JANUARY 2019
HERITAGE PHOTOGRAPHY
CONTENTS HERITAGE PHOTOGRAPHY
EDITORIAL
Journal of the Archaeology and Heritage Group
3 Perspective
January 2019
What is the heritage of heritage photography?
Editor David Bryson heritage.editor@rps.org Advisory Editor Eric Houlder LRPS Advertising enquiries David Bryson heritage.editor@rps.org
DAVID BRYSON
4 Gwil’s rant . . . GWIL OWEN ARPS
WEBSITES 5 Members’ websites
Archaeology & Heritage Group Committee Members
JOHN EATON, JIM SOUPER AND ANTONELLA BUCCI
Gwil Owen ARPS Chair heritagechair@rps.org
FEATURES
George Backshall LRPS Secretary heritagesec@rps.org
6-14 The Wooden Stave
Garry Bisshopp ARPS Treasurer
RICHARD K. EVANS FRPS
David Bryson Heritage Photography editor heritage.editor@rps.org Ken Keen FRPS Rodney Thring LRPS Jim Tonks ARPS Eric Houlder LRPS Published by the Archaeology and Heritage Group of the Royal Photographic Society, January 2019. Copyright in all text and photographs is 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. Cover photograph Wooden Stave Church at Gol, Norway. Richard K. Evans FRPS Printed by Lakeside Printing, Tonbridge, Kent, UK.
Church
Photographs inspired by an A & H Group visit to the Saxon church of St Andrew at Greensted, Essex.
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14-19 The Horbury Bells. ERIC HOULDER LRPS
Photographing the Bells as they were lowered for re-casting.
20-21 Mauchline Ware 19th Century Souvenirs ROBERT GALLOWAY LRPS
I recently found at the back of a cupboard, two small wooden boxes. . .
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HOW TO . . 22-23 Digital False Colour Photography DAVID BRYSON
Archaeological and heritage colour infrared photographs using a full-spectrum camera.
NOTICES 24 Annual General Meeting and future events. 2
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EDITORIAL
Perspective What is the heritage of heritage photography? DAVID BRYSON
F
ollowing my second committee meeting I took home with me a medium sized but heavy plastic box full of old journals from the Archaeology and Heritage Group ready to scan and inventory ready for archiving. This leads on to a change in my question to “What is the heritage of heritage photography?” or more accurately “What is the heritage of the Archaeological and Heritage photography group?” As a newcomer I don’t know all the names of the past but as I scanned all the pages of previous copies of journals, the Archaeolog from 1978 to 1980 and the Heritage Photography from Autumn 2009 to 2017, it is clear that we have a fascinating history and a wealth of photographic expertise and creativity in group members present and past. This wealth of archaeology, heritage and photography certainly needs to be more widely recognised, celebrated and available. The number of photographs represented through the pages of the journals can only be a small proportion of those residing in boxes, slide magazines and hard drives.
Heritage Photography and Archaeolog copies are in the Royal Photograph Society Stack at https://issuu.com/royalphotographicsociety/stacks/ This issue of Heritage Photography looks at a range of heritage treasures from the feature by Richard Evans looking at The Wooden Stave Church which was inspired by an A&H group visit to Greensted Church in Essex, through to Eric Houlder’s recording of the Horbury Bells being taken down ready for re-casting including a heritage photograph of the Bells’ installation in 1899. Robert Galloway looks at two much smaller treasures that have lasted time even though only meant as souvenirs with pieces of Mauchline ware. The issue also includes two new pieces; examples of members’ websites from John Eaton, Jim Souper and Antonella Bucci and a return to a recurring theme in older issues of “How to . .”. In this edition bringing up-to-date previous articles by Eric Houlder is David Bryson’s guide for creating digital false colour infrared images.
The back issues of Archaeolog and Heritage Photography are now online through the RPS’s subscription to Issuu.com.
DAVID BRYSON heritage.editor@rps.org
Archaeolog front cover from 1979 (Eric Houlder LRPS).
Heritage Photography front cover from 2010. 3
EDITORIAL
Gwil’s rant . . . . . Chair of the Archaeology and Heritage Group. GWIL OWEN ARPS.
M
ay I wish you all a belated happy new year. Here is a brief note keeping you up to date with what the group’s committee is doing on your behalf, and how we might foresee the future. The group has three main activities; the journal, our annual members’ showcase and the more ad hoc photographic outings arranged by individual members. The journal, with its new editor, continues to be splendid - enough said. I was pleased to see a full room at the last showcase. For next year we will have a larger room, still in the Leatherhead Institute, and still manage by the indefatigable Mike Sasse. The outings remain sporadic, relying, as they do, on individual members suggesting venues in their own neighbourhood. A plea, therefore, to you all for suggestions for a good day out. You will have noticed, I hope, that our editor has started to put into an accessible on-line archive all the past Heritage journals. The group’s paper archives are also being inventoried and collated for archival storage - where we know not yet. Most of these old journals lie around in the attics of the group’s officers - but not all. If you have issues dating back to the early days of the group, please let David, our editor, know.
Though I live and work happily in the modern world it is not really “my world” now. I’m sure you will have seen where this preamble is leading. Yes, a hope, nay a plea, that younger members will become active in the management of the group. We would all like to see greater participation at our events, especially in suggesting and organising local visits to heritage sites. The committee, too, bearing in mind its ancient demography, needs new recruits, not necessarily to jump in cold; perhaps just communicating with us to discuss what we should be doing to secure the future of the group. Think about it. Of immediate concern our treasurer, Garry, is having to stand down for health reasons. In the spring we will have to elect a successor. Volunteers, please come forward. When you read this the days will be getting longer. Get out the camera. Have fun. P.S. Do not forget the AGM!
GWIL OWEN ARPS
This reference to our past glories has led me on to ruminate on how the group has changed over the last four decades. Initially it was the creation of a small group of photographers working in Archaeology, seeking to promote technical excellence in that general area. Then the intended output was the printed image. There was also a very active set of members producing stunning monochrome prints of ecclesiastical architecture, the late Dr. Richard Ingle being a prominent exponent. As time passed and the group’s interests broadened, we saw the rise in popularity of the projected image, and in recent times the digital image on screen has become the major outlet for photography. The world of mostly wonderful monochrome prints and a relatively narrow subject range is long gone. But……The A&H group is still managed by - broadly speaking - an older generation. I myself have been a member since the group’s third year (I think).
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https://www.merriam-webster.com/dictionary/rant Editor’s note: Last definition is best!
WEBSITES
Members’ websites This new section for the journal aims to encourage links and hopefully collaborations in the future between members through sharing our online photographs and stories. Please e-mail the editor for your website or online publication to be featured. JOHN EATON ARPS
My photography is driven by the exploration of form and function; both in what man and nature create individually and collectively, to generate a visceral response to my images in the viewer causing them to re-appraise and look again at perhaps familiar scenes. I have always favoured black and white photography, as for me it produces a much more intense and evocative image and response. My exploration of man-made subjects is focused in architecture (my father, brother and son are all architects), and especially on one of the finest achievements of English architecture -- the great English medieval cathedrals. https://www.englishmedievalcathedrals.com/
JIM SOUPER
Jim’s work covers a wide variety of landscape and heritage photography. Look out for more of JIm’s photography in forthcoming editions of Heritage Photography https://www.jimsouper.co.uk/ ANTONELLA BUCCI “SYRIA IMAGES FROM TIME”
Pictures taken in Syria at the beginning of 2011, few weeks before the beginning of civil war are particularly dear to me. They are childhood memories for me but have now become memories for all of us. I have printed them in an Italian book. The proceeds of the book are financing part of the project named “Back to School” of Terre des Hommes. https://www.antonellabucci.it/
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FEATURES
St Andrew’s church, Greensted, is Europe’s oldest wooden church. The Saxon timbers, ‘staves’, forming the original nave can be seen to the right of the porch.
THE WOODEN STAVE CHURCH An A & H Group visit to the Saxon church of St Andrew at Greensted in Essex, believed to be the oldest remaining wooden building in Europe, spurred Group member Richard K. Evans to seek out and photograph other such churches, notably those in Norway.
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reensted church is the only wooden church in Europe to have survived from Saxon times. Throughout the continent, timber was the readiest available building material: but compared with stone and brick was the most likely to decay, collapse or catch fire.
Visiting Greensted with the Archaeology and Heritage Group, and being able to photograph those Saxon timbers, led me to search out other surviving European wooden churches.
So it is remarkable that Greensted – whose construction began, according to tree-ring dating of its timber walls forming the nave, in about 1060AD - is still recognisably Saxon, and still full of worshippers every Sunday.
Apart from one in Germany’s Harz Mountains, most of those remaining churches, about 30, are in Norway – that country’s major contribution to Europe’s architectural heritage.
Viking ships and wooden buildings
The interior of Greensted church, looking east. The arch and brick chancel date from about 1500AD.
Around the time that Greensted was being built by the Saxons in Essex, King Olav introduced Christianity to Norway. Viking shipwrights had already developed a unique skill in building oceangoing vessels, and it was natural that the earliest church-builders turned to the Vikings’ design and construction methods. Of the estimated 800 wooden churches raised in Norway in the ensuing 150 years, it is often said that they resembled Viking ships turned upside-down. The initial, 12th-century ground plan comprised a simple rectangular nave (‘skip’, or ‘ship’ in Norwegian) and square chancel, often with side aisles. Roofs were tiled with birch bark, and steeply sloped to reduce the build-up of snow. The earliest and simplest construction method was to place debarked tree trunks vertically, at around six-foot intervals, into holes dug directly in the ground. These uprights, the ‘staves’, were then joined and infilled by vertical planking to form the walls. (At Greensted, the half-section tree trunks forming the vertical staves were placed adjacent, tongued and grooved, with a tie beam across the top). Due to the lack of dry foundations, the buried part of each upright was prone to rot and the building soon became unstable. More practical, and the basis for today’s remaining stave churches, was to
Favang church, in Norway’s Gudbrandsdal valley, was rebuilt in cruciform style in the 1600s. 7
Dragons-head finials and ornate woodwork are typical of many of the larger churches – here at Gol, built around 1200.
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Interior of Gol stave church, with its painting of The Last Supper behind the altar.
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Heddal stave church, completed around 1250, is Norway’s largest. Note the separate wooden bell tower.
set the foot of each stave into holes cut in huge horizontal sill beams, themselves raised above the ground on boulders or a course of dry stones. Cross beams were laid across the top of the staves; above them, the roof framework consisted of selfsupporting pairs of scissor beams - a design widely used in the stone churches being built by this time in England and France. Bell towers were not part of the church proper but separate wooden buildings nearby. Once this basic design was settled, elaboration became possible. The larger 13th-century churches featured multiple, pagoda-like roofs capped by conical towers and dragons-head finials projecting from the gables - again, reminiscent of the prows of Viking ships. In the larger churches the wooden sill beams were extended outwards at the sides and eastern end to support an enclosed ambulatory; women and the 10
sick could congregate here to listen to the service through small openings in the inner walls. It was here, too, that the men left their weapons before entering the church.
Plain, utilitarian interiors Stave church interiors were originally stark and comfortless. There were no seats, and little decoration or furniture except for the altar, pulpit and font. They were also extremely dark, the only daylight coming through small openings high up on the side walls. Over the ensuing centuries, the majority of stave churches rotted away, or were demolished and their timber used for farm buildings and cottages. Of those remaining, some were rebuilt or extended during the Renaissance period, often with transepts to form a cross or ‘crucifix’ style.
One of four stave churches in the Numedal valley, this at Rollag dates from the mid-13th century.
The 12th century stave church at Uvdal, overlooking the Numedal valley, typifies the remoteness of many of these buildings. 11
Sunday services are held in Heddal church throughout the summer. Note the richly decorated altar.
The same period also saw some interior decoration - paintings and carvings of religious themes, or the floral ‘rose painting’ that flourished in the county of Telemark.
High Dynamic Range (HDR) recording and merge the resulting images in post-processing.
Photographing the churches
About half of Norway’s preserved stave churches are located in the principal valleys radiating from the Oslofjord – Numedal, the Valdres valley and Gudbrandsdal. North of the Jotunheim mountains are the churches of Vågå, Lom, Rodven and Haltdalen, the latter the only remaining example of the east Scandinavian type with a single arched roof. The remainder lie towards Bergen and the western fjords.
By the late 19th century, Norway recognised the value of its now almost unique stave churches. Today, those that remain in their original locations are carefully preserved, while three or four have been transported and re-erected on outdoor museum sites which re-create Norway’s rural past. Most are open throughout the day, and interior photography is welcomed. The main technical challenge is lack of ambient light: the few windows are small and usually high up, so some form of additional light is essential. Off-camera flash, preferably more than one unit, can be triggered wirelessly or by the camera’s inbuilt flash. Don’t overdo the lighting – some shadowed areas can add a sense of mystery appropriate to these historic buildings. I also carry a couple of handheld battery lamps, with a colour temperature approximating daylight. Where windows do appear in a picture, to record both highlight and shadow I employ some form of 12
Seemingly dominated by its separate bell tower, Vågå church was completed in the 1130s and rebuilt in cruciform style about 1625.
Planning a tour
From Oslo a tour of the three valleys mentioned, visiting the principal stave churches and other historic sites, might occupy a week; a few days could then be devoted to a circular tour encompassing Vågå, Lom, the Sognefjord and Bergen, returning via the southern churches of Rollag and Heddal.
RICHARD K. EVANS FRPS
The simple construction of a stave church is well shown here at Torpo, dating from around 1170. The unique painted ceiling canopy was added a century later. 13
FEATURES
The Horbury Bells For some time, the current bell-ringers have wanted the bells to be re-cast, and as the men from Taylor’s, bell-founders of Loughborough, arrived to remove the bells. I found myself standing outside the church ready to record the event. ERIC HOULDER LRPS
The 1899 picture of the bells ready for hanging. Only the vicar, partly cut off the right edge is named, the Rt. Revd. Canon Sharp.
T
he current parish church in Horbury, a small township just west of Wakefield, was the gift of the renowned architect John Carr, who grew up and served his apprenticeship there. At the time he made the gift, the current church was a very dilapidated Norman structure badly in need of renovation or replacement. Carr who is noted chiefly for his bridges throughout the north, was so successful that he was serving as Lord Mayor of York at the time he suggested the new building, which eventually covered his family mausoleum. The latter was only rediscovered recently. St Peter’s and St Leonard’s was completed in 1794 at a cost of £8000 (£880,000 in today’s
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money) plus a further £2000 for the organ and the bells. The classically inspired design was typical of Carr’s style, and something of a coup for tiny Horbury. Five of the bells were cast for the church at the Whitechapel bell foundry in 1792. Three more were added when the rotunda and spire were re-built in 1899, a tenor, a treble, and a re-cast of one of the originals, total – eight bells. Luckily for us, a contemporary photograph exists of the men who played a part in the removal and re-hanging of the bells in 1899, though it is only a fairly-coarsely screened published version which survives.
St Peter’s & St Leonard’s church. Neither crane nor bells are visible in this picture, taken from the front.
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The 7.5mm shot, with my wife Joan’s lovely apricot jacket in the foreground giving necessary depth to the image. 16
Steve Westerman with the last and heaviest bell. Note the rope around its belly, to prevent it striking the crane as it swings out.
The largest bell being lowered into place. Steve hurried down from the belfry and was just in time to help guide it to the ground. 17
For some time, the current bell-ringers have wanted the bells to be re-cast, and have been raising money for this purpose. Finally, on September 28th 2018 the crane and experienced men from Taylor’s, bell-founders of Loughborough, arrived to remove the bells. With the largest weighing as much as a small car, this demanded the greatest skill and judgement. Luckily, the wife of one of the campanologists is a friend of my wife, and extended an invitation from Chris, her husband, to me to be present. Thus I found myself standing outside the church with a small group of spectators on a lovely autumn morning ready to record the event. By the time I had parked and found the church, the six smallest bells were already lined up against the wall, and Steve Westerman, the man in charge, was beginning to manoeuvre the next bell, now freed of its headstock, on to the ledge of the bell chamber, from which the lower louvres had
been removed. The large lorry-mounted crane, controlled by another skilled man using a gadget like a TV remote, had its jib above the window with immensely strong straps already fastened to the bell. A rope encircled the latter’s belly, to prevent the bell swinging back, and striking the crane as it swung free of the ledge. The whole of the side of the tower and church was in the shade. To begin with I fitted my 7.5mm f3.5 Samyang to my Lumix G7 for an overall shot of the layout. The Samyang is not electronically coupled to the camera, so aperture priority AE is used with manual focussing and aperture selection. Then I changed to my 45-200mm lens with shutter priority AE at 1/650th second, aperture f8, and auto ISO, which gave me an average ISO of around 250 for most shots. I chose face-detection AF as Steve Westerman was in most of the shots with the crane and the bell. When the AF failed to detect
Taken from the same viewpoint as the wide angle photograph showing the crane and belfry window in their context. 18
My final group image using just a touch of flash, as I learned whilst photographing weddings fifty and more years ago.
him, the camera reverted to multi-field focusing. As a photographer who grew up with fully manual cameras (and even glass plates!), I always utilise the modern facilities we pay for in our expensive instruments. As each bell was lowered, I walked across the road to record its arrival on the ground. Here, the bright orange of the crane-operator’s overall was a gift to the photographer. For my first bell, I left the 45-200mm lens on and found that even at 45mm – 90mm 35mm equivalent – there was insufficient room, so for the last bell I quickly changed to my standard 14-45mm as I crossed the road. This was much better. Once the full chime (is this the correct collective noun?) was on the ground, the bell-chamber crew, including my friend Chris, came down demonstrating to everyone just how filthy the work had been. They rushed off to wash and change, ready to re-enact the 1899 group photograph. For this, Chris had put together an outfit reflecting the rather formal Victorian garb worn by his predecessors. Steve and his crew disappeared to eat and drink before loading the bells and heading down the motorway. With everyone clean and ready, the vicar arrived in his full outdoor kit. In the original picture, the vicar, the Revd. Canon Sharp is half trimmed off on the right hand margin. To avoid this I put him well inside
the frame on the right, posed two of the ladies sitting on bells in front of the men and the other on the back row, and fitted my Mecablitz flashgun into the accessory shoe as the entire scene was in shadow. Selecting aperture-priority AE would allow the camera to choose a sync speed to just brighten up the faces without being obviously flash-lit. Having done this, the photographer from the local paper, who had missed all the action, re-posed everyone and set up two powerful Elinchrome units on stands, radio-controlled from his camera. I took a couple of this pose as it seemed a shame not to, still using my single flash. Later, at home, I processed the resulting images in Affinity Photo. I corrected the slight aberrations in my 45-200 lens’ images, and gave all the pictures my usual settings. I printed copies of all the best for Chris and Margaret, and sent copies to the local newspapers. In particular, I made A4 portrait montages for framing, with the 1899 picture at the top, and the modern group picture at the bottom, clearly labelled. Sadly, in the earlier image only the vicar, the Rt. Revd. Canon Sharp, is named. Hopefully, when I receive a list of names from Chris, I shall be able to make another print of the modern group fully annotated, for posterity.
ERIC HOULDER LRPS 19
FEATURES
Mauchline Ware 19th Century Souvenirs I recently found at the back of a cupboard, two small wooden boxes. They look old but well made and have survived in good condition. I was intrigued to know more about them. ROBERT GALLOWAY LRPS
Figure 1. The box (65mm wide) decorated with a transfer of Burn’s cottage.
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recently found, neglected and forgotten at the back of a cupboard, a small wooden box, Figures 1 and 2, and a wooden ‘money box’ in the shape of a barrel, Figures 3 and 4. They looked old, not of significant monetary value, but well made and have survived in good condition. I was intrigued to know more about them. I found that they are of a class of small items made usually from sycamore, decorated with a simple black and transparent transfer and varnished with a characteristic high gloss hard yellowish lacquer, and are known as Mauchline Ware 1,2. ‘Mauchline’ being the name of the small town in Ayrshire, in Scotland,
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where the largest manufacturer of such items was located3. They were also made elsewhere in Scotland in smaller quantities. Principally they were “inexpensive” souvenirs for 19th Century travellers, mass produced but of good quality so that many have survived more than a century.
Prints and places The box in Figure.1 shows the poet Robert Burns’ cottage in Ayrshire (as is Mauchline) and dates from before 1910 by which time the production of Mauchline ware had greatly declined.
Figure 4. The two parts of the barrel which fit together perfectly as in, Figure 3.
Construction
Figure 2. The box open. The hinge and lid clasp are of thin metal and fixed by pins.
Note the quality of construction, the excellent fit of the box lid and of the two parts of the barrel. The joints between the sides of the box are not simple butt joints, instead one side fits into a step formed in the end of the adjacent side so that the box can be held firmly together while the glue sets without any possibility of collapse, as would happen with butt joints. It would be interesting to know what machinery was used in the production of Mauchline ware.
Photographic information Camera Sony SLT A77, ISO 200 or 400, 90mm Tamron Macro Lens, mostly at f22, 1/10 to 1/60 sec. Lighting using two rectangular diffuse LED panels 175mm x 110mm (Toazoe T119S) 15W each.
References 1. http://www.ntsayrshire.org.uk/MeetMauchlineWare 2. http://www.bobbrooke.com/mauchlineware 3. http://www.ayrshirehistory.com/mauchline_ boxworks 4. http://www.seymourstreet.org/history-ofseymour-st
ROBERT GALLOWAY LRPS
Figure 3. The barrel ‘money box’ which measures 77mm high. The slot, 33mm long, would allow a Victorian penny to pass through.
The barrel shaped ‘money box’, Figure. 3, shows the Wesleyan Methodist Church Lisburn, in Ireland, and so may well have been produced as a souvenir for the opening of the building in 18754.
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HOW TO . . . .
Digital False Colour Infrared False colour infrared images for archaeological and heritage photography can be created using a camera that has been adapted for full-spectrum photography. DAVID BRYSON
Figure 1. Left, Colour record of oil painting before restoration Right, Digital False Colour Infrared image note especially the difference in the sash.
S
ince the demise of Kodak False Colour Infrared people have been chasing alternatives, Aero colour infrared, and remaining stock. For example through e-bay selling for £40-50 per roll for Aero 120 or 35mm.
However with certain limitations false colour photographs can be created using a camera that has been adapted for full-spectrum photography i.e. glass replaced by quartz so camera can record ultraviolet, colour and infrared.
“In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.”
The aim is to take two photographs one after the other a Colour RGB record, with a filter designed to remove ultraviolet and infrared (B+W Schneider 486 interference filter) and then infrared, using which ever filter is preferred in terms of depth of cut, for example Kodak Wratten 89B, 88A, 87 or equivalents from other manufacturers. The choice of infrared filter will affect the colour combinations in the final image.
https://en.wikipedia.org/wiki/Infrared_photography
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Figure 2. Left, Colour record of berries and leaves, Right, False Colour Infrared film.
Figure 3. Left, Colour record of berries and leaves, Right, Digital False Colour Infrared.
Sequence for creating a false colour infrared image: 1. Load both colour and infrared images into Adobe PhotoShop. 2. Go to colour record and select channels. 3. Select blue channel and delete the image. 4. Select and cut the image from the green channel and paste into the blue channel. 5. Select and cut the image in the red channel and paste into the green channel. 6. Select your infrared image and choose a channel, which channel contains the infrared image this can vary between cameras, or convert the whole file to greyscale. 7. Select and copy the infrared image and paste it into the red channel of the colour image . 8. Then create a copy of the file using ‘Save as’ to avoid overwriting the original colour photograph.
Anyone who has used Kodak False colour infrared will recognise what is happening. When using Kodak False Colour Infrared film a Yellow filter, usually Kodak Wratten No. 12, is used whenever photographs are taken so blue is not recorded. Then the development process renders Green as Blue, Red as Green and Infrared as Red (Kodak 1981). There are certain conditions for photography. Objects should be still enough that a sequence of exposures can be taken with no change in position in between. This means that a tripod or copy stand and still objects are ideal, flash can also be used. As the two images are going to be combined any change in registration will affect the final image so it is best to focus using the colour view and use sufficient depth of field to allow for infrared focus shift. Kodak (1981) Applied Infrared Photography. Rochester: Eastman Kodak, Publication M-28.
DAVID BRYSON 23
NOTICES
ANNUAL GENERAL MEETING AND MEMBERS’ PRINT DAY 30th March 2019, 10:00-17:00 This event will take place at the Leatherhead Institute, 67 High Street, Leatherhead, Surrey, KT22 8AH,in Room G6.
Annual General Meeting 10:00 Doors will open refreshments will be available. 10:30 Formal business commences. Please support the A&H Group by coming along to the AGM where all Group members are welcome and also encouraged to consider serving on the committee. Offers of help throughout the year are also especially welcome to run events in your own locality. This event is a good opportunity for members new to the Group, or those interested in joining it, to meet members and find out about the Group’s interests and photography. Although only Archaeology & Heritage Group members may attend the AGM, a warm welcome is extended to all RPS members who wish to attend the print sessions.
Members’ Print Day Following the formal business of the AGM, we hold our Annual Print Day. This is where Members are invited to bring some of their prints to show and discuss them. We break for lunch, with members making their own arrangements (many take lunch at the nearby Edmund Tylney), after which the Annual Print Day continues. Please let us know if you want to bring
some work to help with planning the day. If a late minute decision bring some along and we will also try to schedule them. We don’t normally give advice for those seeking RPS Distinctions, if that is the case please contact The Secretary in the first instance. Also please contact The Secretary, George Backshall, where you plan to bring prints. hertitagesec@rsp.org
GLOUCESTER CATHEDRAL 21 February 2019, 10:00-16:00 Join Ken Keen FRPS visiting Gloucester Cathedral.
CAMBRIDGE MUSEUMS 13 April 2019, 10:00 - 16:30 A visit based on the three central museums of Archaeology and Anthropology, Zoology and Geology. Each of these presents its “wonderful things” in a slightly different way. The theme of the day is “What is the purpose of a museum?”.
AMBERLEY MUSEUM & HERITAGE CENTRE 15 May 2019, 10:00 - 16:00 We are arranging what promises to be an interesting visit to this unique Museum and Heritage Centre set in the folds of the South Downs at Amberley just to the north of Arundel in West Sussex. The Museum web site highlights the main attractions where there will be many photographic opportunities of a wide variety of heritage subjects. For further details please go to the group’s web pages on the RPS site at http://rps.org/ Home/Special Interest Groups/Archaeology and Heritage.