RPS-Benelux Chapter eJounal - volume 22 - Spring 2021 by Royal Photographic Society

VOLUME 22 / SPRING 2021

WWW.RPS.ORG

ACKNOWLEDGEMENTS

VIEW FROM THE RPS BENELUX CHAPTER ORGANISERS

PAINTERS HAVE ALWAYS USED LIGHT AND FORM STUDIES Achieve the best you can. These Corona Times can really influence our photography. Now is not the time to get five models at home in your studio but some searching in your The Royal Photographic Society Benelux Chapter Copyright The copyright of photographs and text in this eJournal belong to the author of the article of which they form part, unless otherwise indicated

cellar or attic can get you some objects for light or form studies. With just a candle or a complete studio, it doesn’t matter. Painters have always used light and form studies. Getting a better understanding of the lenses in your camera bag can also be interesting. What depth of field or “bouquet” does in a close range etc. There is a lot to look at. I reproduce many paintings, a perfect colour calibration requires some time but is oh so important. Once you have achieved this you can go in any artistic direction. As Chapter we are introducing many new online initiatives. From guest presentations to a discussion of iconic photos as well as our usual study group sessions. In this edition we have an interview with the Magnum photographer from Gent, Carl De Keyzer. A photographer with an amazing amount of work from around the world today.

Cover photo © Carl De Keyzer - (GOD INC II) Clermont - Florida - USA - 2019 Jesus Movement Tent

From religious sects in America to a series about borders in Europe. From page 4 you can read the article. Photo Festival Pelt is going ahead since the most activities will

Editor & Designer eJournal Armando Jongejan Proof reading Dawn Black Webmaster André Meyer-Vitali Liability Disclaimer The author of an article is responsible and liable for all content, text and images provided by them. Neither the RPS Benelux Chapter nor the editor is responsible or liable for any content therein Photo Requirements 2000 pix long side and quality 8 no watermark or text in the photo and no borders around the photo

take place outdoors. The indoor events will likely be moved on to September – towards the end of the festival. Our RPS Workshop weekend will need to be moved to a Corona Proof date. We are also preparing for our AGM on 23rd March, the times we are in obligate us to have a virtual meeting. Following our AGM we will have guest speaker Colin Harrison FRPS FBPE FIPF MFIAP MPAGB MPSA GPSA EFIAP/d3 APAGB AWPF. More info see page 46. Enjoy the eJournal.

Carol Olerud ARPS and Didier Verriest ARPS

4 12

IN THIS ISSUE - SPRING 2021

14 36

VIEW FROM THE RPS BENELUX CHAPTER ORGANISERS Carol Olerud ARPS and Didier Verriest ARPS

IN THIS ISSUE

CRITICAL DOCUMENTARY PHOTOGRAPHY Carl De Keyzer

14 THE BATTLE OF HÜRTGEN FOREST Armando Jongejan FRPS 24 PHOTOGRAPHERS OF THE PAST Peter Hayes FRPS 36 MY COVID ANTIDOTE Héctor B. Epelbaum ARPS 44 UPCOMING EVENTS Carol Olerud ARPS 46 VIRTUAL MEETING Colin Harrison FRPS 50 A PHYSIOTHERAPIST BECAME PHOTOGRAPHER Felicity Handford

The RPS Benelux Chapter INTERVIEW

Carl De Keyzer "I want to question the images that are in our memory. There is always a double level in my work; what you see is true and at the same time not true"

CRITICAL DOCUMENTARY PHOTOGRAPHY: GOD INC I & II an interview with Carl De Keyzer by Armando Jongejan Carl De Keyzer (Ghent - Belgium, 1958)

You made different books. They are

studied photography at the Royal Academy of

narrative reports, often including multiple

Fine Arts Antwerp (Koninklijke Academie voor

layers. Sometimes by connecting the

Schone Kunsten - KASK) and has been a full

foreground and background and then again

member of Magnum since 1994. His photo

through what is happening in the photo

work is thematic and is often about colonialism,

(which is different from the two layers you

history, propaganda, power and religion.

describe in your quote - see page 4). What do you pay attention to when you are out and

Since the 1987 publication of the photo book

about? I always find the background first. If it is

India, I have followed Carl's photo work and in

in place, you can continue to build. Then I see

2010 I visited the Congo exhibition in FoMu

whether something special is happening in the

(Photo Museum) - Antwerp plus from time to

foreground in relation to the chosen subject or

time I buy a book of his photo work. For me a

concept. Often I start with one interesting topic

book is more tangible than a file on the

compared to the background, then I add

computer as you can look at it more calmly and

elements, paying close attention to having an

absorb the content much better than from a

element too much.

screen. Plus, websites are a bit more volatile in nature!

Last fall the photo book God Inc II was released. There are actually two photo

How do you look back on your photo work

books, because your photo work from God

from India in 1987? What does this photo

Inc I (1992) is also included here in the form

work evoke in you? This is still some people's

of a tête-bêche design book. Why a second

favourite book of mine. Perhaps because of the

book on this theme? God Inc I was 30 years

open-mindedness - a young backpacker with a

ago and I like projects with two books (Congo,

camera who is looking for aesthetic images.

WWI, Climate, communism and now also

That is still the benchmark for most

religion in the US). The world and also the world

photography enthusiasts; sadly I would dare

of religion seemed to me to have changed

say. Yet this already contained the beginning of

enough. New technology, the same story that

a concept, showing the expected clichés with a

people sell but visually packaged differently.

twist.

Propaganda in its various forms has always fascinated me because it is so visual and ideal

Then you made the series in the former

for critical documentary photography.

Soviet Union and in the United States of America. Why the choice for both

What are the biggest differences, besides

unions? The USSR was a happy coincidence.

black and white and colour

For India I took the cheapest flight with Aeroflot

photography? God I had the conservative 60s

and that is also how I ended up in Moscow. The

as a concept with Life magazine and the first

world I saw there, for a moment, was enough to

great evangelists. God II is about fake news in

devote a book to it. The theme was quickly

Trump's time with the latest technology: mobile

chosen after the fall of the wall. In the US, I

phones, GPS, internet, email, streaming. Hence

chose a subject that I found special, namely

the adoption of the font from World News

religion in the land of the winners of the Cold

Today (a newspaper with hilarious fake news).

War.

For me, religion is also fake news.

Why is photographic research into religion important to you? Power systems and propaganda have always fascinated me. Religion is the best example of this, especially in the US. The fact that more than half of the world's population still believes that there is a God somewhere, I find is a very surreal thought that continues to inspire me visually. Especially in the US, they keep reinventing the wheel in that regard. In an interview in "De Tijd" (A Belgian newspaper - 24 October 2020 - Thomas Peeters) you tell that during your trip in the churches you met just one Biden supporter. What did you notice most in Trump circles and how do we see that reflected in your photo work? I think all the people I've photographed now were Trump fans. They are therefore very sensitive to such stories. Your photo of a snake charmer is one of many striking images. What is the thought behind the churchgoers? There is a sentence in the Bible that if you believe the snake will not bite you. Quod non. [“Which not.” Which it does not; a denial of the truth or persuasiveness of an assertion. Source: Oxford Reference]. What do you want to record for a follow-up project? Nothing planned for the time being. These are difficult times for photographers with personal projects without support. BOOKS Carl made twenty photo books. If you are interested… Signed copies are available on his website. God Inc. I & II, is a fascinating documentary of American life that bundles both series of photographs. The first part God Inc I is supplemented with 27 photographs that were not published before.

The RPS Benelux Chapter PHOTOBOOK

Armando Jongejan “Nature takes over”

THE BATTLE OF HÜRTGEN FOREST by Armando Jongejan FRPS

The Westwall, referred to as the Siegfried

A BOOK AS A RESULT

Line by the Allies, was a German defensive line

Armando has published a book of the bunkers

built just before and during World War II along

on “Der Buhlert”. It is a book with just 28 photos

the Dutch, Belgian, Luxembourg and French

and 64 pages, size 30x30x1cm hard back.

borders. The Westwall's length was more than

Text in English and Dutch.

630 kilometres (391 miles) from Kleve on the

If you have questions about the book, contact

Dutch border to Well am Rhein on the Swiss

Armando.

border. The defensive line was a chain of more than 18,000 bunkers, tunnels and tank traps. The line ran through the Hürtgen Forest (Hürtgenwald), an area in the German Eifel, 20 kilometres (12 miles) southeast of Aachen. Here, fierce battles took place between September 1944 and February 1945, mainly between the American Allies and German soldiers. It was the longest battle on German ground during this war. ALLIED DEFEAT OF THE FIRST MAGNITUDE The battle in this wooded area, known as the Battle of Hürtgen Forest, claimed the lives of tens of thousands of American soldiers. Many thousands of casualties were also killed among the Germans. Not just soldiers, but civilians as well. The Battle of Hürtgen Forest is less known than, for example, the Battle of Arnhem and the Ardennes Offensive, possibly because the impact of the battle was so great that it was described as an “Allied defeat of the first magnitude". ON “DER BUHLERT” Various remnants from World War II can still be seen in the Hürtgen Forest, such as bunkers 131, 132, 135 and 139/140, which are located on "Der Buhlert", a small mountain near the village of Simonskall. The bunkers are overgrown with tree roots and slowly but surely they merge into the forest.

The RPS Benelux Chapter HISTORY OF PHOTOGRAPHY

Peter Hayes “The older I get the more I appreciate the wondrous powers of monochrome film photographers of the past”

PHOTOGRAPHERS OF THE PAST by Peter Hayes FRPS

I was a little surprised when Armando asked

So that is when I went back to still photography

me to write an article for your eJournal. On

with a vengeance. I have always liked Nikon, so I

which subject, I asked? “The type of black and

immediately bought a D3s and several lenses.

white images you post on Facebook”, he

These included a 500 mm because by that time I

replied. I am delighted to oblige. The older I get

had taken up birding and had become a keen

the more I appreciate the wondrous powers of

bird watcher, so it was natural to concentrate on

monochrome film photographers of the past.

taking images of birds. I had no idea how

The more you analyse their images the more

difficult it was to shoot a bird in flight and get

you realise how good many of them were, how

the images sharp! I went to Gigrin Farm in Wales

precise they were, and yet how open minded

to get shots of the Red Kites swooping down for

they were. They were not afraid to take risks.

food. It took me several minutes to even see them through the viewfinder! The speed as they

Risk taking is something we encourage at the

hurtled towards earth was incredible.

RPS. You can look at the Masters and learn from them, but what your practice needs to be is

Later, I became interested in Distinctions and

your own photography. To establish a style, you

joined the RPS. I have learned a fantastic

will have to be prepared to fail. I know this only

amount from other photographers and at one

too well! I first used an Olympus camera at the

stage I was Photographer-in-Residence at

age of 14, but little did I know then that I would

Europe’s largest hospital, the Queen Elizabeth in

spend my entire career looking at images...

Birmingham. Although I have been accepted

...moving images. I worked in television making

into the RPS International Print Exhibition, I have

films and gave up still photography at an early

no real interest in exhibitions or competitions,

age.

as I simply photograph for my own purposes. Neither do I have a website, although I do sell

I CANNOT ENTERTAIN YOU ALL DAY

quite a few of my images privately. I have been

If only I had kept a camera with me at all times!

chair of the RPS Multimedia panel and the

I have interviewed world leaders, Prime

Travel panel and acting chair on several others,

Ministers, Queens, global celebrities, and never

plus the Fellowship Board. I now chair the

once did I take their picture. To be fair, it wasn’t

Distinctions Committee.

my job, and it might have jeopardised the interviews had I tried to muscle in with a still

I digress; back to Facebook and the black and

camera.

white images Armando would like to see. The first person I would like to feature is Fan Ho

That all changed when I retired early from

(1931-2016), who documented Hong Kong in the

television, and instead of travelling from Devon

1940s and 1950s. Key to his work was his power

to the House of Commons every week, I found

of observation. He has been dubbed 'the Henri

myself at home with my wife, who was used to

Cartier-Bresson of the East' although I would say

her own space. After a few days stuck at home

there is a greater graphic quality to Fan Ho’s

together she said to me (somewhat unkindly, I

work. He would wander around the (then)

thought at the time ) “I cannot entertain you all

British colony with his Rolleiflex capturing

day, you will have to find something to do.”

people going about their daily lives, but all the time playing with shape and form.

Page 25 | © Shirley Baker (1932-2014)

FAN HO Let’s have a look at his most iconic image:

It is important that the brightness of the wall

Approaching Shadow, 1954.

does not overpower the rest of the image, and this is managed well. All, however, is not as it

I love the lines in this: horizontal, diagonal,

seems; this is not a spontaneous image. The

vertical – they are all there. This image is

subject is Fan Ho’s cousin who was asked to

designed to take the eye directly to the subject,

stand in exactly the right spot. The diagonal line

who is clearly in reflective mood. The look on

was added in afterwards in the darkroom and

her face gives the image an emotional element

the look on her face was planned. Both, in Fan

that would otherwise be lacking.

Ho’s words, symbolise her youth fading away. Fan Ho: gentleman, perfectionist and rule breaker.

JAMES RAVILIOUS My next choice is worlds away from Hong Kong:

It is hard to imagine anyone doing what

James Ravilious (1939-1999). James was a huge

Ravilious did today, unless they had private

contributor to our knowledge of village life and

wealth of course. He did not. He moved with his

the English landscape. He chose a small area in

wife Robin to the village of Dolton and was

Devon (where I live) between two rivers, the

commissioned by Beaford Arts Centre

Taw and the Torridge. Essentially, he was a

(established by Dartington Hall) to compile “a

documentary photographer detailing the

photographic archive of the land and people of

minutiae of everyday life in this small corner

north Devon.”

tucked away in the West Country. Many of his images would have been impossible to achieve had he not first won the trust of local people.

For 25 years Ravilious worked tirelessly to do

Ravilious is routinely described as under-

just that, all on an extremely modest salary and

appreciated during his lifetime. This is true, but

using his own equipment. What resonates with

he is certainly recognised now. Thanks to the

me is the humanity of his work. These are

sterling work of his wife Robin and his daughter

intimate images, full of integrity. If you look

Ella, James’ work is now internationally

closely at them you realise that they convey

recognised for the brilliant, detailed archive that

much, much more than the apparent subject

it is. It is an object lesson to any documentary

portrayed.

photographer. The copyright to his work is still held by the Beaford Centre.

EDWARD STEICHEN My inclusion of Edward Steichen (1879-1973) will surprise no one. The perfect fusion of portraiture and fashion photography, the work he did for Condé Nast has been much copied ever since. I have always admired this Steichen image of Gloria Swanson. Silent film stars use their eyes to convey emotion far more than most actors do today, for obvious reasons, but there is something else here. We see Swanson’s hypnotic eyes, but Steichen has emphasised them. As he wrote in his autobiography: "At the end of the session, I took a piece of black lace veil and hung it in front of her face. She recognized the idea at once. Her eyes dilated, and her look was that of a leopardess lurking behind leafy shrubbery, watching her prey. You don't have to explain things to a dynamic and intelligent personality like Miss Swanson. Her mind works swiftly and intuitively." Yet again, we have that extra element that differentiates the good photographer from the great. We see Swanson not just as a star but as a person with individual qualities. Incidentally, Steichen also stressed that to achieve the very best portraiture, there must first be a true affiliation between sitter and artist. That means time, patience and communication between the two.

EDITH TUDOR-HART Edith Tudor-Hart (1908-1973) was an AustrianBritish photographer who also spied for the Soviet Union. She was a communist and an active anti-fascist, who used her photography to further her political ideals. She was involved in recruiting members of the Cambridge spy ring (including Kim Philby), which so damaged British intelligence. She later acted as an intermediary for Anthony Blunt. Much of her work is about protests and political gatherings, but I particularly admire her images of poverty, education and child welfare, which raised social awareness.

SABINE WEISS Next, we look at Sabine Weiss (1924-...), a SwissFrench humanist photographer who began taking street images in New York and Paris but

later branched out into fashion and portraiture. She would take images of almost anything and anybody! She didn’t need to ask permission for street portraits; people were much more forgiving in those days. She was well trained in the early days and has a great eye for images. She quickly learned how to use natural light to

the best advantage. She began taking images in 1932 with a bakelite camera bought with her pocket money and later learned about photographic technique from Frédéric Boissonnas, at his studio in Geneva. She moved to Paris in 1946 to become

assistant to Willy Maywald. I have not room here to say much more about this fabulous woman, who managed to bring joy into many of her images. As she says: I photograph to preserve the ephemeral, fix chance, to keep in an image what will

disappear: gestures, attitudes, objects which are testimonies of our passing.”

SHIRLEY BAKER Shirley Baker (1932-2014) was an under-rated

These are just a few of my favourite

social documentary photographer, featuring

photographers. There are many more! So what

everyday life in the North of England at a time

do they in common? A good eye, and a desire to

of industrial decline and social neglect.

tell a story. The narrative is crucial, and whether they intended it or not, they all, in various ways,

However, there is a lot of life in her images, and

ended up documenting some aspect of life.

fun!

They were each superb at their craft and they have left a lasting legacy.

The RPS Benelux Chapter DISTICTIONS

Héctor B. Epelbaum “There I liked to watch the water surface of the ponds acting as a deforming mirror. It was never still, endlessly fascinating and almost hypnotic”

MY COVID ANTIDOTE IN THE FIRST YEAR OF THE PANDEMIC article by Héctor B. Epelbaum ARPS During winter 2020, when Covid-19 started

I started taking photos in the middle of March

spreading worldwide, it became evident to me

2020 guided by a concept that would become

that a long period of self-isolation was looming.

my Statement of Intent after minor changes:

I wanted to fill this period with positive experiences and focusing on a challenge like

FROZEN OSCILLATIONS

achieving an ARPS would even improve my

During the Corona lockdown I frequently visited

quality of life.

my local park, Park van Tervuren in Belgium.

Close to where I live, there is a park and an

There I liked to watch the water surface of the

arboretum that offer possibilities for extended

ponds acting as a deforming mirror. It was never

photographic explorations whilst also

still, endlessly fascinating and almost hypnotic.

respecting social distancing. I could choose

The foliage of the grass banks with their waving

between wildlife, animal behaviour, plants and

trees, combined with the clouds drifting

physical phenomena related to water and to the

overhead and the occasional cyclist or jogger

atmosphere.

were all reflected.

The self-isolation meant I had the time and

The presence of clouds and the position of the

concentration to discover the richness of my

sun strongly affects the light spectrum and

possible subject, reflections on a water

intensity. These continually influence the

surface. There was a full spectrum of

contrast and how we see the colours.

phenomena and appearances to explore and to

Birds and a brisk breeze agitated the water

show. I decided to limit my panel: no animals,

contributing to the symphony of oscillations. I

no particular concentration of waves generated

processed the colours a little to my taste. My

by animals and I wouldn’t generate waves by

photos visualise the beauty I found on the water

throwing stones into the water nor introduce

surface of the ponds.

colours through reflections.

Words are essential for understanding the

And finally, being able to show and discuss the

meaning of photos. For instance, my original

printed panel before sending it for the

title was “The Beauty of Oscillations”. I changed

Assessment was a reassuring experience.

it to “Frozen oscillations” thus making it more

Additionally, through the concentrated

informative while taking out the subjectivity.

dedication for achieving the A Distinction, I

During the first weeks I tuned my photo

improved my planning, visualisation, writing

technique for achieving enough depth of field

down of the concepts and not least, learning

with a telephoto lens. Simultaneously I decided

from my mistakes. This is a good way to learn

to apply to the Fine Art Category with printed

how to achieve meaningful photos.

photos. I ACHIEVED MY ARPS! SHOWN ONLINE

It is now interesting to return to the places

At the end of May I stopped taking photos for

where I’ve already been several times. I can

the ARPS panel because the ponds were

achieve more under similar circumstances as

partially covered by algae and it became very

my perception is more differentiated and I

difficult to take photos of reflections. The

learned a bit about birds’ behaviour, how

variety of colours in the reflections also

colours and shapes change with the seasons,

diminished drastically because of it being

the cycles in nature and many features I

summer: green was the preponderant colour.

overlooked in the past. The only requirement: my mind should be open.

My photos were shown online, together with my Statement of Intent, to our Benelux Study

My assessment in October 2020 was positive.

Group. The feedback I received was positive

Fantastic! I achieved my ARPS!

and energising! Evidently the self-isolation would not end in A REASSURING EXPERIENCE

December 2020 but knowing that I am able to

To visually optimise a panel without diminishing

transform limitations into creative opportunities

the appeal of individual photos was a learning

feels like I have found an antidote! Today I

process of ongoing adaptation to the goal. The

continue my visual explorations of wildlife, the

Study Group guests were specialists that gave

botanical world and physical phenomena.

me a very qualified feedback! Enhancing the consistency of the panel through subtle colour changes in the printed results helped to further my development as my own assessor.

The RPS Benelux Chapter STUDY GROUP

Online Meetings We have people from France, Belgium, Sweden, UK and The Netherlands participating

UPCOMING EVENTS article by Carol Olerud ARPS

Our Study Group Zoom sessions have been

UPCOMING EVENTS ARE TUESDAYS

continuing and are popular. We have people

2nd March – Armando Jongejan FRPS

from France, Belgium, Sweden, UK and The

presentation and portfolio reviews at 7:30pm

Netherlands participating. Every three weeks

23rd March – AGM early start at 6:45pm then

we go online together, share our screens and

Colin Harrison FRPS presentation at 7:30pm

talk about our work. We have good discussions

13th April – Photo club Rarekiek will provide

and the feedback is very helpful. We are critical

presentations from members at 7:30pm

but fair, this way we really help each other and

11th May – Iconic photo review (one photo) then

enjoy the conversations. Everyone can show

regular study group at 7:30pm

work and participate in the discussions so we

1st June – Theme presentation (max 3) and

have a variety of input.

regular study group - theme ‘Lock-Down’ photos your experiences/impressions 7:30pm

Carol will send out the link the day before the meeting so watch your inboxes. We begin at 7:30pm and usually go on for two hours.

Print screen is from the 2nd February 2020, our last meeting

Look forward to seeing you

The RPS Benelux Chapter VIRTUAL MEETING

Colin Harrison Rather than just collecting letters after his name these qualifications stimulate/develop his work and gives him goals to work for

COLIN HARRISON FRPS FBPE FIPF MFIAP MPAGB MPSA GPSA EFIAP/D3 APAGB AWPF article by Colin Harrison Following our AGM on 23rd March we have a

There will be a section on the type of image

virtual meeting with guest speaker Colin

required for an acceptance in an international

Harrison from Oxfordshire. Rather than just

salon.

collecting letters after his name these qualifications stimulate/develop his work and

FAST MOVING TALK

gives him goals to work for.

Colin’s talk will also show basic steps in photo manipulation and some different creative

INFORMATION ON TALK

ideas using Photoshop and some lesser-known

Colin will show his creative style of photography

digital software.

with some of his award-winning images used in

Be prepared for a light hearted and fast moving

his EFIAP/D3 distinction. He will demonstrate

talk. Colin will provide notes after the talk.

how to panel an LRPS Image for Screen portfolio and will show successful panels from the Photographic Society of America.

Website: www.colinharrisonphotography.uk/

The RPS Benelux Chapter MEMBER

Felicity Handford “The stories that interest me are ones that leave me with questions and taking photographs of people and scenes that are unexpected.”

A PHYSIOTHERAPIST BECAME PHOTOGRAPHER Felicity Handford an interview by André Bergmans

The RPS Benelux Chapter wishes to welcome

Apart from being a chapter member are

new members to introduce themselves and

there any other photographic communities

their work. This time Felicity Hardford was

that you are a member of or participating

confronted with our curiosity and was also

in? I have been a member of the Viewfinders of

willing to answer some of the more soul

Brussels photographic club for a number of

searching questions.

years and have enjoyed taking part in the various challenges the club sets every year. I’ve

Could you tell us something about who you

also joined the Documentary, History and

are, where you are from and where you are

Archaeology special interest groups of the RPS.

living and working now? My name is Felicity

In 2015 I became the finds photographer for

Handford and I live in Brussels. I was born and

Waterloo Uncovered, a charity that combines

educated in London. I qualified as a

first class archaeology on the battle site, with

physiotherapist and worked in the NHS until we

care and rehabilitation of veterans. As the finds

moved to Belgium in 1991. In Belgium, I became

photographer, I have to supervise a small

an independent physiotherapist until my

number of veterans who help me with the

retirement in 2013.

photographing of almost all of the objects that are dug up during the dig. Most of the time this

How did you become a photographer and

is the fairly routine photography of farm objects

why is it important to you? What genre

and musket balls but sometimes I have

would you put yourself in or what genre

photographed buttons and coins, often this

would you like to work in? I’ve always enjoyed

means macro photography to help with the

taking photographs, I enjoy being creative.

identification of the object. As a result, I have

Photography interests me not only because it is

had to learn basic macro photography.

very creative, but it makes me think. I wanted to visit Iceland but realised that if I was going to take photographs there, I needed to buy a DSLR camera and learn how to use it, so I enrolled in a six-week course with Michael Chia in Brussels and in the summer went to Maine, USA on an outdoor photography course. I finally went to Iceland in 2014. I’m beginning to understand that taking good photographs isn’t only a matter of luck but instead involves a vision of what I want to say and a good deal of planning in order to say it. I’m not sure I would put myself in any particular genre as I’m just beginning to work out what I enjoy photographing. I like telling stories through my images. Sometimes that may be through landscapes and travel but I’m becoming interested in documentary photography. © Felicity Handford - page 53 | Brussels - Sarah missing her grandchildren. Page 54 | Waterloo Uncovered - Thimble

Do you have any other passions or interests that drive your photography? What is the main driver in your photography? I have travelled to a number of different countries with several different specialist companies in order to learn and improve my photography. Sometimes this has been landscape photography but mostly it has been some aspect of people photography. I enjoy finding both differences and the similarities between people of different cultures. The stories that interest me are ones that leave me with questions and taking photographs of people and scenes that are unexpected. What do you expect from the Chapter? What are you looking for? I hope that by joining the chapter I might have more opportunities to learn from other more experienced photographers. I also hope that it will give me the opportunity to visit and photograph places that I might otherwise not know about. What workshops and courses did you follow? I have taken advantage of a number online courses run by the RPS in the last year including a documentary course, macro and illusion all day workshops and I’m looking forward to doing more this year. What is the main advice you would give to any starting photographer? I think that it would be a piece of advice that I was given on the first course that I took part in. It was a weeklong outdoor course in Maine USA. The advice was to take photographs of a subject from as many different angles as possible. It has helped me to really look at what I’m trying to photograph and find more interesting ways of illustrating a subject. It does have to be said that my knees no longer allow me to get down low or climb up high though!

RPS-Benelux Chapter eJounal - volume 22 - Spring 2021

Articles inside

A PHYSIOTHERAPIST BECAME PHOTOGRAPHER

MY COVID ANTIDOTE

PHOTOGRAPHERS OF THE PAST Peter Hayes FRPS

VIRTUAL MEETING Colin Harrison FRPS

CRITICAL DOCUMENTARY PHOTOGRAPHY Carl De Keyzer

UPCOMING EVENTS Carol Olerud ARPS

VIEW FROM THE RPS BENELUX CHAPTER ORGANISERS Carol Olerud ARPS and Didier Verriest ARPS