RPS - Benelux Chapter eJournal - Volume 9 Winter 2017 by Royal Photographic Society

Number 9 - Winter 2017

ACKNOWLEDGEMENTS

VIEW FROM THE RPS BENELUX CHAPTER ORGANISERS

The most recent Chapter meeting that was held in October was also the AGM. Held in Rotterdam to give members the opportunity to view the Rockin’ Rotterdam exhibition and enjoy an afternoon of panel critique with Armando Jongejan. The latter was as popular as usual and even those without work to The Royal Photographic Society Benelux Chapter

display found it interesting and a learning opportunity. We were pleased to welcome some non-Chapter members to the meeting.

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

In précis the AGM confirmed the reappointment of Janet and Richard as joint Chapter organisers. Jeroen Dorrestein has taken over as treasurer and Andre Meyer-Vitali as webmaster. Armando remains as our eJournal Editor. Financially we are in a comfortable position with sufficient funds to allow us to

Cover photo Stephen Hutchins ARPS Proof reading Dawn Black

consider booking more expensive speakers and workshop leaders. The recent members survey is a good indicator of what would be most popular to arrange, so the organisers will work along those lines. It is hoped that this will result in more members getting involved and attending the Chapter meetings

Editor eJournal Armando Jongejan Journal Editorial committee Richard Sylvester Eddie Maes (B) Dawn Black (NL) Simon Hauxwell (L) Janet Haines (NL) Webmaster Tony Roe

as in the past year those supporting the activities has been disappointingly low. Study Group continues to be a success with some new members joining who were RR public photographers. Our members exhibition is now at its’ final booking in Brussels. With no further location identified we will therefore dismantle the frames and return the prints to individuals. The frames will be stored with Jeroen till we organise a further exhibition. The future programme is now being organised. With the Society Distinctions and Advisory sessions being top of your requirements in the survey, that has been organised for 24 & 25 February 2018 in Ghent - Belgium. Information about other meetings and dates will be emailed out to everyone just as soon as they are arranged. Also keep an eye on the web site www.rps.org/benelux

Janet Haines ARPS and Richard Sylvester LRPS benelux@rps.org

NEWS FROM THE RPS HEAD QUARTERS

text by Armando Jongejan FRPS, Janet Haines ARPS and photos by Vanessa Slawson FRPS

Inauguration Robert Albright HonFRPS as President of The RPS © Vanessa Slawson FRPS

Presenting Janet Haines ARPS with her commendation © Vanessa Slawson FRPS

NEW PRESIDENT On Saturday 30th September 2017 Robert Albright FRPS became our new President. His inauguration is in a continuous line from Sir Charles Eastlake in 1853. He was presented his Presidents’ medal by former President Walter Benzie ARPS. Council members are elected by the membership every two years. One of the first things Robert did as president was to hand out a ‘Certificate of Appreciation’ to our Benelux Chapter organiser: Janet Haines ARPS!

JANET HAINES ‘CERTIFICATE OF APPRECIATION’ The Society now keep records of all volunteers years of service and present Certificates of Appreciation to acknowledge the work they do in support of the members and the Society. At this years RPS AGM Janet Haines was presented with her certificate and RPS badge for 4 years service, by the newly elected President Robert Albright HonFRPS. Having only had the offce bestowed on him for about twenty minutes it was certainly one of his first duties as our new President. Afterwards Janet said “strangely it came as a surprise as although I had been completing data returns for the Benelux Chapter and the DIG Committee, of which I am Chair, it had not occurred to me that I was in line for an award myself”. The Royal Photographic Society has over 450 volunteers, in many different roles, who give their time freely to help run this large UK charity with an international reach.

THE COLD ROAD TO THE ARPS DISTINCTION text and photos by Stephen Hutchins ARPS

Create a really good image One of the biggest problems with photography is to know whether you can actually create a really good image. This cannot be properly measured in the number of “likes” you chase in your preferred social media site, nor by the dutiful praise of your partner or children. You need to find a place where you can present your work to an audience of disinterested, expert, eyes that will give you an honest opinion on your style, your technical competence and your understanding of the art of photography. I had reached a point about two years ago when, after many years of photography, I realised that I would not develop further if I did not open myself to outside evaluation and comment. In casting around, I found the Royal Photographic Society’s website and learned of the existence of distinctions. It seemed to me to be an approach that precisely answered the questions I had been asking myself. In reading through the descriptions of the levels available, I felt that I should push myself and directly attempt to achieve the Associate level. As the RPS’s own description stated: At this stage creative ability and personal style (what makes your work unique to you), along with complete control of the technical aspects of photography must be evident.

I had become lazy over the years I needed the challenge implicit in these words to push me to reach a new, much higher, standard. I had become lazy over the years, had given up printing and was careless of the effort required to make really good images. I read the website’s guidelines carefully, looked at successful portfolios but, most importantly, I joined the Benelux Chapter and started actively to participate in its meetings. I met fellow photographers and learned from their experience and skill. The advice and encouragement from Janet Haines, ARPS, was fundamental, both to my deciding to attempt an Associate distinction and in keeping me pushing forward when I became weary of the effort involved. I owe her a great debt of thanks. The theme for my portfolio chose itself. For many years I had been drawn to the far north, to the Arctic regions, by the extraordinary purity of the light, by the harshness of the environment and by the sense of isolation that flows into you as you stand in the frozen whiteness. At a time when mankind, through stupidity, greed and ignorance is destroying this beauty, I wanted to make a personal record of my experiences and to convey how I felt during my many trips to the Arctic. I wrote my statement of intent very quickly and this acted as the guide in selecting the images that I wanted to present.

Video review Living in Belgium meant that attendance in person at an Advisory Day was not practicable, but I was able to send in the portfolio for a video review [red: see also eJournal 7: pages 20-21]. It was not a comfortable experience. The advice offered was constructive, but plain-spoken, and pretty damning. The print quality was much too variable, with inconsistencies between images and a failure to balance individual images properly. The statement was considered acceptable, and some images were praised. The layout was generally good, but it was suggested that one image (my favourite, of course) did not fit with the rest of the portfolio and should be replaced. The nature of several images, taken during heavy snowfall, also raised questions, as some were considered to show signs of sensor dirt, requiring significant cleaning.

At this point I almost gave up completely, feeling that there was too much work to do to meet the standard required. However, the Christmas break, with a good deal of soul-searching and conversations with other RPS members, made me realise that it was only myself that I would be hurting if I stopped. After all, I had wanted constructive criticism, so it was ridiculous to give up when I actually received it. So I started the process again, but this time with a determination to meet and, if possible, to exceed the standards required. I replaced the image that did not fit with another, stronger, one. I reviewed each image and cleaned it up where needed. I balanced highlights and shadows and tried to make sure that the overall balance of each image was consistent across the portfolio. I taught myself how to prepare passe-partouts and made individual ones for each image.

In printing the images I used Permajet FB Distinction 320 paper on an Epson P800 printer, downloading the correct printer driver to aim for the maximum consistency across the whole portfolio. And then I put everything into a folder and locked it away for three months. I had worked so intensively on the images that I needed to regain some objectivity. A month before the evaluation day I took them out and, realizing that one of the prints did not match the technical standards of the others, replaced it with a completely new one. Finally I felt that I had done all I could and delivered the images to Fenton House during a family holiday. A nervous few weeks followed.

The message from Ben Fox that the portfolio would be recommended for acceptance without any changes came as a great delight. I had felt very uncertain about my chances of success, but suddenly all the hard work, the worry and frustration were vindicated. I have learned an enormous amount through the process of achieving a Distinction. I am a better photographer as a result, have a better understanding of the whole process of creating a print and have rediscovered the pleasures of printing. I have started to experiment with medium format film and rediscovered my enjoyment of photography. My thanks to everyone who helped me to reach this stage and I look forward to growing further within the RPS community.

Statement ARPS Visual Art, 21st June 2017

“NORTHERN EXPOSURE“ This portfolio is a tribute to, and a memory of, winter in the far North. It presents images taken in and around Iceland and Svalbard during a series of visits during the winter months. This is a region and time of year that both attract and intimidate, with a stark beauty that is utterly indifferent to human existence and concerns. The portfolio aims to capture both the endless silence of the ice and the menace and violence of the winter storms. The wind draws fluid, organic patterns in the snow which contrast with the hard lines of the man-made structures where these have been imposed upon the landscape. The images are presented in monochrome to emphasise the wildness of the environment and the natural balance between the white of the snow and the darkness of the skies and waters. (Word count = 148)

Hanging plan © Stephen Hutchins ARPS

THE TIMMERHUIS EXHIBITION text and photos by Dawn Black ARPS

Opportunity to catch up with dear friends Having been heavily involved in the Rockin’ Rotterdam project from it’s inception, despite having moved back to Scotland during the summer I was not going to miss the big opening of the project’s culminating event, the Timmerhuis exhibition and book launch on Wed 11 Oct 2017. Not only was it an opportunity to catch up with dear friends, it was an chance to put faces to the names that I had spent hour upon hour inputting to the website during the project! To have so many people who took the project to their hearts in the same room was fantastic.

The venue was perfect, a public space where we did not have to charge entry made it accessible to all during opening hours. The Timmerhuis provides a large space so the exhibition was able to spread out allowing everyone to view the posters and display boards easily and comfortably. The architecture and lights also inspired some interesting photographs but the many taking pictures during the evening.

A wonderful surprise We were delighted to have the new President of the RPS, Robert Albright HonFRPS in the room as well as Hermineke van Bockxmeer, managing director Sports and Culture of the City of Rotterdam whose opening remarks were much appreciated by all. Additionally, representatives from our sponsors (Profotonet, PermaJet, Gemeente Rotterdam) attended and their presence and support was gratefully acknowledged. It was a wonderful surprise to me and many others to receive a RPS Portfolio book as thanks for my contribution to the running of the project. We all gave our time freely and willingly but a little bit of appreciation certainly goes a long way! 11 year old twins During the project I took my 11 year old twins out shooting both in my “Own a Postcode” area and on the Meet Ups. They had a blast and despite not being able to come back to Rotterdam with me for the exhibition (it was a school night!) they were so chuffed to see their images in the book as well as the snaps I took of the posters including their photos. Sharing the experience of the project with them has been special.

So often we all take photographs and they languish forgotten on our hard drives. I preach to people to have an intention when going out photographing even if its simply a personal yearly printed photo book (much like a photo album of old, just less glue involved!).

It’s been said that a photograph is not finished until it is printed and this exhibition gave people that joy in seeing their images up there on the stands, printed in all their glory. The book added to that sense of achievement too and hopefully this will make a few of them follow through with their own personal work.

MAKING A PHOTOBOOK: A MASTER-CLASS-BOOT-CAMP-ROLLER-COASTER EXPERIENCE text by André Bergmans

Making the Rockin’ Rotterdam photobook This column is about photobook making, especially about my first experience in making a photo book. It all started as a pure coincidence when I met Armando Jongejan at a photo exhibition. We both had participated in the RPS Benelux Chapter Rockin’ Rotterdam project and we had both enjoyed ‘doing our own postcode’. Armando mentioned that the planned photobook on the Rockin’ Rotterdam project might not materialize because of a lack of manpower and the short timeframe before the exhibition. We both concluded that it would be a pity not to have a tangible memory of this wonderful project. He also mentioned that he would give it a go if someone else would ‘help him’.

‘No’ is not a good answer I have never made a photobook, not even about my holidays. Now if someone that has made over 40 books asks you to help him he is actually offering a free master class. So ‘No’ is not a good answer... ‘How’ is just a bit better. A few days later I confirmed a ‘Yes’ and we were sitting in Armando’s back garden to discuss approach and options. The situation was clear... we did not have the photos on our hard drives; we had ideas on the software to use but we had not decided yet, the selection of the images had not yet been made and the concept of the book was not yet clear. Besides that it was also not clear who would do what. In these situations, under this time pressure, there is one thing you cannot afford to happen - long discussions and slow decision making. So in a very natural way we split efforts: Armando focussed on getting to grips with the software and doing the selections and editing. I would focus on logistics, proof-reading, translations and assisting in the selection.

A big red marker pen Getting the photos in was the first task. As I had already checked and double-checked all the exhibition posters with all the images I had pdffiles of all the posters as designed. I printed all of these on A3 and we used a big marker pen to indicate on paper which photos by postcode we wanted for the first selection. We then scanned the marked A3 files again and emailed these back to Janet Haines. She proved to be very responsive, which is amazing as she had other things on her mind like preparing the opening of the exhibition.

Software choice and PDF-file The second challenge was the software we would use. We decided that we would check different options as we had to provide one big, high-quality PDF-file to the printers. Over the next few days we checked with some experts at work about the options and it proved that Microsoft Publisher would not be a bad idea. The challenge was that we did not have the software and we had never used it before. So within the time frame of the book-making process Armando had to acquire the software, install it and familiarize himself with it. In the meanwhile the photos kept coming in waiting to be included in the book. Third chalence The third challenge for me was the translation of the text. I liked to do translations work at high school and in fact I could do it pretty well in the three foreign languages that were mandatory in those days. But I forgot over the years how difficult it actually is and it proved to be a highly underestimated job. Until the very end we both had discussions on the translation itself, spelling and typos. How to translate something like: ‘The Society is a UK based photographic educational charity......’ when such a member based legal construct does not even exist in the Netherlands. Without UK support from Dawn Black it would have become a funny text really. In the meantime, hundreds of emails with posters and photos and questions were flying around to feed Armando and help him in the editing process. We had made some decisions already to design postcode by postcode and not thematically. Also we had some constraints, for example, that all participating photographers had to be represented more or less like for like. While we were moving forward I kept administration of that and sometimes we had to ‘kill a darling’ because we had missed a photographer. Armando had to work within these constraints and still make the photos ‘work’ within the book.

Colour scheme While main constraints and conditions became clear and major decisions were taken the overall concept of the book took shape. But there was more to come and like always the devil was in the details. I never anticipated the numerous little decisions to be discussed and taken such as the various font types to be used plus their size and colour; some were not available on our computer like the Open Sans. Also the round shapes in the postcode logo and how the logo should match the blue of the page numbers, the proper use of the Society logo and colour scheme. There were all sorts of branding rules to adhere to. I never realized the importance of the first and last ‘black pages’ and the actual start of the page numbering. And what about the discussion on whether or not to apply for an ISBN number? The final decision was no ISBN-number for our book.

Editing Frankly speaking I could not keep up with Armando during the editing process and I just ended up observing what he was doing. What makes a photobook a true photobook and not a pile of photos stapled or stitched together? It is all about content and communication. Some photos were so strong that they deserved a full page, besides that we had to vary the spreads but not in such a way that it would become messy. On top of that the most important element was to tell a story and let the images interact with each other both as a result of their content and their position on the spread. This is where I got my masterclass.

The cover While compiling the cover Armando applied his principle: ‘Less is More’taking out anything that does not contribute to the overall image. No frills, no unnecessary decorations or even information. The photos should tell it all. It’s all about the details: the front cover communicates with the back cover and also is aligned with spine of the book.

Check, re-check and over-re-check What I underestimated completely was the time it takes to check and double-check the end result while still finding mistakes and typos. This up to the level that we literally had to call the printing company with the famous words: ‘Stop the presses’.... As we discovered a last mistake.

Master-class-boot-camp-roller-coaster experience All this was done in just four weeks along side our regular jobs. It was a master-class-boot-camproller-coaster experience for me but not to be recommended as a standard practice. We are both happy with the process we have gone through but more importantly, we are very happy with the result. It got even better when we received the first responses and feedback from our customers i.e. all participants and other buyers. It was worth the investment in time and energy as the overall response has been that this is a valuable memory of a fantastic project and without the book it might all fade away too quickly. Order your own Rockin’ Rotterdam book Do you want the Rockin’ Rotterdam photobook? There are still some copies available. Contact Janet Haines: info@rockinrotterdam.eu.

BRUCE DAVIDSON AMERICAN PHOTOGRAPHER | 16 SEPT. 2017 –7 JAN. 2018 text text and photos with permission of the Nederlands Fotomuseum First retrospective in the Netherlands This autumn and winter the Nederlands Fotomuseum is presenting the first retrospective in the Netherlands of the work of American photographer Bruce Davidson (born 1933), who achieved worldwide fame with a number of photo series that defined the image of 20th-century humanist photography. The exhibition will feature almost 200 photographs by Davidson, including work from his famous series Brooklyn Gang, East 100th Street and Time of Change: Civil Rights Movement. Davidson is unparalleled in his ability to document major social and historical developments in the United States from a personal perspective.

Coney Island, Brooklyn, New York, 1959 © Bruce Davidson / Magnum Photos

Brooklyn, New York, 1959 © Bruce Davidson / Magnum Photos

The photographer Humanity, intimacy and vulnerability Bruce Davidson discovered photography at a very young age, and developed a passionate relationship with the medium. At the beginning of his career he was influenced by French photographer Henri Cartier-Bresson and his idea of the ‘decisive moment’. Nevertheless, he soon developed his own style: calmer, more intimate and with an eye for the individual. His work achieved him full membership of Magnum Photos in 1959. Since the 1950s Davidson has photographed vulnerable individuals trying to make their way in American society. He approaches major issues like civil rights, racism, violence, poverty and immigration from a personal perspective. He was the first photographer to spend years with a street gang in Brooklyn and he travelled to the south with civil rights activists to take part in the Selma March. Thanks to his long-standing relationship with his subjects, Davidson’s work gives a moving insight into what the ‘American Dream’ means to them.

USA. Palisades, New Jersey. 1958. The Dwarf. Â© Bruce Davidson / Magnum Photos

Exhibition There has never before been a major exhibition in the Netherlands devoted to the work of Davidson. This retrospective, featuring almost 200 photographs and documents, presents a broad overview of his work. It is structured chronologically, based on Davidson’s most important photo series. They include projects whose trailblazing qualities brought him great fame: The Dwarf and The Circus, Brooklyn Gang, East 100th Street and Subway. Although Davidson has occasionally worked in colour, as in his later follow-up to Subway, the focus of this exhibition is entirely on his black-and-white photography. [Note Armando Jongejan: until 7 January 2018: Wilhelminakade 332 - 3072 AR Rotterdam].

Publication An attractive catalogue has been published in conjunction with the exhibition, containing all the photographs on show along with essays by Carlos Gollonet, Charlotte Cotton, Frits Gierstberg, Teresa Kroemer and Francesco Zanot (Aperture/MAPFRE). The exhibition is produced by Fundación MAPFRE in collaboration with Nederlands Fotomuseum and Magnum Photos. The traveling Exhibition was made possible through support from Terra Foundation for American Art.Curated by Carlos Gollonet.

USA. Alabama. Birmingham. 1963. A female protester being arrested and led away by the police. ÂŠ Bruce Davidson / Magnum Photos

USA. Alabama. Selma. 1965. Led by Martin Luther King Jr., a group of civil rights demonstrators march from Selma to Montgomery to fight for black sufferage. ÂŠ Bruce Davidson / Magnum Photos

BOOK REVIEW

text and photos by Richard Sylvester LRPS X Series Unlimited: A Comprehensive Guide for Mastering Techniques and Maximizing Creativity with your Fujifilm Camera by Dan Bailey, 2017, 329 pages. In March 2011, Fujifilm launched the first of their X series APS-C mirrorless cameras, the fixed lens X100. This was followed a year later by their interchangeable lens cameras, the X-Pro 1 and the X-E1. Although they had their limitations, for example the autofocus was not on a par with DSLRs, and the choice of lenses was limited, their retro rangefinder design, camera controls, and electronic viewfinders appealed to many photographers. The quality of their jpegs was generally excellent and you could choose between a number of different color and black and white jpeg film simulations. 2017 Now, in 2017, we have the top of the line X-Pro 2, X-T2, X-T20 and X100F cameras, with 24MP X-Trans III APS-C sensors and higher resolution electronic viewfinders. Fujifilm has listened to its users and corrected problems of the past. In addition, they provide timely firmware updates, some of which add significant new functions to the camera after its launch, and have introduced a vast array of high quality lenses. As these cameras can provide excellent results, many photographers, including pros, have abandoned their heavy DSLRs in favor of lighter Fujifilm cameras. However, these cameras have many different settings that you need to understand and come to grips with if you are to use the camera to its full potential. Unfortunately, a lot of people are not aware of many of their camera’s capabilities and get suboptimal results. Learning the ins and outs of their camera and the choice of settings to use in any given shooting situation can be a challenge. Reading the several hundred pages owner’s manual that comes with the camera is no fun. For many of these cameras, there are Tips and Tricks guides and even encyclopedic style 600-page books covering every option in the finest detail. However, these books don’t really show you in a userfriendly way how to set up your Fujifilm camera to get the results that you are looking for and can be overwhelming to first time Fujifilm users. Thus enter the Fujifilm X Series Unlimited eBook. Written by official Fujifilm X photographer Dan Bailey, this book provides an excellent guide to the practical use of Fujifilm cameras in your day to day photography and is suitable for photographers at a wide range of experience levels. In addition to explaining the basics, the book also introduces many useful features that may remain hidden unless you dive further into the camera’s workings and the menu system. To avoid losing time searching in the menus, the book shows you how to set up the Function buttons, Quick Menu, and My Menu to quickly access the options that you are most likely to change depending on shooting conditions.

Although the book focuses on the more recent My Menu camera models (X-Pro 2, X-T2, X-T20 and X100F), most of the information also pertains to earlier camera models. Don’t be put off by the fact that the book is more than 300 pages long. The text is interspersed with photos illustrating the effect of changing various shooting options and parameters that are explained in the book, for example changes in the film simulations and their tone settings, white balance, filter selection and the use of bracketing. The book is divided into different sections that you can either follow in order or skip around in according to your interests:  Quick Start  Camera Controls including dials, buttons and drive control  Menus  Exposure Modes  Image Quality  Focus Menu – Autofocus/Manual Focus Settings  Shooting Settings  Flash Settings  Movie Functions  Set up Menus  Screen, Dial and Button Settings  Playback Menu I found some of the most useful parts of the book to be the explanation of the Jpeg simulations and their tweaking, focus area and focus modes, tips for shooting fast action using the continuous autofocus presets and continuous high-speed shooting, and shooting panoramas. And did you know that you can convert your RAW images to Jpegs within camera using a variety of different settings and options? I highly recommend this book to someone who wants to learn how to best set up and get the most from their Fuji camera across a wide range of shooting conditions. You can order your PDF copy at a reduced price of $19.95 by using the coupon code provided on the webpage: https://fujilove.com/x-series-unlimited-by-dan-bailey/ or https://www.fujixpassion.com/2017/08/08/master-fujifilm-camera-dans-x-series-unlimited-ebook/ And while you are there, take a look at the contents of these two websites.

SEBASTIÃO SALGADO - GENESIS text by Eddie Maes and photos Salgado with permission of the Nederlands Fotomuseum In the beginning In the beginning there was the light, and the light struck the film. The silver became activated, and remembered. The film underwent development, and thus a silver image of the light was revealed on it. Sounds a bit funny? Yet, it is true. In it’s own way...

Brazilian born Sebastião Salgado had a long career as a photojournalist working initially in Latin America, and later pursued an international career. His photography was mostly dealing with sometimes precarious worker’s conditions, often in industry and transportation. However, that career only started around the age of thirty, in the mid-seventies. Having an academic degree in economics, he had been working as an economist before turning to photojournalism. That, together with his Latin American background, puts a special light on his concern with workers’ and farmers’ conditions worldwide. An unbelievable visual and technical quality My first striking encounter with the work of Salgado dates back to the Photokina 1992, where a number of his photographs of workers in the burning oil fields of Kuwait, after the Gulf War, were on show. Two things immediately struck me seeing these photographs. First, the images and the physical prints (silver-based black and white, obviously) were of an unbelievable visual and technical quality, rarely seen in that kind of “newsgathering” journalism. Somebody was at work here who clearly knew what black and white photography was about, and how far the limits could be pushed. And second, this photographer did go far, and obviously took personal risks, to get close to the jobs being done by workers trying to put out blazing oil fires or control and close wildly spilling damaged oil wells. All that done under the permanent risk of huge fires, possible explosions, and exposure to blazing heat or possibly intoxicating atmosphere. The workers in the photographs did do it, and so did Salgado. The photographs tell. Look at them… After retirement from his journalistic career (with Gamma, Magnum, later with his own agency), Salgado set out on a personal undertaking: an attempt to capture in photographs the most unspoiled locations left on earth. Definitely a project that took him years, countless travels, thoroughly researched and prepared (with the help of his wife Lélia Wanick Salgado), but the result (as a book and an exhibition, last summer and autumn in Rotterdam) is impressive. Eddie in the Nederlands Fotomuseum © Armando Jongejan

Concern about life conditions Many of the images purely deal with nature, animals and landscape, sometimes restful or poetic, sometimes of an overwhelming grandeur, occasionally exposing the brutality of situations. Others deal with humans in close relationship with the earth. Here no looking for the cheap exoticism however, but rather, and thus clearly related to Salgadoâ&#x20AC;&#x2122;s earlier work, expressing understanding and concern about life conditions of the people he seeks out and photographs.

Impression of the exhibition in the Nederlands Fotomuseum ÂŠ Armando Jongejan

Exhibition and much more than a coffee table book The exhibition consisted of a good two hundred photographs. The Nederlands Fotomuseum Rotterdam had to extend it for two extra months due to great demand, and claims that is has been the most visited exhibition ever in the history of the museum (over 50.000 visitors). The material of the GENESIS project also went into a voluminous book (Taschen, 2013, 520p.). Really much more than a coffee table book; but make sure your coffee table is sturdy...it's big, beautiful and heavy

Salgado tells his story himself, vividly, in a 16 minute TED-talk from 2013 https://www.ted.com/talks/ sebastiao_salgado_the_silent_drama_of_photography

RPS BENELUX CHAPTER - PRINT EXHIBITION - BRUSSELS - BELGIUM text by Eddie Maes LRPS and Richard Sylvester LRPS After Bath (UK) and Rijswijk (NL)

After showings earlier this year at the RPS Headquarters in Bath (UK) and at the European Patent Office in Rijswijk (NL), the Benelux Chapter print exhibition was invited by the Brussels Free University to come to their campus in the heart of Brussels (B). Chapter members were invited to submit three images for our print exhibition, with the selectors choosing the one they felt to be the strongest work. The exhibition, which includes 29 images from 26 Benelux Chapter members, was freely accessible and was held from 18th October to 24th November 2017.

Vrije Universiteit Brussel (VUB), Etterbeek Campus, Pleinlaan 2 / Boulevard de la Plaine 2 - 1050 Brussels (B) © Richard Sylvester

MILTON OF FONAB - A VINTAGE CHARM text and photos by Armando Jongejan FRPS

Milton of Fonab is a quiet, family run, caravan park on the south side of Pitlochry next to the River Tummel and within walking distance of Pitlochry in Scotland.

There are static caravans, pitches for touring caravans, camper vans and a few spaces for small tents. As written on the website, the park is continuously improving facilities, like the toilet and shower blocks. The laundry area however is housed in a traditional stone building by the river. It has â&#x20AC;&#x153;a vintage charmâ&#x20AC;?. This is an understatement. The campsite is situated in the heart of Scotland with a magnificent open views of the Tummel Valley and surrounding hills. The area is it is a walkers paradise with beautiful woodlands and is perfectly located to explore the lochs, rivers, glens and hills.