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Perspective DAVID BRYSON
Chair’s Point of view
Chair of the Archaeology and Heritage Group. DAVID BRYSON FRPS.
Geographical spread of members across the UnIted
AGM THanks to everybody who attended our online AGM via zoom where we arer all able to eet up and chat about our interests and where we were from. I n view of continuing restrictions virtual meetings will continue to be the norm especially with our members being so scattered about the UK and overseas.
Wanted
WE now have a new committee but there is still room for more members to gdt involved. We do need a member to update Aand develop further our RPS webpages, full trainiing will be available on the Umbraco sytem that is being used by the RPS. We also need more material regularly for Heritage Photography including portfolios of members work as I know lots of folks take photographs but don’t necessarily want to write long articles though these are still welcome.
RPS Strategic Plan https://rps.org/media/1t1drbcx/strategic-plan.pdf Our aim as anew committee is to try and align our aims and objectives with the RPS’s strategic plan.
photography for everyone’ applying what we do best
through
inspire, create and connect Our journal Heritage Phtography definitely show how we can inspire through our work, how we can create photographa and through our increasing online presence like facebook, https://www.facebook.com/groups/rpsah, how we can connect members and non-members alike.
If you have any ideas for developing the SIG further or for online talks using zoom please contact me. Just email me at heritage.editor@rps.org.
What is cultural heritage? Cultural heritage is the legacy of tangible and intangible heritage assets of a group or society that is inherited from past generations. Not all legacies of past generations are “heritage”, rather heritage is a product of selection by society.[1] Cultural heritage includes tangible culture (such as buildings, monuments, landscapes, books, works of art, and artifacts), intangible culture (such as folklore, traditions, language, and knowledge), and natural heritage (including culturally significant landscapes, and biodiversity). The term is often used in connection with issues relating to the protection of Indigenous intellectual property. The deliberate act of keeping cultural heritage from the present for the future is known as Preservation (US) orconservation (UK) which cultural and historical ethnic museums and cultural centers promote, though these terms may have more specific or technical meanings in the same contexts in the other dialect. Preserved heritage has become an anchor of the global tourism industry, a major contributor economic value to local communities.
PORTFOLIO Pathways through History. Michelle Yates ARPS
All the images submitted are of my own photographic practice, which document heritage from around the world. The idea of lived experience through applying Phenomenology. This is the philosophical branch which documents this idea that we all develop perception of the world through direct experience of place and space we are in. The black and white photography within the submission is my own self-directed project – Pathways through History. This series takes into account that pathways link us to history as we experience certain places and spaces. The chosen colour scheme is to advance the atmosphere and detail of the places I directly experienced as a practitioner. Recently as a practitioner I received an Associate level distinction from the Royal Photographic Society. This was received in recognition of undertaking a Masters in Photography at the University of Lincoln. Railway ruins – abandoned stations and trackway. These images are from my third-year semester A project back in 2015-2016 when I wanted to represent the idea that places like these are frozen in time and recreate memory for the viewer to experience. My practice of photographic heritage as taken me beyond UK shores and into the history of other countries. Black and white Photography – Phone Photography. Each one of the images are pure phone photography taken in black and white to document heritage through the lens of a different camera and reconnect the viewer to history by the connection of pathways. Other heritage none black and white. These examples show my exploration of taking heritage mainly houses as part of my practice within different landscapes. My main practice focuses around the documentation of heritage within the landscape to develop experience. In philosophical terms this could be linked through idea of Phenomenology that documents direct experience created by individuals of those spaces.
