berlin Gallery - Camera Work
PHOTO LONDON 2016 REFLECTIONS BY Stuart Smith
Photo London is an ambitious art fair, set primarily within the palatial labyrinth of Somerset House. With over 80 galleries displaying photographic art from all eras. If you ever do go to Photo London, my one big tip would be plan in advance. There is a lot to see. For the photography art lover it is an Aladdin’s cave of delights, with temptations around every corner. This is, however, a largely commercial art fair and so less commercially compatible photographic exhibits are rarer. Picking highlights, from such rich offerings, is difficult but from the fairs headliners here are my impressions of four of the exhibits. Sergey Chilikov - Photoprovocations Sergey Chilikov has been linked to the Soviet Pop Art movement and Photo London under the curation of the Multimedia Art Museum brought together a collection Chilikov’s ‘new’ photography from the 1970’s Brezhnev era. Photoprovocations is a well-crafted portmanteau word, neatly summarizing Chilikov’s collection. The viewer is presented with photographs of subjects seemingly at ease away from the mainstream public gaze. In this relaxed space several photographs have women exposing breasts and lifting skirts in assertive provocation. This is an alien Soviet Union and reminds us that even in the strictest of regimes self-expression finds a way.
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Walter & Zoniel The artistic duo Walter and Zoniel have a heavily infectious enthusiasm for their work. Photo London saw them creating the largest Tintype photographs in the world by converting a cellar room in Somerset Houses into a camera to create full size images of people. The pair demonstrated the highly physical and chemically laden process that goes into creating their images. Theoretically, Tintypes last forever and are unique. Ironically, although digitized images are frequently stored and copied within the cloud of the Internet, there is concern about the archiving of them. This is because file formats, compatible software and hardware for displaying images, is constantly changing. Unlike a finished Tintype print, which is ready to be seen and physically robust, a digital image needs something to present it on. I think Walter and Zoniel through this project provoke questions about what are our images are for, why are we producing so many? Does it matter that we might not be able to view our current online images in 10 or 20 years time? Don McCullin Don McCullin has created many era defining images. Time and time again, he has spotted ‘the moment’ where one picture seems to say it all. McCullin has recorded war, social upheaval and the strife of day-to-day existence. However, in his later years he has shifted his attention to landscapes. Perhaps, unsurprisingly for a man who has seen so much pain there seems to be a moving melancholy to the scenes. The presentation of these in black and white adds to the haunting quality. Maybe it is because these landscapes, like McCullin himself, have witnessed much human drama and tragedy and his images reflect that. Craigie Horsfield Twelve is a selection of the Turner Prize nominated artists expressive and intimate portraits. They are presented on wall-sized prints and offer an incredible depth of quality. The subjects range in age and sex and are unsmiling. Go in close and you can see the texture of the subjects skin in sharp relief. Unlike advert hoardings of similar size, where flaws are edited away, Horsfield seems to have preserved them, treasured them. Through them and the often-intense gaze of the subject we are invited to connect at a deeper level. Conclusion There is a lot to take in at such a large-scale artistic event, like Photo London. An event, such as this in London, says not only is art important to the city but specifically photographic art is important. At a time when many photographers struggle to create a financially viable living with their art Photo London is a valuable rallying point in the artistic calendar for the capital. All images Š Stuart Smith 13
CAPITAL INTEREST SPECIAL
THORESBY THE END OF THE MINE Official Fujifilm X-Series Photographer Chris Upton ARPS talked to Capital Interest’s Peter Parker about documenting the final days of the last pit in Nottinghamshire.
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It was a chance conversation after a camera club lecture that led Chris Upton to the unique opportunity to photograph Thoresby Colliery, the last pit in Nottinghamshire, and the start of an amazing twelve month photographic project. Initially he thought he’d be allowed to visit a couple of times and that would be it. It never occurred to him that the project might develop in the way it did with a series of exhibitions, a book and extensive media coverage. Thoresby’s closure in July 2015 brought to an end hundreds of years of mining in the county. It was such a significant part of our industrial and social heritage and Chris clearly felt a real sense of responsibility to do his best to capture the spirit of the colliery and create an enduring record for posterity. As a Travel and Landscape photographer, Social Documentary was a new departure for Chris and he was faced with a number of decisions to take early on, not least how to present the images. He wisely decided to produce the project in black and white because of the nature of the subject, the timeless feel and the fact that the bright orange safety clothing would prove a distraction to the subject. The result is obviously a gritty feel to the pictures to reflect the industry but also a series that portrays a mood and sensitivity. 15
The images were printed on Fotospeed’s Platinum Baryta 300 paper and look stunning. An exhibition soon followed in Mansfield, featuring over 50 large framed black and white images. To support the exhibition and showcase many more images Chris decided to investigate producing a book. After much work and overcoming many hurdles he managed to obtain some sponsorship and self published the book, Thoresby The End Of The Mine. The exhibition and the book proved to be a great success. “The whole project has been a wonderful experience as well as creating a valuable archive. It stretched me as a photographer, taught me new things, raised my profile and opened up many opportunities. I can highly recommend shooting a project to inject life and purpose into your photography,” says Chris.
The book Thoresby The End Of The Mine is available from Chris’ website 330x240mm, Paperback, RSP £25 plus £4.99 UK p&p 138 pages featuring over 200 black & white images, the powerful quotes from the miners give us an insight into their work in this tough, uncompromising industry. This is a record of the buildings, the site and the people of the last remaining pit in Nottinghamshire, in it’s final days before closure bringing to an end hundreds of years of mining in the county.
All images © Chris Upton ARPS 16
THE REVIEW
By Lynsey Ford
FOX TALBOT: DAWN OF THE PHOTOGRAPH Exhibition Details Until 11 Sep 2016, open daily, from 10am to 6pm ABOVE Carpenters at work, Lacock, Wiltshire, William Henry Fox Talbot © Public Domain
The Science Museum celebrates the life and career of Victorian photographer and inventor William Fox Talbot with a new exhibition. Over 170 images from The National Photography collection have been selected, covering this invaluable exhibition of artistic endeavour, scientific discovery and industrial achievement. A leading Cambridge-educated scientist, Talbot’s techniques have formed the basis of World photography over the last 150 years, with an estimated 3.4 trillion images taken over the last two centuries. It was during his honeymoon to Lake Como, Italy in 1834 that he began to hone his photographic skills with a camera lucida. His scientific trials from the trip were a result of his failings to recapture the breath-taking scenery through his poor sketching of the local landscapes. Talbot started developing the salted paper and calotype processes, essential for the production of permanent photographs. Talbot placed writing paper in a very weak solution of sodium chloride, carrying out salt printing. Drying out the paper, Talbot lightly brushed silver nitrate across one side. This produced a coat of lightsensitive silver chloride which darkened from light exposure. He created a commercial photo
book ‘The Pencil of Nature’ between 1844-1846, which features prominently in the Fox Talbot display. Across the first five rooms of Media Space, the show concentrates on the enduring legacy of Talbot and his European counterparts including French rival, Louis Daguerre who devised the ‘daguerreotype’ (a polished image on a silverplated copper), and inventor Hippolyte Bayard. A section, ‘Sun Pictures in Scotland, 1845’, is dedicated to Talbot’s travels to The Highlands. Here, Talbot would take photographic engravings around Abbotsford, Melrose and Dryburgh Abbey. Beautiful images of family life are interwoven between the commercial images; Talbot’s daughter, Ela, poses serenely in white linen. Glass cases of artefacts also line the exhibition, where one can see apparatus from Michael Faraday, and private photo scrapbooks document life around Lacock Abbey, Talbot’s retreat. This great exhibition, co-curated by Greg Hobson and Russell Roberts, is superb for any budding photographer, who has a real passion for science and art. 17
DISTINCTION SUCCESSES
ROBERT GIBBONS ARPS
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LEFT Orange Frittalaria RIGHT Purple Calla Lilies
I gained my LRPS in June 2014 and like most, my panel was an eclectic mix of my best images of the previous few years. However, having decided to pitch for Associateship I knew it was task of a wholly different magnitude. I therefore chose a specialised subject I knew I would enjoy and planned my portfolio before shooting to show all of the images in portrait format so that when judged as a set they made for easy viewing. What also occurred to me was that success would only come if my panel stood out from the crowd and I had seen many brilliant flower panels in the past. I had to ask myself what I could bring to the subject that could match the level of excellence that had gone before me. I noticed that most flower photographs were generally ethereal close ups where the natural limited depth of field was exploited and sometimes enhanced to create a romantic mood. As beautiful as these photographs are, they can miss out some of the magic and intricate detail of the subject. I therefore decided to move in the opposite direction so that hopefully, I could present to the judges a fresh and exciting panel of photographs. I planned to show the whole bloom not just part of it and more of the stunning colour, detail, structure and texture of each flower by taking multiple exposures (up to 25) at differing focus points and merging them into one photograph with each flower sharply drawn. This of course is not a new photographic technique but it is a recent one and I had not seen it used so far with my subject which gave me a narrow window of opportunity. I am delighted to have been awarded the distinction of Associate of the Royal Photographic society in March of this year and the great sense of achievement this has given me. I’m sure my pre planned approach helped me reach my goal. P.S The RPS in Bath have asked to retain my prints for their educational programme and also to show my panel on the main website. Not surprisingly I have agreed. Have you ever seen a dog with two tails?
All images Š Robert Gibbons ARPS 19
DISTINCTION SUCCESSES
FRED ADAMS LRPS
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LEFT ‘Ebb & Flow is one of my panel favourites as it’s a spontaneous long-exposure visualisation of a location I’d never seen before, caught just before the light faded for the day.’ RIGHT ‘Hainault is another favourite, a shot that I’d pre-visualised in these specific conditions not having been to the location before - I was particularly pleased with this as I’d never seen anyone attempt anything remotely similar at the time.’
On reading about RPS as Britain’s oldest photographic institution a couple of years back, little did I ever imagine then that I’d ever aspire to an RPS accreditation, or that I’d have featured in the RPS journal as an RPS-365 competition winner. Having joined in early 2015 and having done my first two solo exhibitions in 2015, I possessed of a number of A3+ sized self-produced prints which acted as a prompt to finally enrol for the LRPS. I’d previously attended an LRPS advisory session as a spectator, which demystified what the RPS assessors would look for. I did also eventually book my own advisory day review, and I can’t emphasise enough the value of having my panel constructively criticised by two fellows of the RPS. Whilst being very encouraging, they also picked up on some minor fringing issues on a couple of pictures that stemmed from having printed so large. Lucky to have an Epson printer at home, I duly downsized the panel to A4 prints with 50 x 40 mounts, in the knowledge that my A2 exhibition mounts might have struggled to fit RPS HQ’s presentation rails! It was great to see the other panels on the day and I was duly impressed by the standard and diversity of other LRPS entrants covering many differing styles and subjects.
All images © Fred Adams LRPS 21
BREATHING LONDON The latest RPS London project aims to capture the diversity of London’s Open Spaces. It will run until Spring 2017, with monthly competitions and walks, workshops and events during the year. For June, the event organisers Judy Hicks and Jen Pedler have put together focuses. The two winners of our April competitions,
OPEN GARDEN SQUARES WEEKEND – 18th
selected by Award-winning wildlife and
& 19th June
landscape photographer Robert Canis, were:
In June we are going to run a special “On
Spring Energises Birds and Animals: Pat
the Spot Points League” based on Open
Simmons and Spring Energises People Too:
Gardens weekend. Spread across London and
Beverley Poynter. Congratulations to you both.
ranging from traditional private squares to
Your framed print will be winging its way to you
contemporary roof gardens, not to mention
very shortly. By the time you read this, the May
skips, barges, museums, schools and allotments
competition “Bugs in May” will have closed,
there should be something for everyone in the
but you have until midnight on 5th June to
programme. For Breathing Londoners, this
upload those fabulous images which you took
has to be the focus for the month. In addition
during the month. Please watch the website
to our postings, the website to watch is: Open
and FB pages for more details.
Garden Squares Weekend.
LEFT Winning image: Robin singing to his mate © Pat Simmons
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UPDATE Our “On the Spot Points League” competition will take place over the weekend: how many squares can we capture for BrL as a team in the two days? (Hint: all 200 we hope). How many will you be able to capture as an individual to
waterfowl on the lake, lakeside plants and
head up the bonus points league? (No hints
flowers and reflections, the famous fountains,
here!).
and the evening light on the river from the beautiful Peace Pagoda. Don’t miss this
All details to follow but do put the time aside
opportunity: you can sign up here to book
to join us as we plan to meet up on Sunday
your place.
19th after the gardens have closed in a Central London location to celebrate, to congratulate
FINALLY the Breathing London website has
the winner and – hopefully – to see each other’s
moved to its permanent home and we look
images on a rolling screen!
forward to seeing all your wonderful images.
OUTDOOR NATURE PHOTOGRAPHY WORKSHOP – 15th June This month we are running a very special
We do need volunteers to help out, particularly those willing to act as “Green Gurus” and take responsibility for their local Borough or Ward – but any offers of help are welcome.
evening Outdoor Workshop – our second in a series of four. Led by Robert Canis, we
Please contact Jen or Judy at greenlondon@
have obtained special permission to shoot
rps.org if you have even a few hours to spare
in Battersea Park, where we should find
occasionally.
opportunities to photograph herons and other
LEFT Winning image: A “Bum’Dance of Life © Beverley Poynter
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USEFUL LINKS
RPS LONDON GROUPS RPS LONDON BLEEDING LONDON BREATHING LONDON LONDON, CINE LONDON, NATURALLY LONDON, STREET LONDON, URBAN FIRST TUESDAY
Have you got a story to tell? Or pictures to show? Have you been on a trip, at a workshop or to a fair? Are you working on a project or preparing an exhibition? Have you met a photographer who your fellow RPS London members should know of or visited an exhibition they should see? We love to hear from you. Get in touch with Capital Interest to share your experience. Click here.
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INFORMATION & ADVICE LONDON, EVENTS LONDON, DISTINCTIONS LONDON, WEB NEWSLETTER