RPS Analogue Group Annual Exhibition Catalogue by Royal Photographic Society

2021 ANALOGUE ANALOGUE 2021 ANALOGUE2021

The RPS Analogue The Special Interest Group Annual TheRPS RPSAnalogue Analogue Special Interest Annual Photography Exhibition Special InterestGroup Group Annual Photography Exhibition Photography Exhibition 23rd 7th 23rdSeptember Septembertoto 7thOctober October

23rd 23rdSeptember Septembertoto7th 7thOctober October

Many thanks to all who helped to make this exhibition possible and especially to those who sent prints to be exhibited. Charles Binns Exhibition Organiser

ANALOGUE 2021 The RPS Analogue Special Interest Group Annual Photography Exhibition 23rd September to 7th October

Front cover illustration Shows four aspects of analogue photography: colour, black and white, sepia toned and cyanotype

Introduction to the RPS Analogue Group 2021 exhibition Analogue photography is thriving in 2021. Some two decades ago, the digital camera became a ubiquitous artefact and predictions were made that ‘Traditional’ photography would simply disappear. In fact, during those 25 years analogue photography has evolved into a separate art form, where seeing the image isn’t enough, the photographer also has to see the way of producing that image. In this exhibition we see the work of some of the best practitioners of analogue photography, not only traditional silver gelatine prints but also cyanotypes, wet plate images, intaglio, kalitypes and salt prints, lith prints and the more accessible hybrid (film to digital) images. We see the work of photographers who have recently discovered analogue techniques as well as those of us who remained faithful to our art. To miss-quote Mark Twain:“Rumours of the death of analogue photography have been greatly exaggerated”. Richard Williams LRPS Acting Chair

Print number 1 Tulip 1

Print number 2 Camarge Horse

Pentax 645,120mm lens, Delta 100 in DD-X, Ilfobrom Gallerie Grade 3

Canon EOS3, 200mm lens, Delta 400 in DD-X, lith print on Foma Fomatone in homemade developer, split toned selenium/sepia

Richard Williams LRPS

Print number 3 Italian Girl Canon EOS 3, 85mm lens, Delta 400 in DD-X, lith print on vintage Ilford Ilfobrom and homemade developer Richard Williams LRPS

Print number 4 Beside a Summer Meadow Hasselblad H1, Rollei infrared film printed on Ilford MG Art in Ilford MGWT developer Kay Reeve FRPS

Print number 5 Reflections of a Wet Willow Lumix G digital camera used to create a digital negative and transfer print on Ilford MGFB Classic Glossy developed in Ilford MG Kay Reeve FRPS

Print number 6 Spring Leaves Hasselblad H1with Rollei infrared film printed on Fomatone MG Classic and developed in Fotospeed Lith LD40 Kay Reeve FRPS

Print number 7 After The Rain Camera: Hasselblad 500CM Format: 120, 6 x 6, lens: Carl Zeiss Distagon 50mm, film: Kodak 400 Tmax. Developer: Adox 1:25. Paper: Ilford Multigrade IV RC Delux - Pearl Robert Adams

Print number 8 Battersea Blue Hour Camera: Fuji GW690III. Format: 120, 6 x 9. Lens: 90mm. Film: Kodak Portra 160. Process: C41 Paper: FujiColor Crystal Archive RA4 Lustre Robert Adams

Print number 9 Steam And Oil Camera: Hasselblad 500CM Format: 120 - 6 x 6. Lens: Carl Zeiss Planar 80mm Film: Ilford FP4+ Process: Ilford DD-X Paper: Ilford Multigrade IV RC Deluxe Pearl Robert Adams

Print number 10 Crevasse Explorer, Columbia Ice field Alberta, Canada Hasselblad 500CM, 50mm Distagon, 2x yellow filter, Ilford FP4. Film developed in D76, Epson scanned and printed on Hahnemuhle Baryta paper (duo toned) Charles Binns

Print number 11 Stowe Walker Titan SF 5 x 4 camera, 90mm Schnieder Super Angulon + 2x yellow filter. Delta 100 film in Ilford DDX developer and printed on Ilford WTFB paper in Ilford MG developer Charles Binns

Print number 12 The Actor Hasselblad 500 CM camera, 120mm Macro Planar lens, single brolly flash. Ilford FP4 film in D76 and printed on Hahnemuhle Baryta paper Charles Binns

Print number 13 Goldcliff Mamiya C220, 80mm lens. ND10 filter FP4, ID11 Ilford Classic FB, Ilford PQ, split toned sepia and selenium. David Lingham FRPS

Print number14 Afon melte 35mm Nikon F2, 20mm lens FP4, ID11. Print: Ilford Classic FB, Ilford PQ, split toned sepia and selenium David Lingham FRPS

Print number 15 Nolton Haven 35mm Nikon F2, 20mm lens 25A red and ND4 filters. FP4 ID1. Ilford Classic FB, Ilford PQ, split toned sepia and selenium David Lingham FRPS

Print number 16 Killie Multigrade Pearl grade 3, diffused, PQ Universall, thiocarbamide toned David Hall ARPS

Print number 17 St.Hilda's Lucker Two year old Kodak IR Warm Multigrade, carbon toned grade 4 David Hall ARPS

Print number 18 Karen ‘Maskell potash aquatint process’ on Bockingford NOT watercolour paper David Hall ARPS

Print number 19 Crowsley Park, Study 1

Print number 20 Crowsley Park, Study 2

Canon EE17, 35mm half frame, Ilford XP2 Super developed in Adox Rodinal, Ilford MG Cool Tone

Owen Andrew

Print number 21 Crowsley Park, Study 3 Canon P, 35mm, Ilford FP4+ developed in Ilford DD-X, Ilford MG Cool Tone Owen Andrew

Print number 22 Llyn Dinas Mamiya 645 45mm lens, 120 format, film Ilford FP4+/ID-11, paper Fotospeed PF lustre Rob Owen

Print number 23 Cwm Ogwen Minolta Autocord 75mm lens, 120 format. Film Ilford FP4+/ID-11. Paper Fotospeed PF lustre Rob Owen

Print number 24 Rhosydd Mamiya 645 45mm lens, 120 format. Film Ilford Delta100/ID-11. Paper Fotospeed Platinum Baryta Rob Owen

Print number 25 Seducing The Crowd, 2015 Canon FTb 50mm f1.4 lens on Foma Retropan Soft 320 film developed in D76, scanned and printed on Epson Matte paper Rob Gossage

Print number 26 Late for Class in Neuchtel, 2015 Jenaflex AM1with a Prakticar 3570mm f3.5-4.8 lens shot on Kodak Tri-X film developed in D76, scanned and printed on Epson Matte paper Rob Gossage

Print number 27 City Monoliths: 2021 Canon Sure Shot 150u with Rollei RPX25 film developed in D76, scanned and printed on Epson Matte paper Rob Gossage

Print number 28 Fern #2 Photogravure on copperplate. plate 20 x 20cm. Printed on Somerset Satin White paper 28 x 38cm. Gamblin Bone Black + Gamblin Carbon Black ink (≈ 2:1). Plate inked, wiped and pulled by hand Carles Mitjà FRPS

Print Number 29 Tree #9

Print Number 30 Church Hanborough, NorthAisle

Photogravure on copperplate. Plate 20 x 20cm. Printed on Somerset Satin White paper 28 x 38cm. Gamblin Bone Black + Gamblin Carbon Black ink (≈ 2:1). Plate inked, wiped and pulled by hand.

Cambo SC1, Delta 400 in ID11, MG Warm Tone Gloss

Carles Mitjà

Andrew Fraser LRPS

Print Number 31 Hall of Steps

Print Number 32 Loch Creran, Argyll

Mamiya 645, Pan F Plus, Acutol, Kentmere Art Classic

Zeiss Nettar, Ilford FP3, Kentmere Art Classic

Andrew Fraser LRPS

Print Number 33 Brighton Pier - Carousel Lomography Sprocket Rocket 30mm lens, 35mm Kodak Vision 500T developed in RA4, Fuji Crystal Archive paper Steve Jones ARPS

Print Number 34 Brighton Pier - Horse Lomography Sprocket Rocket 30mm lens, 35mm Kodak Vision 500T developed in RA4, Fuji Crystal Archive paper Stevs Jones ARPS

Print Number 35 Loch Nam Feithian, North Uist Hasselblad 501CM, 150mm lens, Foma 100 developed in Tanol, printed on Ilford Classic Fibre, selenium toned. Mark Snowdon APRS

Print Number 36 Loch Bi, South Uist Hasselblad 501CM, 150mm lens, Foma 100 developed in Tanol, printed on Ilford Classic Fibre, sepia/selenium toned Mark Snowdon APRS

Print Number 37 Grimwith Reservoir Woods Hasselblad 501CM, 80mm lens, Foma 200 developed in ID11, printed on Ilford Classic Fibre, selenium toned. Mark Snowdon APRS

Print Number 38 Lochan Na Stainge – Rannoch Moor Silver print on Ilford MG Warm Tone FB, split grade printed developed in Ilford MG 1+9 Malcolm Macnaughtan

Print Number 39 Loch Achtriochtan - Glencoe Silver print on Ilford MG Warm Tone FB, split grade printed developed in Ilford MG 1+9 Malcolm Macnaughtan

Print Number 40 Sgurr of Eigg from Arisaig Silver print on Ilford MG Warm Tone FB, split grade printed developed in Ilford MG 1+9 Malcolm Macnaughtan

Print Number 41 Obelisk and Woodland, Compton Verney Camera: Zeiss Ikon Nettar (1955). Lens: Novar Anastigmat 1:6.3 f75mm. Expired Tri-X Kodak, D76. Giclée printed on Hahnemühle Pearl Gregory Irvine

Print Number 42 Sphinx and Bridge, Compton Verney Camera: Zeiss Ikon Nettar (1955). Lens: Novar Anastigmat 1:6.3 f75mm. Expired Tri-X Kodak D76, Giclée printed on Hahnemühle Pearl Gregory Irvine

Print Number 43 Cedar of Lebanon and Boulder, Compton Verney Camera: Zeiss Ikon Nettar (1955) Lens: Novar Anastigmat 1:6.3 f75mm Expired Tri-X Kodak D76, Giclée printed on Hahnemühle Pearl Gregory Irvine

Print Number 44 Willy Lott's Cottage, Dedham, Suffolk Print from 10 x 8 wet collodion ambrotype plate. Scene made famous by Constable Steve Le Grys ARPS

Print Number 45 The Woodbridge Tide Mill Print from 10 x 8 wet collodion ambrotype plate Steve Le Grys ARPS

Print Number 46 The Guildhall of Lavenham, Suffolk Print from 10 x 8 wet collodion ambrotype plate Steve Le Grys ARPS

Print Number 47 The Scallop at Aldeburgh, Suffolk Print from 10 x 8 wet collodion ambrotype plate Steve Le Grys ARPS

Print Number 48 All In A Days Work No1 Images taken during the first phase of the Corona Virus crisis in a rural district general hospital in Abergavenny, Wales. Olympus XA3, Tri X, silver darkroom print David Collyer

Print Number 49 All In A Days Work No2 Images taken during the first phase of the Corona Virus crisis in a rural district general hospital in Abergavenny, Wales. Olympus XA3, Tri X, silver darkroom print David Collyer

Print Number 50 All In A Days Work No3 Images taken during the first phase of the Corona Virus crisis in a rural district general hospital in Abergavenny, Wales. Olympus XA3, Tri X, silver darkroom print David Collyer

Print Number 51 All In A Days Work No4 Images taken during the first phase of the Corona Virus crisis in a rural district general hospital in Abergavenny, Wales. Olympus XA3, Tri X, silver darkroom print David Collyer

Print Number 52 Uno Detail on building of Sagradia Familia, Barcelona, Olympus OM1, 50mm lens. Printed on Permajet Portrait White 285 paper Nina Agnew

Print Number 53 Dos Detail on building of Sagradia Familia, Barcelona, Olympus OM1, 50mm lens. Printed on Permajet Museum 310 paper Nina Agnew

Print Number 54 Tres Detail on building of Sagradia Familia, Barcelona, Olympus OM1, 50mm lens. Printed on Hahnemuhle German Etching 310 paper Nina Agnew

Print Number 55 Blessing of Animals, Blythburgh Church Leica M6, Ilford XP2 film printed on an Epson R3000 Andrew Spackman ARPS

Print Number 56 Oxford University ‘Bulldogs’ Leica M6, Ilford XP2 film printed on an Epson R3000 Andrew Spackman ARPS

Print Number 57 Evening, Mollans

Print Number 58 Abstract at Hong Kong Admiralty

Leica M6, Ilford XP2 film printed on an Epson R3000

Canon AF1, Ilford Delta 400

Andrew Spackman ARPS

LEE Shing Kit

Print Number 59 Thinking of Vincent Van Gough Leica M3, 50mm Summilux f1.4 @ F1.4, Kodak Pro 100 film LEE Shing Kit

Print Number 60 Girl In A Mood Rolleiflex 2.8F, Ilford Delta 100 film LEE Shing Kit

Print Number 61 Winter Post Mamiya C330,105mm lens, Delta 100, 120 film, developed in Adox fx39ii. Printed on Ilford MG IV Paul Bullock LRPS

Print Number 62 Thornham Boat Chroma 5 x 4 camera,150mm lens, Delta 100 Film, developed in Ilford DDX. Printed on Ilford MG IV Paul Bullock LRPS

Print Number 63 Chapel St. Barbar - Alta Badia Fuji 690 Gwii, Delta 100, 120 film, developed in Ilford DDX. Printed on Ilford MG IV Paul Bullock LRPS

Print Number 64 42nd Street N.Y. Folmer & Schwing 11 x 14 camera with 10 x 8 back. Lens 1220 mm F8.0 by Wray, Ilford HP5+ film @ 200 asa. Pyro tray developed, split grade printed on Ilford MGWT Tony Lovell ARPS

Print Number 65 Hudson Yards N.Y.

Print Number 66 Tug Boats N.Y.

Folmer & Schwing 11 x 14 camera with 10 x 8 back. Lens 1220 mm F8.0 by Wray. Ilford HP5+ film @ 200 asa. Pyro tray developed, split grade printed on Ilford MGWT

Tony Lovell ARPS

Print Number 67 Street Performance 1, Notting Hill Carnival 2019 Nikon F60 Camera, Nikkor 35-80mm lens. Ilford HP5+ film. Printed on Hahnemuhle Art Baryta paper 325 gsm Nicholas Mackey

Print Number 68 After The Parade, Notting Hill Carnival 2019 Nikon F60 Camera, Nikkor 35-80mm lens. Ilford HP5+ film. Printed on Hahnemuhle Art Baryta paper 325 gsm Nicholas Mackey

Print Number 69 Future Generation, Notting Hill Carnival 2019 Nikon F60 Camera, Nikkor 35-80mm lens, Ilford HP5+ film. Printed on Hahnemuhle Art Baryta paper 325 gsm Nicholas Mackey

Print Number 70 Cote Basque South West France Toyo 5x4 camera, Schnieder 150mm Apo-Symmar lens, ND3 filter. Ilford Delta 100 film, Epson scanned printed on Hahnemuhle Photo Gloss Baryta Clive Jenkings LRPS

Print Number 71 Cote Basque No1 South West France Pentax 6x7 with 90mm lens and ND3 filter, Ilford Pan F film. Rough seas created dreamy effect. Epson scanned printed on Hahnemuhle Photo Gloss Baryta Clive Jenkings LRPS

Print Number 72 Cote Basque No 2 South West France Pentax 6x7 with 90mm lens and ND3 filter, Ilford Pan F film. Rough seas created dreamy effect. Epson scanned printed on Hahnemuhle Photo Gloss Baryta Clive Jenkings LRPS

Print Number 73 Wern Works Abandoned factory, Briton Ferry, Intrepid Mk2 5x4 camera, Fomapan 100 film, 10 x 8 digital negative, salt print on Hannemuhle Platinum Rag gold and borax toned Roger Harrison

Print Number 74 East Orchard Castle Ruins of a 14th century manor, Vales of Glamorgan. Intrepid 10 x 8 camera shot on Ilford RC Pearl (paper negative) kallitype printed on Hahnemuhle Platinum Rag gold toned Roger Harrison

Number 75 Penllergare Waterfall Salt print after John Dillwyn, 1850. Hasselblad H1, Ilford Delta 100, digital negative salt printed on Hahnemuhle Platinum Rag, gold and borax toned Roger Harrison

Number 76 Ferns, Lichens, Mist Light and mist in Glen Affric, Scottish Highlands, Mamiya C220, 65mm lens, Ilford HP5+ developed in Perceptol 1+2, printed on Fomatone MG Classic in Fotospeed WT10 1+14 Peter Young LRPS

Number 77 Trossachs Boathouse Loch Ard in the Trossachs, Nikon F100, 24-85 mm lens, Ilford FP4+ film developed in Perceptol 1+2, Fomatone MG Classic paper, developed in Fotospeed WT10 1+19 Peter Young LRPS

Number 78 The Long and Winding Road North Iceland, Mamiya C220, 65mm lens, Ilford HP5 film developed in Perceptol 1+2, printed on Fomatone MG Classic in Fotospeed WT10 at 1+9 Peter Young LRPS

Print Number 79 Aguille Du Plan Approaching storm, Mont Blanc Massive. Hasselblad 500CM, 50mm Distagon, 2x yellow filter, Ilford FP4 film developed in D76, Epson scanned and printed on Hahnemuhle Baryta Paper duo toned) Charles Binns

Number 80 St Johns Whittle-Le Woods MPP Mk VI 5 x 4 Camera, 90 mm Super Angulon + 6x red filter. Agfa Pan 25 film to digital negative. Cyanotype print on Arches Platine watercolour paper Charles Binns

Design by Owen Andrew