The RPS Journal, May 2017 by Think Publishing

THE RPS JOURNAL / MAY 2017 / VOL 157 No5

MAGNUM TURNS 70

CELEBRATE WITH THEIR 12 BEST IMAGES

WWW.RPS.ORG

MAY 2017 / VOLUME 157 / NUMBER 5 / WWW.RPS.ORG

MASTERCLASS

REGIONAL PROJECT

DISCOVER THE KEY TO COMPOSITE CREATIVITY

HOW BREATHING LONDON INSPIRED MEMBERS

Nowâ&#x20AC;&#x2122;s the time. Buy the B1 or B2. Get an Air remote for free. Buy a B1 or B2 Off-Camera Flash kit before April 30, 2017 and get any of the Air Remote TTL (for Canon, Nikon or Sony) or Air Remote for free. Find dealer: profoto.com/offcameraflash/find-dealer

OPENING SHOT

| MAY 2017 | 321

CELEBRATING MAGNUM’S IMPACT

T COMING UP

IN FUTURE ISSUES We take a look at the work of some of the top photography students due to graduate this year; celebrate the centenary of the Nikon company; and reveal Chloe Dewe Mathews’ best shots

PRINCIPAL PATRONS

his year marks the 70th anniversary of Magnum Photos. During the last seven decades, the world-renowned picture agency has been home to some of the biggest names in the industry, many of whom are Society Honorary Fellows. Founded in 1947 by such luminaries as Henri Cartier-Bresson HonFRPS, Robert Capa, George Rodger HonFRPS and David Seymour, Magnum remains at the forefront of the industry and continues commissioning stories that examine the consequences of war, poverty, globalisation and much more besides. It’s a real treat to help celebrate this occasion by asking three of the agency’s photographers, including the current Magnum president Martin Parr HonFRPS, to choose their personal favourites from the organisation’s archives, with images by Cartier-Bresson, Alex Webb HonFRPS and Susan Meiselas. Staying with the Magnum theme, we also bring you a recently uncovered bounty of colour photos taken by George Rodger during his trips to Africa in the 1940s and 50s. These photos are a significant addition to Rodger’s already famous monochromes from the same period, offering a more complete impression of the continent.

MAJOR PARTNERS

Philip Field ARPS last month returned from a trip to Africa where he documented the positive outcome of work being done by charity African Initiatives in rural Tanzania. He photographed some of the women who the organisation has helped, allowing them to support and educate themselves. In a feature dedicated to his project, Field reveals what it took to follow his ambition and finance the trip through crowdfunding. Lastly, we bring you the latest project from the ever-dynamic London Region – Breathing London. Project coordinators Judy Hicks LRPS and Jen Pedler, with the help of members and non-members alike, set out to photograph the city’s communal spaces. Starting on page 350, we take a look at how such images are helping to raise awareness about the importance of these green spaces, and the ways in which the project has helped bring people together.

ANDREW CATTANACH Editor

SUPPORTING PARTNERS

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322 | MAY 2017

IN THIS ISSUE The Royal Photographic Society Fenton House, 122 Wells Road Bath BA2 3AH, UK www.rps.org reception@rps.org +44 (0)1225 325733 Incorporated by Royal Charter Patron Her Majesty the Queen President Walter Benzie HonFRPS Vice-President Robert Albright FRPS Treasurer Geoff Blackwell ARPS Chief Executive Dr Michael Pritchard FRPS Published on behalf of The Royal Photographic Society by Think Red Tree Business Suites 33 Dalmarnock Road, Glasgow G40 4LA thinkpublishing.co.uk

Contributing editors Fiona McKinlay, Jonathan McIntosh, Gavin Stoker, David Clark Design Matthew Ball, John Pender, Andrew Bell Sub-editors Sam Bartlett, Andrew Littlefield Advertising sales Molly Matthews molly.matthews@thinkpublishing. co.uk 020 3771 7233 Editor-in-chief Clare Harris clare.harris@thinkpublishing.co.uk Group account director John Innes © 2017 The Royal Photographic Society. All rights reserved. Every reasonable endeavour has been made to find and contact the copyright owners of the works included in this newspaper. However, if you believe a copyright work has been included without your permission, please contact the publishers. Views of contributors and advertisers do not necessarily reflect the policies of The Royal Photographic Society or those of the publishers. All material correct at time of going to press.

Circulation 11,374 (Jan-Dec 2016) ABC ISSN: 1468-8670

Cover © Rene Burri/Magnum Photos

358 One of George Rodger HonFRPS's previously unpublished colour images

CONTRIBUTORS

ALASTAIR MARSH Big picture (p324) An award-winning photographer based in North Yorkshire, Alastair Marsh’s image of a pine marten recently came first in the Mammal Photographer of the Year competition PHILIP FIELD ARPS A valuable lesson (p374) A three-time Travel Photographer of the Year finalist, Philip Field combines his passion for travel, sport and photojournalism with his career as a graphic designer DAVID CLARK George Rodger HonFRPS (p358) Freelance journalist and editor David Clark has specialised in photography for 20 years, interviewing many leading photographers. He has been a Journal contributor since 2015

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FEATURES

350 | BREATHING LONDON Society members capture the capital in their 15-month project 334 Grand plans for the RPS Collection

358 | OUT OF AFRICA A hidden treasure trove of colour images by George Rodger HonFRPS, revealed by the celebrated photographer's widow 364 | BEST SHOTS Three Magnum luminaries share their favourite images as the photo agency turns 70

382 Learn creative compositing

374 | FIELD TRIP Why a self-funded commission was the journey of a lifetime for a three-time Travel Photographer of the Year competition finalist

EDITORIAL ENQUIRIES Editor Andrew Cattanach andrew@thinkpublishing.co.uk 0141 375 0481

336

Underwater Dreams by Rafal Makiela: runner up in the HIPA portfolio category

THE CRAFT

EVERY MONTH

379 | MUST TRY The Sigma sd Quattro H is roadtested by Gavin Stoker

324 | BIG PICTURE Pine Marten by Alastair Marsh

380 | LATEST KIT A range of box-fresh goodies, plus Juliet Chenery-Robson gives the Ricoh Theta SC the onceover

ADRIAN ROBBINS ARPS

382 | MASTERCLASS Andrew Dobell explains the keys to composite creativity

327 | IN FOCUS News, views, exhibitions and more 339 | BOOKS Our review of titles including 100 Great Street Photographs 340 | DISTINCTIONS Adrian P Robbins ARPS (fine art) and Boulos Isaac ARPS (travel) 396 | SHOWCASE Retro Ireland by Ray Flynn ARPS

340 The beauty of dereliction captured in Adrian P Robbins' Associate submission

400 | TIMES PAST James Linton, his Boat and his Bairns (1843-1847) VOL 157 / MAY 2017 / THE RPS JOURNAL / 323

324 | BIG PICTURE |

Pine Marten

By Alastair Marsh Over the past couple of years I’ve made an annual trip to the Ardnamurchan peninsula on the west coast of Scotland, near a small village called Strontian. I time my visit for when the young pine martens are venturing out of their den and exploring their surroundings. It took about a week to get this shot. I spent many afternoons and evenings sat in the hide, but they never showed up. I just kept trying and eventually, after a week, they came out in daylight and I managed to get this photo. Alastair Marsh’s photo won this year’s Mammal Photographer of the Year competition. For more visit alastairmarshphotography.co.uk

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327

STILL TIME TO GIVE IT A GO IPE 160 entry deadline looms 329

WHAT NOT TO MISS Our pick of the best exhibitions 332

RPS COLLECTION An in-depth look at V&A’s plans 334

INFOCUS NEWS, VIEWS, EXHIBITIONS AND MEMBER INSIGHT

The RPS Collection as currently stored at the V&A in London

RPS COLLECTION DRIVES V!A DEVELOPMENT

Museum announces expansion to accommodate Society treasures, and more The Victoria & Albert Museum’s photography galleries are to be greatly expanded following the relocation of the RPS Collection from the National Media Museum. The transfer of more than 270,000 photographs, 26,000 publications and 6,000 pieces of camera-related equipment

BOOK NOW

from Bradford, where the collection had been housed since 2003, caused controversy when announced a year ago. However, supporters of the move argue it will make the collection more accessible by establishing a new photography resource centre and creating what V&A director Tristram Hunt describes as ‘an unparalleled digital resource’. Purpose-made storage facilities have also been

HISTORICAL GROUP OUTING

built to accommodate what is now the largest collection of art photography in the world. The first phase of the V&A’s FuturePlan development project will open in autumn 2018 and will be celebrated with a museum-wide photography festival.

For more details on the V&A’s development and the future of the RPS Collection, see page 334

William Henry Fox Talbot’s mousetrap camera, c.1835. The term was coined by Talbot’s wife Constance

The Historical Group has arranged a field trip to the Centre for Photographic Conservation in London on 27 May. Find out more on page 393 VOL 157 / MAY 2017 / THE RPS JOURNAL / 327

328 | IN FOCUS One of Clive Arrowsmith’s candid shots of LS Lowry near his Salford home

EXHIBITION AND BOOK

UNSEEN LOWRY PORTRAITS REVEALED

Clive Arrowsmith FRPS’s images of famous artist to go on show in Salford

An exhibition of previously unseen portraits of artist LS Lowry by Clive Arrowsmith FRPS will be displayed at the Lowry Centre in Salford from 10 June to 24 September. The images were taken in 1966, at the beginning of Arrowsmith’s successful career as a fashion and portrait photographer. The Lowry images will be published as a book on 24 May, with a foreword by the Society’s chief executive, Dr Michael Pritchard FRPS.

CLIVE ARROWSMITH LOOKS BACK ON HIS LS LOWRY SHOOT How did you get to photograph Lowry? I was in my early 20s and had left art school a year previously. I went to Nova magazine and begged them to give me a job, and they sent me to photograph LS

See thelowry.com

Lowry at his home, near Manchester. It seems unusual now, but he wasn’t very famous at that time. What was he like? When he opened the door I said: ‘Mr Lowry, I’ve come to take your picture.’ He looked at me for a long time very sternly then said: ‘Oh, come in then.’ I think because

Mandy Barker ARPS’s project up for major prize Mandy Barker ARPS, awarded the Society’s environmental bursary in 2012, is one of 12 photographers shortlisted for the 2017 Prix Pictet photography award. Barker has been selected for her series Beyond Drifting: Imperfectly Known Animals. The Prix Pictet will be 328 / THE RPS JOURNAL / MAY 2017 / VOL 157

presented to the winner at a ceremony on 4 May and work by all shortlisted photographers will be on display from 6-28 May at the Victoria and Albert Museum in London.

Applications are now open for Society bursaries, including the environmental bursary (in partnership with The Photographic Angle). See rps. org/learning/project-funding

One of Barker’s selected images

MANDY BARKER ARPS; CLIVE ARROWSMITH FRPS

BURSARY RECIPIENT SHORTLISTED FOR PRIX PICTET

FROM WALTER BENZIE HonFRPS

A JOLLY GOOD SHOW

Birmingham event is a runaway success

T I’m quite open and wear my heart on my sleeve he liked me. We also bonded because I was a painter at the time and we talked about that. I spent about two days there and went around Salford with him. Why haven’t the portraits been seen? Nova used the ones they

wanted and the rest of the negatives were stored in my attic and forgotten. I only shot three rolls. When I found them my publisher asked to see them and I scanned the negatives. I hadn’t looked at them for 30 or 40 years. When I saw them on the screen I thought they had something. It was an intimate time with him.

PHIL LEGAL

IPE 160 OPEN FOR ENTRIES

The RPS International Photography Exhibition 160 is still open for entries – but only until 24 May 2017. The Society is looking for engaging, visually striking and inspiring work across all genres. The work selected will be shown in a nationwide 10-month touring exhibition, opening

An image by Phil Le Gal which featured in the IPE 159 exhibition

in London in October. For full details turn to page 386 or see rps.org/ competitions/ipe-160

he Photography Show, which was held in Birmingham in March, is one of the most popular events in the photographer’s calendar, and as always, we were well represented. This year our primary objectives were to promote membership and Distinctions, increase our visibility, and engage with fellow photo enthusiasts to explain what we are all about. At the event we signed up almost 90 new members. As a bonus, we met many of our members. A particularly proud moment was when an enthusiast told me he had come to our stand last year, spoken to me, joined the Society and was now the proud possessor of an LRPS Distinction. We also ran two days of one-to-one Distinctions advice. These 25-minute sessions were fully subscribed and those who attended delivered very positive comments. The Society was involved with many other events on offer at the show. The talk by Honorary Fellow Sebastião Salgado, one of the most respected photographers of our time, was particularly exciting. We also invited Matilda Temperley to talk, and she gave an inspirational presentation about her career, while John Humphrey FRPS’s talk on close-up and macro photography was hugely popular, and oversubscribed. Many other keynote speakers – such as Nadav Kander HonFRPS, Frans

Lanting HonFRPS and Julia Fullerton-Batten – have a connection to the Society which we, and they, value. We also organised a series of student portfolio reviews – with Ben Brain ARPS (editor of Digital Camera magazine) and Saraya Cortaville, as well as Angela Nicholson ARPS representing the Society. These reviews were well received, and we had some very positive feedback. As if this were not enough, I also visited The Big Bang Fair in a nearby NEC hall, where the Society was showing its International Images for Science prints on the Siemens stand. Crowds of young people saw photographic evidence of the fascinating world of science. This activity is in support of enthusing children about science, engineering, technology and maths subjects. My thanks go to our communications manager, Amelia Christmas – who organised our activities – our staff, and those members of the Society who gave up their time so willingly to support us. WALTER BENZIE HonFRPS President of The Royal Photographic Society

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330 | IN FOCUS | NEWS IN BRIEF

APOLOGY

In the April Journal, there was an editing error in the feature Distinctions review: conclusions on pages 314-315. It should have read: ‘It has been agreed that attendance at Fellowship assessments will now be opened to members of the advisory board, in addition to members of council’. The text was correctly supplied by Robert Albright FRPS and the Journal extends an apology to Robert and to the DAB for this error.

BOOK NOW: MEDICAL GROUP SYMPOSIUM Event to focus on ophthalmology and ophthalmic imaging The Society’s Medical Group is holding a one-day symposium on Saturday

10 June, in collaboration with Moorfields Eye Hospital in London. Titled Ophthalmic OCT Imaging 2017, the event features lectures by ophthalmology and ophthalmic imaging experts. Prints from the critically acclaimed International Images for Science 2016 exhibition, featuring the world’s best scientific photography, will also be on display at the event.

For full details contact Bob Tapper ASIS FRPS at medicalsecretary@rps.org

330 / THE RPS JOURNAL / MAY 2017 / VOL 157

GROUP FOCUS

Founded in 1946, the Medical Group is one of the Society’s Special Interest Groups. It promotes the use and advancement of imaging in all branches of medical and allied sciences. A comprehensive programme of events is planned and all RPS members are welcome to join. To find out more, visit rps.org/special-interestgroups/medical

DISTINCTION SUCCESSES

03/17 ARPS FINE ART Michael Bobb, London Charles Ashton, Worcestershire Timothy Lawson, Surrey Carol McNiven Young, Nottinghamshire Adrian Robbins, Aberdeenshire Janis Spice, Kent Helena Spinks, Gloucestershire 03/17 ARPS TRAVEL Pat Barbour, Yorkshire Susan Hingley, Durham David Portwain, Essex Myra Stokes, Buckinghamshire Boulos Isaac, Egypt

SHUTTERSTOCK

The symposium will look at future advances in ophthalmic imaging

IN FOCUS | 331

365

LOOKING By Christopher Gregory My local camera whole experience club arranged for totally absorbing. Part of this a London studio image’s success photoshoot, and can be accredited to the chance to try portrait photography the model, who was very comfortable allowed me to with the creative step outside my vision I was comfort zone. I found the striving to realise.

MARCH’S MOST POPULAR ENTRIES THIS MONTH

BLACK ! WHITE GET INVOLVED

Submit photographs for the next competition at rps-365.org A DESOLATE IDENTITY By Lesley Antrobus was the exercise This photograph yard for the sex was taken at offenders block. the notorious Peterhead Prison It is bleak, depressing and in Scotland. Built suffocating. in 1888, the prison Using my Canon has housed some 7D MkII with an EF of Britain’s most 17-40mm f/4 USM troublesome lens I captured the criminals. image with the goal As I completed perfectly framed the prison tour and the ball in I came across waiting. The stark some inmate and distressed recreational white lines are exercise areas, reflective of the which are caged. boundaries of The area captured prison life. in this photograph

The image was captured with a Nikon D7100 using an 18-300mm lens at 1/200sec, f/6.3 and ISO 100, with a little Lightroom processing applied.

WRINKLES By Paul Nash the sunlight while Rhinos are a the background favourite creature of mine and is in shade. The image was this one was then converted to photographed black and white at Paignton Zoo. To achieve the black with increased contrast and background effect you have to try to a brush tool catch the animal in to reduce

the background exposure to black. I will be presenting a series of these images to an ARPS panel in the near future and more of my images can be seen at paulbnash photography.com

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332 | IN FOCUS |

WHAT NOT TO MISS THE UNITED SOYA REPUBLIC Francesca Maffeo Gallery, Leigh-on-Sea UNTIL 3 JUNE

Jordi Ruiz Cirera is a 33-year-old Spanish documentary photographer whose awards include the

Taylor Wessing Photographic Portrait Prize in 2012. The United Soya Republic documents the changes to the society and landscape of the Southern Cone as a result of intensive farming. These images were made during a three-year project in

Argentina and Paraguay and examine how deforestation, migration and toxic pesticides have affected farming communities. A selection of images from Cirera’s series Los Menonos will also be on show. francescamaffeogallery.com

POETICS OF LIGHT: PINHOLE PHOTOGRAPHY National Science and Media Museum, Bradford UNTIL 25 JUNE

An exhibition of over 200 images, created by over 150 artists using pinhole cameras from the Pinhole Resource collection in New Mexico, is on show at NSMM. Images range from landscapes and urban scenes to reportage and conceptual work. Forty different pinhole cameras are also on display. nationalmediamuseum.org.uk

INSIGHT ASTRONOMY PHOTOGRAPHER OF THE YEAR Royal Observatory Greenwich, London UNTIL 25 JUNE

A selection of the spectacular winning images from the 2016 competition, which drew 4,500 entries from 80 countries. Celestial subjects include aurorae, galaxies, planets, comets and stars. rmg.co.uk

UNTIL 29 MAY

A collection of characteristically serene and uplifting work by one of the UK’s most popular landscape photographers, Charlie Waite FRPS, goes on show at the Bosham Gallery. The display includes both new and iconic images made in locations around the world, including Spain, Myanmar and the UK. boshamgallery.com

YOU ARE LOOKING AT SOMETHING THAT NEVER OCCURRED Zabludowicz Collection, London UNTIL 9 JULY

This exhibition includes prints, installations and digital videos by 14 influential contemporary artists, including Wolfgang Tillmans FRPS, Andreas Gursky and Cindy Sherman. The works question the boundaries between fact and fiction, past and present. zabludowiczcollection.com

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WOMEN, CHILDREN AND LOITERING MEN Manchester Art Gallery 19 MAY-28 AUGUST

Shirley Baker (19322014) was a pioneering street photographer who compassionately documented the everyday lives of people in working class communities. This exhibition particularly focuses on her images of Manchester and Salford’s urban clearance programme from 1961-81. manchesterartgallery.org

ALSO SHOWING

Wolfgang Tillmans

Tate Modern, London Until 11 June Roger Mayne

The Photographers’ Gallery, London Until 11 June Britain in Focus

National Media Museum, Bradford. Until 25 June

Iceland: An Uneasy Calm

The Dimbola Museum and Galleries, Isle of Wight Until 16 July

JORDI RUIZ CIRERA; SERENE SATURN © DAMIAN PEACH, SHIRLEY BAKER; SARA CWYNAR; CHARLIE WAITE FRPS

A MOMENT IN LANDSCAPE Bosham Gallery, Bosham

334 | IN FOCUS |

V!A REVEALS PLANS FOR RPS COLLECTION

Proposed photography centre will more than double the museum’s display of images

The Royal Photographic Society Collection is rightly recognised as a veritable treasure trove. But now that it has been relocated to the Victoria and Albert Museum in London, what developments can Society members expect to see? The Journal asked Martin Barnes, senior curator of photographs at the V&A, to give more details on the plans for merging the collection and the museum’s existing stock. ‘There are lots of benefits to bringing together the collection and the museum’s holdings, some practical and some historical,’ he said. ‘There’s a good dovetailing of the two collections, in that the RPS Collection is very strong in pictorialism and colour photography, and those are things the V&A’s collection

was never very strong in. Putting them together has filled lots of gaps in the V&A collection and allowed us to tell a more unbroken chronological story.’ Uniting the collections in one location will also permanently reconnect objects, prints, equipment and letters from individual photographers that have for many years been separated. For example, Julia Margaret Cameron’s original photographs can be displayed alongside the lens she used to make them. The same is true of prints and equipment owned by other important and innovative photographers, including William Henry Fox Talbot,

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Gertrude Käsebier (1852-1934), Portrait of Evelyn Nesbit, 1902

Herbert Ponting and Eadweard Muybridge. Barnes said that in moving the collection from Bradford every box was numbered and a description of its contents taken. The next and more time-consuming step is to carry out an inventory at item level. ‘These items will then Frederick Scott Archer’s wet-collodion camera, 1853

be catalogued, photographed and put online the following day,’ he said. ‘This is a huge part of our remit, to make the collection accessible, both physically and virtually.’ With more than 300,000 photographs, publications and camera-related equipment to catalogue, the scale of the task is huge. ‘We will tackle the collection systematically and focus on parts that are unique or destined for exhibition or publication,’ Barnes added. ‘I’m keen that we catalogue and photograph areas of the collection that are not necessarily the big names or the most glamorous images, but have historical importance or a different kind of interest in the history of photography.’

The carefully packed RPS Collection arrives safely at the Victoria and Albert Museum

‘THE RPS COLLECTION IS VERY STRONG IN PICTORIALISM AND COLOUR PHOTOGRAPHY’ The first phase of the V&A’s gallery development will be complete by autumn next year. It will more than double the existing space for photographs. The second phase, subject to securing funding, will double it again by 2022. Original 19th-century, purpose-built picture galleries will be restored to their former glories and parts of the museum building will be open to the public for the first time in many years. Other plans include the development of an MA course in the history of

ABOVE

Roger Fenton (1819-69), Still Life with Fruit and Decanter, 1860 LEFT

William Henry Fox Talbot (1800-77), The Haystack, 1844

HOW TO SEE THE COLLECTION photography in association with the Royal College of Art, and the expansion of UK and international touring exhibitions. Barnes was keen to stress that the RPS Collection will remain a separate entity and much of it will be physically stored together. ‘I’m

frequently in touch with Michael Pritchard, the Society’s chief executive, and he’s very involved with what we’re doing,’ he added. ‘We’re working very well together on the connections between the RPS and V&A, and what we want to do in the future with the displays.’

The RPS Collection, together with other photography-related items in the V&A archive, is immediately available to see in the V&A’s prints and drawings study room. Access is by appointment, Tuesday-Friday, free of charge. Phone 020 7942 2563 or visit vam.ac.uk/ info/study-rooms

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336 | COMPETITION |

HIPA WINNERS ANNOUNCED An image exploring global inequalities is among the winners in this year’s Hamdan Bin Mohammed Bin Rashid Al Maktoum International Photography Awards

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The Hamdan Bin Mohammed Bin Rashid Al Maktoum International Photography Awards (HIPA), which this year had the overall theme of ‘the challenge’, have announced the winners of the annual competition. The grand prize went to Iranian-American photographer Arash Yaghmaeian for his image Landfill Cinderella, which shows a young woman scouring a rubbish dump for recyclables in Guwahati, India. Yaghmaeian was awarded the $120,000 prize money for his impressive image, taken from the project

Land Not For Sale, which documents the hardships suffered by communities that eke out a living from sorting through rubbish in the region. There were four categories in this year’s competition – the challenge, digital manipulation, portfolio and general – with a total prize money of $378,000. On top of that there were two special awards: the photographic research/report award and the photography appreciation award, the latter going to Society Centenary Medal-winner Elliott Erwitt HonFRPS.

RIGHT

1ST PLACE DIGITAL MANIPULATION Natura by Shahrzad Akrami, Iran

Since ancient times people have believed that the world is made up of components that share common characteristics. Mother nature is a harmonious combination of plants and animals.

BELOW

GRAND PRIZE Landfill Cinderella by Arash Yaghmaeian, USA

A small community lives inside this landfill site in Guwahati, India, sorting through mountains of rubbish for less than $2 a day. The stench and the fumes are strong, and there are animal faeces and worms everywhere.

BELOW

1ST PLACE % THE CHALLENGE A Butterfly in Water by Giulio Montini, Italy This image shows a tattooed swimmer competing at the Italian National Paralympic Swimming Championships.

The young man, whose lower arms have been amputated, is the national champion in the 200m individual medley.

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| BOOKS | 339

The Smooth Criminal by Tavepong Pratoomwong

CAUGHT OFF GUARD An entertaining and thought-provoking collection of contemporary street photography

TAVEPONG PRATOOMWONG; SHIN NOGUCHI

100 GREAT STREET PHOTOGRAPHS Edited by David Gibson Prestel (£22.50) Street photography has a long and varied history going back to the 19th century, but its popularity has increased sharply in recent years. It has been fuelled by the rise in small, high-quality digital cameras and smartphones, together with the ability to share images online. Broadly defined in this book as ‘any photographs taken in a public space, with or without the inclusion of people, which are entirely natural, and not set up’, they are images that amuse, intrigue or comment on contemporary life. The author of 100 Great Street Photographs, David Gibson, is himself a prominent street photographer who wrote the bestselling Street Photographer’s Manual in 2014.

Feet in the street photography by Shin Noguchi

Although some well-known photographers are featured in this new book, including Martin Parr HonFRPS, Alex Webb and Trent Parke, this isn’t a collection of famous street photographs. Instead its purpose, Gibson writes, is to celebrate ‘the very best street photographs emerging from the so-called internet generation’. He shows one image from each featured photographer across a doublepage spread and discusses it within the context of their style, approach and influences. These reflections are further enriched by direct quotes from each photographer on the specific image chosen, or on their work in general. The 100 images were mostly taken during the past five years, although a small number go back to the 1980s and 90s. Gibson says he selected these pictures from the vast number available ‘because in some way they inspired me, but also because they stimulated thoughts that I wanted to set down’. The book shows a broad spectrum of mainly unpublished work from around the world, ranging in tone from quirky and lighthearted to subtle and enigmatic. Gibson’s own 25-year experience in the practicalities of street photography makes him an informed commentator, and his thoughtful and unpretentious analysis has resulted in an engaging and entertaining book.

HARRODSBURG Dougie Wallace Dewi Lewis (£30) For his latest project Dougie Wallace, a fearless Glaswegian, has turned his attention to Harrods’ super-rich shoppers. Blasting them from close range with his double flashgun set-up, his confrontational approach often catches his subjects unaware or unwilling to be photographed. His supersaturated images have a grotesque quality; as an entertaining satire of excessive wealth in contemporary society they are right on the money. INDUSTRIAL SCARS J Henry Fair Papadakis (£30) American photographer and environmentalist J Henry Fair initially entices the reader with the beauty of his images. These aerial photographs predominantly show almost abstract shapes with colours that are dazzling in themselves. It’s only when one reads the text and discovers that they represent industrial pollution and the plunder of our planet’s resources on a colossal scale that the environmental warning becomes clear – one that’s vitally important, but to date largely ignored. ISMS: UNDERSTANDING PHOTOGRAPHY Emma Lewis Bloomsbury (£9.99) This easy-to-use reference book is an introduction to the history of photography through art-historical categories. It features key movements such as pictorialism and surrealism, as well as more tenuous additions to the canon, including satirism and diarism. It’s an interesting and well-presented work, if a little didactic, best suited to those new to the medium rather than someone with a more fluid understanding of the genres. VOL 157 / MAY 2017 / THE RPS JOURNAL / 339

340 | MAY WHAT ARE SOCIETY DISTINCTIONS?

Distinctions are standards of achievement recognised throughout the world

LRPS Applicants need to show good photographic competence in five key areas

ARPS Evidence of a creative ability and personal style, plus complete control of the technical aspects of photography

Adrian P Robbins ARPS â&#x20AC;&#x201C; FINE ART

With my portfolio, the aim was to create a body of work that presented the beauty that I see in architectural dereliction, which is so often missed in these once distinguished and abandoned buildings. The inspiration for the project came when I first cycled through the estate village of Inverkeithny more than 20 years ago and was fascinated by the place. It felt like time had forgotten the village and the derelict mansion hidden in the woods. When you visit a site for the

first time you never really know what you are going to discover and this feeling of exploration fascinates me. I often visit a location multiple times to allow the shots to evolve as I discover more about what the place has to offer. I enjoy photographing and exploring old buildings because I can take my time, find interesting viewpoints and angles, and really work a location without rushing. Each time I visit a location the dereliction will be different, as

340 / THE RPS JOURNAL / MAY 2017 / VOL 157

the building decays, so no two visits are ever the same and therefore no two images will be the same. Once I had visited and explored a number of locations, and started to assemble the images, I realised how well they all sat together as a body of work and that a portfolio might just be achievable. The challenge was always to present a range of images that were different, and yet had a coherence, together as a submission.

FRPS Our highest Distinction is given for excellence and a distinguished ability in photography

FEATURE SPONSORED BY

Emotion Through Image

FACTFILE

I took up photography seriously in 2014 after I joined the Bon Accord Camera Club in Aberdeen. Initially interested in natural history and landscape, I recently turned to architectural dereliction. I enjoy photographing anything that doesnâ&#x20AC;&#x2122;t move fast and works well in black and white

FAR LEFT

I was interested by the way the stone staircase diagonally separated the image, and the texture of the leaves on the staircase, which were illuminated by a big hole in the old roof LEFT

On arriving at the derelict mansion I was immediately drawn to how the light was filtering through the forest canopy and lighting the front tower â&#x20AC;&#x201C; almost like the forest is slowly consuming the old house VOL 157 / MAY 2017 / THE RPS JOURNAL / 341

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FAR LEFT

In this image, I was attracted by the debris on the floor and the way the light was streaming in through the broken window and illuminating parts of the floor LEFT

I liked this image because of the texture on the old metal staircase and the flaking paint on the walls BELOW

I was fascinated by all the scratchings on the very old faded wallpaper. Often derelict buildings are spoilt by spray-paint graffiti. But this building was very different, almost like people visiting had been sympathetic to the grandeur, simply adding to the very old scribblings

STATEMENT OF INTENT My passion is monochrome, which is very well suited to the urban explorer (urbex) genre, and is where my personal style is distinctly evident and continually evolving. In this portfolio, I want to present the interesting and beautiful artistry which I can see in urbex dereliction, and display some of the wonderful combinations of texture, shape and light which I often discover in these long-forgotten and now-abandoned derelict buildings. VOL 157 / MAY 2017 / THE RPS JOURNAL / 343

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RIGHT

I find this image fascinating – the smashed sanitaryware strewn across the floor and the way the light reflects off the white enamel; the old metal spiral staircase visible through the smashed window; all the textures and challenging lighting

BELOW

This caught my eye because of the debris – the old fireplace grating tossed on the floor – and the beautiful old faded wood panelling and the textures as the varnish peeled

ASSESSOR’S VIEW

PETER PATERSON FRPS Chair of the fine art photography panel This set of images demonstrated the use of light and shadow to help create a sense of atmosphere and detail in the different rooms of these old derelict buildings. The use of monochrome has caught the light where it is highlighting aspects in the building, giving a sense of space and also bringing out the finer details of the decay within. The square format that was used aids the composition and balance of the portfolio, which was printed with a good tonal range, and was well presented, leaving the viewer with the impression that this is a well-executed body of work, showing a personal style. One other reason for the submission being successful was due to Robbins attending an advisory day before submitting his portfolio for the assessment, taking on board the comments and suggestions on the day.

HANGING PLAN

‘The square format aids the composition and balance of the portfolio’

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Boulos Isaac ARPS – TRAVEL

My portfolio shows daily life in India, in homes and on the streets. After studying the portfolios of my mentors – Robert Doisneau HonFRPS, Vivian Maier and Raghu Rai – I decided to develop my photography in a new direction, capturing

people, rather than streets and buildings. I’ve always had a fascination with observing different traditions and rituals. Some religions, for instance, are practised differently from one culture to another, and I feel that methods of worship are a good reflection of a country. I see India as a world in itself. It has a unique appearance, full of attractive

346 / THE RPS JOURNAL / MAY 2017 / VOL 157

colours and diverse religions. My portfolio captures the atmosphere of India: work, prayer and leisure, in a way that portrays the spirit of the country through a documentary style. As a professional commercial photographer I have shot products and architecture, but this portfolio was a challenge, requiring me to focus on the artistry more than the technique.

In January 2016 I made my first trip to Rajasthan, Agra and New Delhi to start this portfolio. However, after returning to Egypt I realised that my portfolio might not be suitable for the Associate level, so I embarked on another trip to Varanasi in April 2016, adding variety to my portfolio. Postprocessing, editing and getting online guidance took about three more months.

XX XX

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STATEMENT OF INTENT During my trip to India my intention was to capture the beauty and lure of the country. The pictures I took depicted peopleâ&#x20AC;&#x2122;s daily lives at home and in the streets. In addition I planned to photograph the fascinating rituals, prayers and ceremonies. My ultimate focus was on the people and their rich culture.

SEQUENCE PLAN ABOVE

Woman baking naan, Jodhpur, Rajasthan TOP RIGHT

A barber, Varanasi ABOVE RIGHT

English class at a private school, Jaipur, Rajasthan

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ASSESSOR’S VIEW

LEO PALMER FRPS Chair of the travel photography panel All photography is a five-step process of seeing, thinking, taking, making and presenting – with good technique being applied at every stage. Combine this process with a sound, unambiguous statement of intent and you are in a good position to start building a successful Associate portfolio. Boulos Isaac did exactly that: his excellent statement of intent clearly affirms the location and what he intended to capture – namely India and the people, along with their culture. These photos – which were submitted as an images for screen portfolio, as Isaac was making an overseas application – showed personal vision, resulting in superb compositions, and great understanding and use of lighting. Camera craft, including exposure and appropriate sharpness, along with depth of field, were technically first class, and highlight and shadow details were well recorded. Post-processing of all the images was excellent. Isaac’s portfolio showed life being lived in India, along with great vision, design and real style. It clearly supported his statement of intent.

‘CAMERA CRAFT, INCLUDING EXPOSURE AND SHARPNESS, WERE TECHNICALLY FIRST CLASS’ 348 / THE RPS JOURNAL / MAY 2017 / VOL 157

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The flower marke,. Kolkata

Domestic interior with suspicious girls, Jaipur, Rajasthan

Bathing in the River Ganges at sunrise, Varanasi

Wedding party in the streets of Jaipur, Rajasthan

CLOCKWISE, FROM LEFT

| XX | 349

FACTFILE

I have been an Egyptian commercial photographer since 1986. In addition to teaching photography to high-school students for 17 years I contribute to projects that document monuments and artefacts in several countries. I also enjoy leading and teaching photography for free and offer a monthly photo walk to the authentic neighbourhoods of Cairo, Egypt. My mission is to develop my community through spreading photography as an art and a science

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As the London Region’s Breathing London project is finalised, Journal editor Andrew Cattanach speaks to organiser Judy Hicks LRPS and hears about the importance of preserving the city’s recreational spaces

AIR VOL 157 / MAY 2017 / THE RPS JOURNAL / 351

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WOODBERRY WETLANDS, HACKNEY BY SANDRA ROBERTS

ABOVE

I used a long exposure to show the passage of time, capturing the juxtaposition of the old and new blocks on the Woodberry Down estate. The estate overlooks Woodberry Wetlands and I

TRENT PARK, ENFIELD BY SANDRA ROBERTS

ABOVE

I have always been aware how the weather and temperature differ between the central and outer boroughs, and wanted to capture a cold,

wanted to show how this breathing space spans diverse communities to provide an equitable respite for all. Breathing London for me captures the balance of London life. I hope to have shown how unique London can be. I used a Nikon D7200, f/13, 30sec, ISO 100, 24mm

crisp and frosty rural morning as opposed to a foggy and wet urban one. Trent Park golf course is a public pay-andplay course, open to everyone at all times. It can be reached on the Piccadilly tube and takes just 30 minutes from central London

PREVIOUS PAGE: ROGER TOWELL ARPS; GORDANA JOHNSON; SUSI LUARD ARPS; JENNETTE RUSSELL LRPS; SANDRA ROBERTS; STEVE REED LRPS; BEVERLEY POYNTER

n 17 April, the Society’s London Region drew to a close its 15-month Breathing London project, which invited photographers to document the capital’s recreational spaces, including parks, rivers, canals and city squares. The response to the project was impressive, with 40 photographers amassing more than 6,200 images taken in 32 London boroughs and the City of London. Among the images are shots of all the capital’s major parks, including Hyde, Regent’s, and St James’s, revealing how important these places are to the city’s 8.6 million residents. But the project’s success is perhaps less defined by these images of already much-photographed leisure spaces, and more about the obscure corners of the capital’s sprawling geography that city dwellers use as places of respite, whether it be a modest public square or a bench by the riverside. The photos of London’s nooks and crannies reveal more about what it means to live in one of Europe’s major cities than, say, an image of St James’s Park lake on a busy summer’s afternoon. ‘Some of the spaces are about the size of a football pitch,’ says Breathing London’s joint coordinator Judy Hicks. ‘They’ve got fences and benches, a hedge on each side, a plant in the corner, and a playground in the other … places where

| BREATHING LONDON | 353 REGENT’S CANAL PATH, CAMDEN BY SUSI LUARD ARPS

LEFT

This image was taken during a walk along the Regent’s Canal path. It shows author Geoff Nicholson, who wrote the

TARN BIRD SANCTUARY, GREENWICH BY SUSI LUARD ARPS

ABOVE

The light and colours were so beautiful in this tranquil bird sanctuary, reminding me of Claude Monet’s impressionistic pond paintings. Breathing London shows the diversity of London’s open and green spaces in a pretty comprehensive collection

book Bleeding London, which was the basis for the London Region’s first major region-wide project to photograph all the streets of London, and which subsequently inspired the Breathing London project

RICHMOND PARK BY JENNETTE RUSSELL LRPS

BELOW

This image won the monthly Breathing London competition. Judge Penny Dixie ARPS said: ‘There are three elements that combine to make this a special image. Firstly, the beautiful golden light in the sky; secondly, the thick frost covering the low-growing vegetation; and finally the leafless tree in all its majesty and splendour.’

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London Institute of Photography Old Truman Brewery 91 Brick Lane, London E1 6QL T: +44 (0)20 8533 5362 M: +44 (0)7817 730 683 contact@liop.co.uk www.liop.co.uk

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| BREATHING LONDON | 355

people can get away from their desk, sit, relax and have a sandwich.’ Breathing London, which started on 14 January 2016, followed on from the London Region’s earlier project Bleeding London – inspired by Geoff Nicholson’s 1997 novel of the same name – which aimed to document all of London’s streets. Led by the then regional organiser Del Barrett ARPS, Bleeding London was a huge success, and has since spawned not only Breathing London, but also Rockin’ Rotterdam, run by the Society’s Benelux Chapter. ‘Following Bleeding London we had the idea to photograph every green space in London, and we started off calling it Green London,’ says Hicks. ‘But a lot of London’s recreational spaces are not green, so we ended up changing it.’ Since the project began, Hicks has coordinated five pop-up exhibitions, four workshops led by Robert Canis ARPS, and more than 20 walks. In the same month that Breathing London ended, the city’s mayor, Sadiq Khan, announced he had secured £8 billion to invest in housing, including 12,000 affordable homes. This was in response to the capital’s ongoing housing crisis, which has led to a rise in homelessness. As the capital tries to resolve the housing shortage, Breathing London is a timely reminder that recreational spaces

BRUCE CASTLE PARK, HARINGEY GORDANA JOHNSON

ABOVE

My approach to Breathing London was mostly documentary. As London is rapidly expanding due to counter urbanisation and a steady

VALENTINES PARK, REDBRIDGE BY BEVERLEY POYNTER

ABOVE

This was taken in Valentines Park, and reminds me of how the Breathing London project made me feel: young, playful, and free. I am thrilled to

growth of city population I wonder how long future generations will be able to enjoy pastoral settings. No matter how majestic those solitary oak trees are in north London parks, they are sad reminders of the woods once covering most of Middlesex

have been part of the project and have thoroughly enjoyed exploring green spaces in London. I have met some wonderful people, been on some amazing group photography walks, and even won some of the competitions along the way – something I rarely even dreamed of VOL 157 / MAY 2017 / THE RPS JOURNAL / 355

356 | BREATHING LONDON |

help make urban living a much more pleasant affair, and although the mayor has not yet announced where the new housing will be built there is every possibility that in developing space for new homes something will have to give. ‘These breathing spaces are all under threat,’ says Hicks. ‘As housing becomes denser, with more blocks of flats, people need to get away from their home and office – people need places to go to.’ The Breathing London images, Hicks explains, may well prove to be a vital resource that not only documents what recreational spaces there are, but also gives an indication of how they are used, illustrating how important they are to a community. For instance, such a resource could help hold boroughs to account when making decisions about future urban developments. ‘We’re hoping to set up an online record for people to look back on, so people can say to councils “no, you can’t build houses on my park”,’ says Hicks. ‘We never set out with a specific message, but there is an important lesson here: to help preserve these breathing spaces.’

London Region’s next project will record London as it celebrates – feasts, fairs, festivals and more. To get involved in the project, or simply to join the group, please email londonro2@rps.org 356 / THE RPS JOURNAL / MAY 2017 / VOL 157

TRENT PARK, ENFIELD BY STEVE REED LRPS

ABOVE

I’m not local to Trent Park, but one day, during a photography walk with some fellow Society members, I wound up there. Breathing London

WHITEHALL GARDENS, WESTMINSTER BY ROGER TOWELL

ABOVE

This photograph was taken in Whitehall Gardens alongside the Victoria Embankment, opposite the London Eye. People were enjoying their lunch break and having a game of table tennis. It was outdoors in February, so it wasn’t exactly hot. Nikon D700, Nikkor 24-85mm AF lens, f/5.6, ISO 200, 1/320sec

is a good reminder that we live in a city with a lot of incredible open space. Getting people to think about how we use that space and how it’s valuable is a good thing. Also, any opportunity to see a new part of town or meet new people is always welcome

LEAST BUT NOT LAST Least-photographed borough Bexley Most-photographed boroughs Tower Hamlets (Victoria Park), Richmond-upon-Thames (Richmond Park) and Westminster

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‘HE NEEDED TO FIND A LITTLE PIECE OF EDEN’ ‘Forgotten’ colour photographs from one of George Rodger HonFRPS’s most famous bodies of work are being published in a new book. His widow, Jinx, tells David Clark the story behind them VOL 157 / MAY 2017 / THE RPS JOURNAL / 359

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American parents, she first became involved with photography in the late 1940s when, in her words, she ‘talked herself into a job’ with US magazine Ladies’ Home Journal. Her boss was the celebrated picture editor John Morris and she got to know photojournalists who contributed to the magazine, including Robert Capa. ‘I saw quite a lot of Capa because we had given him a couple of very good jobs,’ she remembers. ‘He was all the girls’ favourite. Whenever he came into the office they were so thrilled and would put on their best smiles. He was very well known, not just as a photographer but also as a ladies’ man. He was very charming. I was in love with him, like everyone else.’ At that time she also began corresponding with another of the Journal’s photographers, George Rodger, whose first wife, Cicely, had died in childbirth in 1949. However, it wasn’t until Jinx began working in the Paris office of Magnum Photos in 1950 that she met him in person. Rodger had co-founded Magnum Photos in 1947 with Henri Cartier-Bresson, Robert Capa and David ‘Chim’ Seymour, and Jinx became his assistant while he was on assignment in western Africa in 1951. They married a year later.

FOOT OF PAGE

Girl dancers of the village of Sao perform to the drums in front of the young men of the tribe

who will be fighting for them, 1949 BELOW

Jinx Rodger in Kenya, 1954

‘GEORGE WORKED BY TAKING A BLACK!AND!WHITE PICTURE THEN FOLLOWING UP WITH A COLOUR SHOT’

hen George Rodger HonFRPS documented the people of Sudan’s Nuba Mountains in 1949, it was the first time these tribes had ever been photographed. The pictures, showing a way of life that had remained unchanged for centuries, captivated those who saw them. Rodger, then aged 41, had made his name with powerful photographs of London in the Blitz and horrific scenes of the liberation of the Bergen-Belsen concentration camp. His very different photographs of north African people further confirmed his reputation as a dedicated and versatile photojournalist able to create compelling images. Yet while the black-and-white pictures became internationally famous, dozens of colour images shot at the same time were not published. For decades they were stored in the archives at Rodger’s house in Smarden, Kent, where he lived until his death in 1995. Now, 68 years after they were taken, these colour images grace the pages of a new book, giving a fresh perspective on an already iconic body of work. Rodger’s widow, Lois (known as Jinx) is now 91, in good health and still living in the family home. Born in Syria to

360 / THE RPS JOURNAL / MAY 2017 / VOL 157

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Young warriors await the Latuka Dance of the Rainmakers ceremony to begin, 1948

Jinx explains that the colour photographs of the Nuba people weren’t published at the time because Rodger considered himself solely a black-andwhite photographer. ‘I don’t think many people knew much about the colour pictures,’ she says. ‘We sort of kept them back, so they’re rather interesting now and it’s about time they got shown. ‘George was much more a fan of black and white, but in those days magazines liked colour pictures shot on a Rolleiflex for the covers. They thought 35mm was too small. So he would carry a Leica loaded with black and white and a

Rolleiflex with colour film. He worked by taking a black-and-white picture then following up with a colour shot.’ Rodger loved Africa and had worked there prior to his journey to photograph the Nuba people in 1949. Explaining his motivation for the trip, he later wrote: ‘I travelled thousands of miles to see if somewhere, in some remote corner, there was not still a little of the old Africa that had been seen by men like Brazza and Livingstone. I found it at last in Kordofan.’ Kordofan was, at that time, a large province in Sudan which included the Nuba Mountains. Rodger was invited

there by his friend, Basil Duke, a district commissioner in the region. He told Rodger about the Nuba people and arranged permission from the Sudanese government to photograph them. Although only staying in the village for less than a week, Rodger kept his camera out of sight for the first couple of days. ‘He just got to know the people because he didn’t want to frighten them,’ says Jinx. ‘He had been around the world before going there, but found the Nuba people and their way of life absolutely fascinating. They were very friendly and hospitable, so it VOL 157 / MAY 2017 / THE RPS JOURNAL / 361

Bracelet fighters of the Kao-Nyaro. The lethal brass bracelets used by the fighters weigh up to two kilograms and have two-inch double flanges, 1949

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‘HE WENT TO AFRICA OUT OF A NEED TO FIND A WORLD THAT STOOD IN CONTRAST TO THE MASS HUMAN BUTCHERY HE HAD SEEN IN THE WAR’ wasn’t difficult to take photographs. They, in turn, were fascinated by what he was doing.’ After gaining their trust, Rodger was able to document tribes taking part in traditional ceremonies including wrestling, stick fighting and dancing, as well as tending cattle and collecting water. He also shot wider scenes showing idyllic and peaceful villages. Shooting colour was problematic at the time. Kodachrome’s slow film speed of just 10 ASA made it challenging to achieve sharp action images, even in the bright light of day. The heat of Sudan also made it impossible to store films for long before they deteriorated, so Rodger arranged for them to be transported to the Magnum office in Paris immediately after being exposed. Following his spell with the Nuba people, Rodger moved on to South Sudan, where he documented the ceremonies and rituals of the Latuka tribe. A small selection of Rodger’s pictures was first published in Weekly Illustrated in October 1949, then a larger selection was published in National Geographic three years later, followed by a book, Le Village des Noubas, in 1955. These pictures remain among Rodger’s most acclaimed works. In George Rodger: Nuba & Latuka, The Colour Photographs, by Aaron Schuman and Magnum photographer Chris Steele-Perkins HonFRPS, the latter explains that Rodger’s journey to Sudan was directly caused by trauma of the war years. Rodger, says SteelePerkins, went there ‘out of need to find a world that stood in contrast to the mass-

industrialised human butchery he had been photographing during the Second World War, a need for another Eden’. Jinx agrees. ‘Yes, that’s why he went there,’ she says. ‘It was a complete change of life. The people were so kind and I think it was a way for him to get over the horrors of war he witnessed.’ George and Jinx travelled widely together in the following years, including major trips to Africa in the family’s Land Rover. However, Rodger was never able to return to photograph the Nuba or Latuka people, as the Sudanese government refused all requests for visas. Nevertheless, he continued corresponding with the Nuba people for many years, and on one occasion a Nuba chieftain came to stay at his Kent home. Today Jinx remains busy assisting their son Jonathan in his work on the

ABOVE LEFT

ABOVE

Aaron Schuman and Jinx Rodger discuss the book

Schuman examines slides of Rodger’s images

George Rodger Archive and website. She is the only member of the Magnum ‘family’ whose connection goes back to the agency’s earliest years, and as part of its 70th birthday celebrations will be travelling to Tokyo later this year. Even in her 90s, she retains her love of travel. ‘I’ve been to so many places, thanks to Magnum,’ she says. ‘I don’t go for photography or take a camera, I just love the travelling. I’ve been very fortunate, actually. I’ve had a wonderful life.’

GEORGE RODGER: NUBA ! LATUKA, THE COLOUR PHOTOGRAPHS George Rodger: Nuba & Latuka, The Colour Photographs will be published on 8 May by Prestel, price £35. An exhibition of images from the book will be on display at the Serena Morton Gallery, London, from 12 May to 9 June

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MAG MOM 364 | BEST SHOTS | MAGNUM

MAGNUM PHOTOS this year celebrates its 70th anniversary with a host of events. Three generations of its members speak to Gemma Padley

AS SELECTED BY

Martin Parr HonFRPS

Olivia Arthur

364 / THE RPS JOURNAL / MAY 2017 / VOL 157

Ian Berry HonFRPS

t is an institution like no other. Founded in 1947 by Robert Capa, Henri Cartier-Bresson HonFRPS, George Rodger HonFRPS and David ‘Chim’ Seymour, Magnum Photos is a collective that has weathered difficult storms, witnessed seismic changes in the way photojournalism is delivered, and the necessary (continual) reinvention of the publishing industry. We hear from three generations of Magnum photographers – Olivia Arthur, Ian Berry HonFRPS and agency president Martin Parr HonFRPS – as they select their favourite images from its remarkable archive, and reveal why they chose them.

NUM ENTS ‘The very fact we’re still here after 70 years …’, says Parr, trailing off, his sentiment – pride and almost surprise – nevertheless obvious. ‘We’re an artists’ cooperative, and they very often break up,’ he continues. ‘The fact we’ve accrued this incredible archive, and we’re still finding and introducing new photographers is …’ he trails off again, but the word ‘astounding’ hangs in the air. ‘Magnum is constantly being refreshed and reinvigorated, and it’s very encouraging. It’s a fantastic place to be.’ Currently, 49 photographers make up the member-owned agency, but over the decades more than 90 have passed through Magnum’s doors, so to speak. Now, as Magnum’s marks its 70th

birthday, a host of exhibitions will be held in its key centres of London, New York, and Paris. These include a show of work from the collection of longtime member David Hurn HonFRPS, which Parr will curate, at Photo London this month; a citywide exhibition of Magnum photographs across the metro network in Paris; and Magnum Manifesto at the International Center of Photography (ICP) in New York, as well as an accompanying book, among many other events. Any birthday is always a chance for reflection, to look back on what has gone before. The photographers interviewed acknowledge the collective has changed – inevitably – but that

it has been largely positive change – heralding a new direction for Magnum. Understandably, the constantly shifting commercial arena for photography is not something that can be ignored, and it’s vital Magnum adapts in order to remain relevant, as Parr comments: ‘We are building a very positive future, and understand the new marketplace we have to develop, which we’re starting to do. Previously, we’ve supplied magazines and books [with images], licensing directly to other companies that have their own audiences. Now we have this amazing following … so the market we’re building is direct to our followers, of which there are many millions. It’s an exciting time for Magnum.’

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366 | BEST SHOTS | SELECTED BY

MARTIN PARR HonFRPS, MAGNUM PRESIDENT

I AM ABOUT TO CALL IT A DAY, 2010 Bieke Depoorter ABOVE

TRAFALGAR SQUARE, LONDON, 1959 Sergio Larrain ABOVE

‘Sergio Larrain is one of my favourite Magnum photographers,’ says Parr. ‘He’s a natural poet and this is one of those great pictures, which is very surreal and shows

how he can create poetry out of almost nothing. He understood how to create tension and poetry out of the frame. This is an image I’m very aware of, and I recently bought a

366 / THE RPS JOURNAL / MAY 2017 / VOL 157

print of it. It is of Trafalgar Square in London from when he was working in the city in 1959. His are pictures you can’t trace to anyone else. What you’re seeing is his unique vision.’

‘Bieke is one of our most recent members and she’s a very fine photographer. We fully acknowledge we have too many men, and are encouraging women [to join], so Magnum is opening up. Of course, we want to maintain the quality. Over a number of years Bieke has made this remarkable project where she’s met people on the streets in America

and spent a night with them in their homes or elsewhere. She gatecrashed people’s lives. This project became the book, I Am About to Call It a Day: the nerve of going up to someone and asking, “can I come and spend the night with you?” and then of course taking great photographs … This is one very strong picture from that project.’

THE PROMENADE AT THE ELEGANT SEASIDE TOWN OF TENBY, SOUTH WALES, 1974 David Hurn HonFRPS LEFT

‘This is a favourite image of mine. It was shot in Tenby, where I have a flat, and it is less than 100 yards away. I’ve walked past this place many times and I’ve never seen anything like it. I’m acutely jealous of David’s ability to have located and shot this scene so beautifully. This is one of those

rare, magical moments that we all strive for, where things couldn’t be better. Everything is working towards making the picture work – the dog, the cannon, the angle, the people sleeping, the people walking. Every single component is just perfect. It also has an inner tension, which is the hallmark of a good picture.’

VOL 157 / MAY 2017 / THE RPS JOURNAL / 367

368 | BEST SHOTS | SELECTED BY:

OLIVIA ARTHUR

FROM THE COAST, 2014 Sohrab Hura LEFT

‘I don’t know what is going on in this image, but that’s part of the reason I like it,’ Arthur says. ‘This is from a new body of work that Magnum nominee Sohrab has been doing. He’s a really interesting, young Indian

STREET, AZERBAIJAN, 1979 Gilles Peress RIGHT

‘The images I’ve chosen all come from projects I think are important. This is not just reporting the news; Gilles gives us this feeling of a place, a mood of a country, a sense of what’s going on [in his book Telex Iran: In the Name of Revolution, which documents five weeks in Iran after the overthrow of the Shah]. ‘The images, when put together with words in the book, give a different feeling of what was going on.’ 368 / THE RPS JOURNAL / MAY 2017 / VOL 157

photographer. He’s making work that’s not necessarily what you see coming out of India, work that is quite surprising and intriguing. I think he’s exciting, and this image, with its colours, is to me a beautiful, graceful photograph.’

OPHELIAS, BUENOS AIRES, 2001 Alessandra Sanguinetti RIGHT

‘This body of work is so beautiful and special, and it’s important to include something like this as it’s not typically Magnum. It takes you into and celebrates these girls’ make-believe worlds. When it came out it was unusual. It is not contrived or set up. It’s a documentary image about these girls and their ideas. And it’s beautifully tender. The colours and the light are also really lovely.’

LULU AND DEBBIE, VERMONT, 1974 Susan Meiselas ABOVE

‘I love Susan’s Carnival Strippers series; an amazing body of work. This world she is photographing is a very male world, and she goes in and spends time with the women. The intimacy in her relationship with them really comes across. What’s great about it is you get both sides: the men through the curtain and the woman going out [adopting] this strong pose. And then you have the girl inside who is in a different world.’ VOL 157 / MAY 2017 / THE RPS JOURNAL / 369

370 | BEST SHOTS |

A FAREWELL SERVICE FOR THE LATE ACTOR DANJURO, TOKYO, 1965 Henri Cartier-Bresson HonFRPS RIGHT

‘When I joined Magnum in 1962 I was the youngest guy. Henri was the guru if you like; he really brought home to me the need for shape and form in a photograph. [I learned] it was not just about the moment, but that you had to make something of that moment – to bring together all the shapes.’

370 / THE RPS JOURNAL / MAY 2017 / VOL 157

SELECTED BY:

IAN BERRY

HonFRPS

HAVANA, CUBA 2008 Alex Webb HonFRPS LEFT

‘Alex is for me the classic colour photographer in Magnum,’ Berry says. ‘He combines unusual situations with interesting colours. You’ve

really got to look at this picture. Everything works: the central couple, which he’s made work with the lefthand side – the feet and the tree. And

on the right you’ve got the painted wall. He’s taken the moment – of the couple – and made it into an amazing picture. That’s what he does.’

AFTER BATHING IN THE GANGES, INDIA, 1956 Marc Riboud HonFRPS BELOW

‘Marc was my hero at Magnum, and one could choose a lot of his pictures. Everything works here – not in a traditional way, but the image has a

terrific shape, which is what I go for. You need a great moment, but you have to make a shape out of it. Just a moment isn’t enough.’

QUANG NGAI, VIETNAM, 1967 Philip Jones Griffiths LEFT

‘Not just a war photographer, Philip was a photographer of war. He shot the action, but also made images through which people might realise the horrors of war. With war going on around, he looked down, saw this shadow, the revolver, the head … and really made something out of it. That was his terrific talent. It’s not just a flash-and-bang war picture.’ VOL 157 / MAY 2017 / THE RPS JOURNAL / 371

372 | BEST SHOTS |

YOUNG MENNONITE WOMEN FLEEING A CLOUD OF DUST, DURANGO, MEXICO 1994 Larry Towell

‘Larry is a terrific photographer. He is the consummate artist if you like, in that he puts shapes together, but also runs around the world working on

interesting stories. The Mennonite people are really difficult to take pictures of – they really don't like to be photographed. Larry obviously spent a lot of time

with them, getting known to them and accepted by them, which is what he does. He has a generous eye. He doesn't just get in there and knock people, make fun

of them. To be sympathetic and to produce a good moment with a good shape is something I wish I could do a lot better, and that's what Larry does.’

JOIN THE CELEBRATION Magnum Photos will celebrate its 70th anniversary with a global programme of events in 2017, including an official anniversary book, Magnum Manifesto, published by Thames & Hudson. Visit magnumphotos.com

CAMERA PRESS ALSO CELEBRATES ITS PLATINUM ANNIVERSARY British photo agency Camera Press also celebrates its 70th anniversary this year, and to mark the occasion will be holding an exhibition at Art Bermondsey Project Space, London, opening this month. ‘The exhibition celebrates all the photographers the agency has had the privilege of working with,’ says Camera Press’s co-owner and exhibition curator Emma Blau. ‘It’s great to celebrate where we are now, and look forward to where we’re going.’ Camera Press represents some of the biggest names

in photography, including Society Honorary Fellows John Swannell and Jillian Edelstein, and has a particular royal connection, managing official royal releases such as Jason Bell HonFRPS’s images of the christening of Prince George. The agency was founded in London in 1947 by Hungarian émigré Tom Blau. The first photographer to sign up was Yousuf Karsh, followed by Cecil Beaton HonFRPS, Lord Snowdon HonFRPS and Brigitte Bardot as photographed by Elio Sorci in Florence, April 1962

372 / THE RPS JOURNAL / MAY 2017 / VOL 157

Baron. It remains a familyrun business, co-owned by Emma Blau, her sister and two cousins. ‘We’re very proud of turning 70,’ adds Blau, ‘particularly as the industry has changed so much. We’re one of the last

independent photo agencies based in this country … but we’re still at the forefront.’ CAMERA PRESS at 70: a lifetime in pictures is at Art Bermondsey Project Space, London, 17 May – 10 June

INTRODUCING A NEW COLLECTION OF TRIPODS, CAMERA BAGS AND HEADS FROM VANGUARD

Inspired by feedback from photographers from around the world, the Alta Collection reaches a new level of innovation and versatility. This stylish and function-rich collection of tripods, camera bags and heads have solutions for all photography techniques. ALTA RISE CAMERA BAGS ALTA FLY TROLLEYS

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374 | EXPERIENCE |

A VALUABLE LESSON

Philip Field ARPS reveals how making contacts, crowdfunding and Fellowship ambitions helped him realise a trip of a lifetime with charity African Initiatives

hen Philip Field ARPS was asked by Bristolbased charity African Initiatives to produce a flyer for a fundraising event he was tempted to turn it down. He was especially busy, and an additional, unpaid, commission did not appeal. At the time, he had no idea that the charity’s offer would mark the start of a fruitful relationship that would eventually lead to rural Tanzania, where he would traverse the Serengeti plains and photograph women whose lives had been transformed by African Initiatives’ educational programme. After doing some research, Field had decided to help make the flyer. He had found that the charity helps girls to go to school in a part of the world where they too often don’t get the chance, and promotes financial independence among women. ‘Scanning their website I saw that a large proportion of their work included partnering with African organisations led by Maasai pastoralist women,’ says Field. ‘It sounded fascinating, and three unforgettable months working in South Africa in 2012 had left me enchanted by the great continent.’ He said he would make the flyer on the proviso that he could also photograph the event it would advertise, where he introduced himself to African Initiatives’ chief executive José Sluijs-Doyle and offered his photographic expertise, should an opportunity ever arise.

374 / THE RPS JOURNAL / MAY 2017 / VOL 157

TOP

Deputy head teacher Somoine Jeremiah is a shining example of how Maasai women can flourish if given an alternative path in life RIGHT

Kimere stands proudly with her livestock on the grassland of Mondorosi ABOVE

Philip Field ARPS, three-time finalist in Travel Photographer of the Year – philipfield.com

KIMERE THE GOAT HERDER In traditional Maasai culture it is common for young girls to be married off to much older men. Families exchange girls for cattle (Maasai currency) before they become pregnant, after which they are expected to become mothers, wives and the property of their husbands. The Women’s Solidarity Boma provides a haven for destitute women, where they make an income from

looking after livestock. When I arrived Kimere was due to take her goats to pasture. I kept my distance and watched through my 24-70mm and 70-200mm lenses as she ordered her goats into position. As she finished her work, she stopped to proudly look at her herd and I grabbed the chance to take this shot. I showed her the image on my Nikon D810. She stared at it for an age, before smiling and gesturing her approval.

| EXPERIENCE | 375

VOL 157 / MAY 2017 / THE RPS JOURNAL / 375

376 | EXPERIENCE |

In January, Sluijs-Doyle got in touch. This year is African Initiatives’ 20th anniversary and the NGO planned to send its communications officer Ellie Richold to Tanzania to interview Maasai women about how the charity’s endeavours had helped change their lives. Sluijs-Doyle suggested Field join the trip to take photographs that would document the success stories. But there was a catch. African Initiatives is a small charity, and takes great pride in the fact that it sends 94p from every £1 raised direct to overseas projects. So there wasn’t much cash floating around to invest in sending a snapper halfway around the world. Field would have to pay his own way. ‘As an expectant father and business owner I had other priorities,’ says Field. ‘But since becoming a Society Associate in 2015 I’d been searching for a narrative to justify a worthy Fellowship portfolio. 376 / THE RPS JOURNAL / MAY 2017 / VOL 157

This felt like a great opportunity and I believe wholeheartedly in the work African Initiatives does. So with my wife’s backing I turned to crowdfunding.’ Time was tight: he had four weeks to raise £1,200. But within seven days of launching his StartSomeGood crowdfunding page Field had raised 50 per cent of the money needed, and booked his flight. He knew it was a risk and often thought he might come to regret taking on a project that ended up costing him money. ‘I often asked myself if it was a good decision to take on the burden of raising the capital, promoting the trip and ensuring I didn’t end up out of pocket,’ says Field. ‘On top of that, I had already agreed to work 10 days, free of charge, plus editing time.’ But Field’s worries dissipated after they touched down in Tanzania and he was on his way to the first shoot in Loliondo, travelling 450km through

ABOVE

Kimere and her son inside their home at the Women’s Solidarity Boma

| EXPERIENCE | 377 KIMERE AND HER SON AT HOME Kimere’s home was no larger than your average garden shed. Made from an earth and dung mix, and supported by wooden branches, the only light entering was from the doorway. From a photographic perspective it was

challenging. I had only a few minutes, and although I’d brought several speedlights with me I was aware that the flashes would be blinding in the dark room. I also didn’t want to encroach on her personal space. I asked Kimere to sit on the edge of her bed with her

son standing next to her. Crouching down just outside the doorway I made use of my D810’s low light capabilities and quickly boosted it to ISO 1,250. Setting the aperture on my 24-70mm wide open, I found I could gain a balanced exposure while keeping things steady.

ABOVE

Pupils of Emanyatta Secondary School sing and dance as they welcome Philip and Ellie with a Maasai ceremony LEFT

The children of Mondorosi love seeing their picture on the screen of Field’s Nikon D810 BELOW

The vistas and wildlife of the plains of the Serengeti

Ngorongoro Conservation Area and across the Serengeti plains, where he would see some of the world’s most iconic landscapes, as well as zebra, wildebeest and Thomson’s gazelles. After a day in Mondorosi, photographing goat herder Kimere, Field and Richold travelled a further 650km. They would visit other projects supported by African Initiatives, documenting teachers and pupils at primary and secondary schools in Ololosokwan and Emanyata. They would also explore land-rights issues in Engare Sero, collate images relating to the effects of climate change on Maasai life, and hold a workshop on creative writing and photography. ‘It was the trip of a lifetime,’ says Field. ‘Whether or not the images form a successful Fellowship portfolio, the kindness and spirit of the women we met made the whole experience worthwhile.’ VOL 157 / MAY 2017 / THE RPS JOURNAL / 377

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379

GEAR SPY News of upcoming kit releases 380

MEMBER TEST The Ricoh Theta SC 381

ALTOGETHER BETTER The key to creative composites 382

MUST TRY

MAY 2017 TECHNOLOGY, TECHNIQUES AND SKILLS

Sigma sd Quattro H

Gavin Stoker investigates a new Japanese camera with a large pixel count which arrives here in a mirrorless camera body that's more portable than a consumer DSLR

he key selling points of Sigma’s solidly built if quirky mirrorless interchangeable-lens camera are a large pixel count plus a body more portable than the average DSLR. Japan-built, the sd Quattro H’s maker claims a 51-megapixel ‘equivalent resolution’ from its newly developed APS-H-sized (26.7x17.9mm) Foveon X3 direct image sensor – this fourthgeneration chip inspiring the ‘Quattro’ name. We get three layers of photo diodes, with one layer each for blue, green and

red, and with 25.5 megapixels featuring in its top layer. Twinning the camera with a 35mm f/1.4 DG prime lens achieved predominantly colouraccurate, richly detailed results, with the added ability to shoot DNG (digital negative, the widely recognised alternative to raw) format images. The camera is also compatible with all the lenses in Sigma’s contemporary, sports and art line-up. The magnesium alloy body’s design delivers a reassuringly firm hand grip, while the eye relief for its viewfinder extends

Price £1,349.99 body only Sensor APS-H sized (26.7x17.9mm) Foveon X3 direct image sensor Lens Optional, via Sigma mount Display 3-inch, 1.62 million dots Weight/size 635g body only, 147x95.1x90.8mm More sigma-imaging-uk. com Summary Promoting a more considered approach to image taking, this quirky, large sensor-incorporating addition to Sigma’s stable is worth investigation

sufficiently so that your nose doesn’t squash up against the LCD screen below. Metering, exposure and ISO light sensitivity all get their own buttons, with a control wheel on the top plate allowing for fast scrolling through functions. The camera’s autofocus is more accurate than swift, and dual SD card slots would’ve been useful. We can imagine still life and product photographers getting the biggest use out of the sd Quattro H, as well as mediumformat shooters wanting a more budget-friendly alternative. VOL 157 / MAY 2017 / THE RPS JOURNAL / 379

380 | THE CRAFT | 1

Sony FE 100mm f2.8 Benro Hiker Drone STF GM OSS & FE 85mm 250N and 350N f/1.8 lenses From £550 From £110 Prime lens pairing for the Sony E-mount compact system sony.co.uk

A discreet carrying option for camera drone owners benro.com

Sony unveils two new E-mount-compatible options. One is a mid-telephoto 100mm prime lens that will enable subtly attractive bokeh/ background blur effects. The other is a more compact 85mm mid-telephoto, perhaps aimed at those wanting to capture portraiture, its f/1.8 aperture enabling handheld shooting without flash. The 100mm has a number of qualities that will appeal to nature, wedding and fashion photographers, including its quiet SSM system ensuring fast and accurate autofocus, plus up to 0.25x close-up capabilities via a built-in macro switching ring. We also get a standard AF/ MF switch, focus-hold button and built-in optical image stabilisation. Both lenses are dust and moisture resistant.

Benro may not be the bestknown accessory brand, but it offers camera bags in a wide variety of sizes for a wide variety of uses. Affordable yet sturdy with it, the Hiker Drone is, as it sounds, designed to allow photographers turned filmmakers to house and discreetly transport a camera drone on their back. The larger of the two backpacks, the £130 350N, is able to carry the popular DJI Phantom unmanned aerial vehicle, in addition to a DSLR with standard zoom lens. The smaller 250N can still fit a Phantom 3 or 4, plus a few additional accessories. Manufactured from waterrepellent material, the main compartment of the packs offers a soft lining and internal dividers to hold everything that needs protecting in its place.

380 / THE RPS JOURNAL / MAY 2017 / VOL 157

GEAR SPY

l Canon and Nikon have four third-party lenses on the way capable of pairing with the latest generation of high-resolution DSLRs, courtesy of Japanese manufacturer Sigma. New here are the ultra-wide high-speed Sigma 14mm f/1.8 DG HSM; a large-diameter 24-70mm f/2.8 DG OS HSM; the compact and lightweight 100-400mm f/5-6.3 DG OS HSM telephoto zoom; and the 135mm f/1.8 DG HSM telephoto. l Hasselblad also has four dedicated lenses on the way for its X1D medium-format camera, launched last year, starting with an XCD 120mm macro lens next month.

AirSelfie From €250

Airborne camera and videocapture device charged, launched and controlled via smartphone airselfiecamera.com This crowd-funded device is, in essence, a 5-megapixel or full HD-shooting camera that hovers in the air, producing selfies without the need for either a longer arm or a ridiculous selfie stick. Interestingly, the AirSelfie isn’t officially classified as a drone – thereby avoiding the restrictions associated with such models – and has instead been termed a smartphone gadget or accessory. At the demonstration we attended, the smartphonecontrolled device proved no noisier than a hair dryer when airborne at head height. Operational time when fully charged is three minutes. At the time of writing the AirSelfie could be ordered direct online for around €250 – on a first come, first served basis. 3

Planet Fairground by Juliet Chenery-Robson

MEMBER TEST

Ricoh Theta SC Go full circle at the press of a button

T SunnyCam Sport HD video eyewear £129.99

Lomo’Instant Automat Glass Magellan edition £169

This pair of futuristiclooking spectacles have the ability to record full HD, 30fps video via a built-in 150°-angle camera. Use is controlled via the frame itself, with up to an hour of recording time, a vibrate alert, and the ability to swap the dark polarised lenses for clear polycarbonate ones should weather/lighting conditions change. Data capacity can be expanded to 64GB via an optional microSD card. Given the above spec, it’s a pleasant surprise that the glasses retain a sleek, Matrixlike design aesthetic. The obvious appeal will be to extreme sports fans, with the build flexible yet high-impact resistant. Two sets of lenses, a carrying case, glasses string and cleaning cloth are included.

You’ll probably know the Lomography brand for its cheap and cheerful film-based snapshots – fuzzy and lo-fi, and deliberately so. With instant cameras now increasingly big business, we get the Lomo’Instant Automat Glass Magellan, notable for being the first of its kind with a glass wide-angle lens (21mm equivalent in 35mm terms), with f/4.5 maximum aperture. The brand emphasises that its multicoated glass lens is comprised of six elements in four groups, and boasts the widest focal length in its class. Unlike Lomo cameras of old, crystal clear and razor sharp results are promised, even in lower lighting conditions. Perhaps, however, as with previous models, this is best viewed as fun first and foremost.

Step into the Matrix via these image-recording glasses sunnycam.com 4

Instant camera with a glass wide-angle 21mm-equivalent lens lomography.com 5

he 8GB Theta SC looks nothing like the chunky DSLRs I am more familiar with. Its small, sleek design is more like a cross between Dr Who’s sonic screwdriver and the Men In Black’s memory-erasing stick. The twin alien eyes protruding from either side are in fact tough lenses capable of capturing 360° 14MP jpeg images or HD video (1,080p at 30fps). Weighing 102g, the Theta’s petite frame (130x45mm) can be popped into a pocket (with lenses protected by its bespoke padded pouch) to be on hand to record any event. Eager to have fun with this new toy, I glanced through the minimal instruction guide, charged the Theta and held it above my head to take my first 360° stills. After uploading the images to my iMac, I realised that I would need to rethink my modus operandi for future shots. The bugeyed lenses had not only

captured amazing 360° panoramas of my office, but also my fingers holding the base of the Theta. Familiarising myself with the detailed online guide, I downloaded the Theta’s two smartphone apps, connected the SC to my iPhone’s wi-fi and took it, along with a mini-tripod, to a local fairground. Placing the tripodmounted SC on the surface of a pink plastic mushroom, I moved out of frame and captured shots via the Theta S app. After transferring my chosen image to the handy Theta+ editing app, I opted for the ‘Little Planet’ effect and uploaded the resulting surreal image to my Mac via iCloud. Final tweaks to the grainy image in Photoshop included a clean-up to remove all traces of Theta and, hey presto, Planet Fairground. Also compatible with social media sites and Google’s new street view app, the SC offers a quirky, alternative view of the world for users to explore.

AUTHOR PROFILE JULIET CHENERY!ROBSON Juliet Chenery-Robson PhD is a photographer and honorary treasurer for the Society’s Medical Group. View more of her work at julietchenery-robson.com

VOL 157 / MAY 2017 / THE RPS JOURNAL / 381

382 | THE CRAFT |

How to make composite photographs

MASTER CLASS

Andrew Dobell explains the key steps in putting together this cinematic scene in Photoshop

his image – Fancy meeting you here – was one of my early composites as Creative Edge Studios, and is probably the bestknown image I have done. It was created in Photoshop from the main shot of the two models, a second of Tabitha Lyons as Black Cat for the hair, two sky shots, a building shot and one of a New York skyline, including the Empire State Building One of the sky shots, the building shot and the NYC skyline are stock images from CGTextures.com and iStock, and everything else is my own work. You should always try to use your own images if at all possible, but as long as you are getting your stock images legally and complying with their terms of use there’s nothing wrong with using stock.

CUT OUT THE MODELS

Start by using the quick selection tool to select the models. Then click on the quick mask button at the bottom of the toolbar. Using the brush tool (hard brush at full opacity), fine tune the mask by painting directly on the mask. Don’t worry about the small details, such as hair and fur at this point.

Spider-Man meets Black Cat

After that, come out of the quick mask option and select ‘refine edge’. Paint over the edges of the hair and let Photoshop do its magic. There

will still be some stray pixels, as no selection is ever perfect, so move the shift edge to bring the selection in a touch and then click on

‘decontaminate colours’ and press okay. Your selection will probably need further refining, but for now this is a basic cut-out.

TIP

Rotate the canvas for a vertical image

Make use of a second image to ensure Black Cat's hair falls correctly

TURN THEM AROUND, CONVINCINGLY

To give the impression that the characters are climbing a wall, rotate the canvas 90 degrees. You’ll need to do work on the hair so that

it falls in the right direction. For this I used a separate shot of the model’s hair, placing it using similar methods as outlined above. Refining hair will

382 / THE RPS JOURNAL / MAY 2017 / VOL 157

sometimes require you to use the brush tool very small and paint the hairs in or out to get the look you want. Use a mask to blend the second

hair image with the main shot. At this stage I suggest more advanced photographers use a tablet to paint in more hair to give a flyaway look. Place the hair

Paint in hair with a small brush

into the main document and use a mask to blend it with the existing hair. I use a small brush, at 60 per cent hardness, with size set to ‘pen pressure’

Sometimes when you use layer masks to cut out things and then reposition them you might find a thin, one-pixel line around the edge of the masked area. Look out for these and use the paint brush on your layer mask to remove them.

(I use a tablet that lets me use pressure sensitivity) and by choosing colours from her hair I paint in more to give it the right flyaway feel.

NICKY ROCHUSSEN

| INSIGHT | 383

Fancy meeting you here - the finished image VOL 157 / MAY 2017 / THE RPS JOURNAL / 383

384 | THE CRAFT | FILL IN THE BACKGROUND

Open the background image (here, it's a photo of a building), select the area you need and drag it into the main document. Using ‘free transform’, deform and position the building behind the figures. Bring in the cityscape and the two sky images and place them where they work best. With a layer mask, use a gradient to blend the skies together. To reveal hidden details (here, the Empire State building), use the quick selection tool and refine the edge to get a tight selection of the building. Output from refine edge as a selection, choose the sky layer and paint the building back in on its layer mask.

Reveal details using quick selection/refine

Add shadows using dodge and burn

MAKE THINGS MATCH

Use gradient to blend the two sky images

FINISHING TOUCHES

We want Black Cat holding a rope for her grappling hook, which you create in Photoshop using a hardedged brush for the basic shape, then various tools to make it look realistic. You make the image look like a coherent whole by adding some adjustment layers to the top of the

layer stack: add a ‘colour balance’ layer and skew it towards blue, a hue/saturation layer and lower the saturation. Finally, add some 'grit'. Create a merged copy of the image and open the HDR toning tool. Take saturation to -100 per cent, increase the detail a lot, and slightly increase the gamma to stop

| LEARN MORE |

Group layers together – the skies into one, and all the layers that make up the two heroes into another. This makes it easier to add layer masks or adjustment layers to several layers at once. Dodging and burning is a key part of the process, so start to add shadows to the building so it looks like the two heroes are in close

contact with it. Then, to add a reflection of the heroes in the glass of the building, turn off all the layers not associated with the heroes, select all and ‘copy merged’, then ‘paste’. You now have a copy of the two heroes. Position the copy where you want their reflection to be. Not every limb will line up properly with the heroes, so

it clipping the whites so much. Copy and paste this image back into the main document at the top and set the blend mode to soft light then lower the opacity to around 30 per cent.

line them up one part at a time, such as Tabitha’s knee, and then mask out the parts that don’t work. Keep doing this until everything is in place. Group all the reflection layers and set the group’s ‘blending mode’ to soft light and lower the opacity. Then add a mask to the group and paint away the parts of the reflection that are not on the glass.

AUTHOR PROFILE

ANDREW DOBELL Andrew Dobell is a photographer, illustrator and digital artist specialising in cinematic composite images.

Make the final image's constituent parts look coherent using adjustment layers

Sign up for Andrew Dobell’s ‘Advanced creative compositing in Photoshop’ workshop on Friday 19 May at Square 1 Studio in Surrey. For more information see page 388.

384 / THE RPS JOURNAL / MAY 2017 / VOL 157

CALL FOR ENTRIES

PAUL WITH OTTO AND LUCIAN Â© RICHARD ANSETT

INTERNATIONAL PHOTOGRAPHY EXHIBITION 160 OPEN SUBMISSION REDUCED ENTRY FEE FOR MEMBERS AWARDS AND CASH PRIZES SELECTED WORK EXHIBITED IN NATIONWIDE TOUR CLOSING DATE: 24 MAY 2017 rps.org/ipe160 The IPE 160 is supported by theprintspace

SKILL SET Improve with a Society workshop 388

WARM WELCOME Summer SIG events on the horizon 392

| GUIDE | 387

FENTON HOUSE SHOWCASE A look at vanishing rural traditions 396

GUIDE MEMBER MAY!JUN!JUL

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

Portrait of a lady

Escape to Guernsey next month for a workshop in portrait photography

ociety trustee Richard Tucker ARPS is to lead participants in a workshop in the picturesque Castel region of Guernsey next month. Tucker, now retired and living in Switzerland, hopes to show attendees how to illuminate a face with a balance of natural and artificial light, beginning the day with an overview of different portrait styles. Participants will then work in small groups and photograph one another, analysing the effect of light on the subjectâ&#x20AC;&#x2122;s face. At the end of the workshop there will be a chance to review the images taken. Tucker began taking photographs while

employed in the merchant navy and went on to become a photographer with the Yorkshire Post. In 1966 he moved into educational film and television production before retiring to Diesse, Switzerland, in 2007. Tucker specialises in portrait, landscape and reportage photography and has exhibited work in France, Switzerland the Netherlands and Japan. This creative workshop will take place on Saturday 24 June between 10am and 4pm and is open to everyone, from absolute beginners to highly experienced photographers.

Top: Barmaid after Manet Above: Willie Gerber, artist

VOL 157 / MAY 2017 / THE RPS JOURNAL / 387

388 | GUIDE |

WORKSHOPS

Hear from the experts and hone your skills

Introduction to the creative eye

Introduction to Photoshop

Saturday 6 May / 10:00-16:30

Sunday 21 May / 10:00-17:00

`` £95/£71 Society

members `` Bath HQ

Running your own photographic business Mon 8 – Tue 9 May / 10:00-16:00

`` £190/£165 Society members `` Bath HQ

Paint with light

members `` Fully booked `` Bath HQ

`` £115/£140 Society members `` Surrey

Two-day wedding workshop

members

`` Buckinghamshire Introduction to Lightroom

Bring your own inkjet printer workshop

`` Fully booked `` Lacock

Historical architecture photography – Holme Pierrepont Hall

`` £165/£140 Society

members

Sat 27 – Sun 28 May / 10:00-17:00

Thursday 15 June / 10:00-17:00

`` £165/£140 Society

`` £120/£95 Society members `` Buckinghamshire

Art figure painting with light

Creative techniques in Photoshop

Saturday 3 June / 10:00-17:00

Friday 16 June / 10:00-16:30

`` £115/£90 Society

`` £115/£90 Society members `` Buckinghamshire

Saturday 13 May / 10:00-16:30

`` £95/£71 Society members

`` Bath HQ

Video editing (beginner to advanced) Thursday 8 June / 10:00-16:30

Pinhole photography Saturday 13 May / 10:00-16:30

`` £75/£56 Society members

`` Bath HQ

`` £120/£95 Society members

`` Buckinghamshire Macro and art photography Friday 9 June / 10:00-16:30

Theatrical and creative dance lighting

`` £55/£41 Society members

`` Buckinghamshire

Saturday 13 May / 10:00-17:00

`` £120/£95 Society members `` Surrey

Duo Dance classic and contemporary lighting workshop Saturday 10 June / 10:00-17:00

Child portrait photography

members

`` Bath HQ

members

Developing personal projects and storytelling with Ben Cherry

members `` Surrey

`` £115/£90 Society

Sunday 2 July / 10:00-17:00

`` £95/£71 Society

`` Buckinghamshire

Wednesday 10 May / 10:00-16:00

`` £95/£71 Society

Thursday 22 June / 9:30-17:00

Photoshop

`` £165/£140 Society

Sat 10 – Sun 11 June / 10:00-17:00

Two-day Photoshop workshop members `` Bath HQ

Portraiture photography and getting the most from your subject

Different landscapes and rural life

Sat 8 – Sun 9 July / 10:00-16:30

`` £99/£75 Society

Child portrait photography

`` Nottingham

`` £120/£95 Society

Art-nude photography

`` Amersham

Thursday 22 June / 10:00-16:30

members

members `` Buxton

Introduction to your digital camera Sunday 18 June / 10:00-17:00

`` £85/£63 Society members `` Bath HQ

Sunday 9 July / 10:00-17:00

members

Saturday 24 June / 10:00-17:00

`` £120/£95 Society members `` Lacock

How to photograph children and babies

A beginner’s guide to product photography Thursday 13 July / 10:00-16:30

`` £115/£90 Society members

`` Amersham

Sunday 25 June / 10:00-17:00

`` £120/£95 Society members `` Lacock

Saturday 17 June / 9:30-18:00

`` £120/£95 Society

members

`` Bath HQ

Photographing landscape whatever the weather, with Tony Worobiec FRPS Sunday 25 June / 10:30-16:30

`` £55/£41 Society members `` Bath HQ

Pinhole photography

How to shoot modern architecture Friday 14 July / 10:00-16:30

`` £99/£75 Society members

`` Nottingham Introduction to Lightroom Saturday 15 July / 10:00-16:30

`` £95/£71 Society members

`` Chester

`` £76/£56 Society

Practical wildlife photography

`` £155/£130 Society

`` Bath HQ

`` £120/£95 Society

`` Colerne, near Bath

Introduction to

`` At the Westcountry

Saturday 1 July / 10:00-16:30

Product photography Monday 19 June / 10:00-17:00

members

Sunday 14 May / 10:00-17:00

`` £95/£120 Society

Saturday 15 July / 10:30-16:30

members

Wildlife Photography Centre with tutor Nigel Hicks `` Devon

Introduction to mindfulness, meditation and how this links to photography

members

`` Buckinghamshire A beginner’s guide to product photography Thursday 18 May / 10:00-16:30

Thursday 20 July / 10:00-16:30

`` £155/£90 Society

`` £95/£71 Society

`` Buckinghamshire

Advanced creative compositing in Photoshop

Peak landscape challenge photography workshop

members

Friday 19 May / 10:00-17:30

`` £140/£115 Society

Saturday 22 July / 9:30-18:00

members `` Fully booked `` Surrey

`` £120/£95 Society

Studio portraiture

members

`` Ashbourne

Saturday 20 May / 10:00-17:00

Sat 22 – Sun 23 July /10:00-17:00

`` £165/£140 Society

members

`` Wiltshire

Tony Worobiec FRPS will lead a landscape photography workshop in Bath on 25 June

388 / THE RPS JOURNAL / MAY 2017 / VOL 157

members

`` Lacock

| GUIDE | 389

REGIONS

Meet photographers and view work in your area CENTRAL

MIKE SHARPLES ARPS, 07884 657535 MIKES.SHARPLES(VIRGIN.NET

‘An evening with John Chamberlin’ presented by John Chamberlin FRPS Thursday 11 May / 19:30-22:00

`` £3 Society members `` Smethwick Photographic

Society, Churchbridge Oldbury, Birmingham B69 2AS `` Mike Sharples ARPS, as above

LRPS advice; ARPS advisory day (all five categories) Sunday 14 May / 10:00-16:00

`` £20/£15/£10 spectators `` Smethwick Photographic

Society, Church Bridge, Oldbury, West Midlands B69 2AS `` Mike Sharples ARPS, as above

Central Region photoforum: LRPS and ARPS (fine art) Sunday 11 June / 10:00-16:00

`` £10/£8/£5 spectators `` Smethwick Photographic

Society, Church Bridge, Oldbury, West Midlands B69 2AS `` Mike Sharples ARPS, as above

Cyanotype process workshop Sunday 11 June / 10:00-16:00

`` £25/£20 Society members `` Smethwick Photographic

Society, Church Bridge, Oldbury, West Midlands B69 2AS `` Mike Sharples ARPS, as above EAST ANGLIA IAN WILSON ARPS, 07767 473594 IAN(GREENMEN.ORG.UK

Regional exhibition Wed 3 May – Sun 4 June / 10:00-16:00

`` Monday to Saturday 10am to 5pm, Sunday 10am to 4pm `` Apex Art Gallery, Charter Square, Bury St Edmunds IP33 3FD `` Moira Ellice, moira. ellice2011@btinternet.com

Dan Hartman: ‘Wildlife among the Rockies’ Sunday 14 May / 10:30-16:30

`` The 2017 regional-sponsored lecture; entry is free `` Foxton Village Hall, Hardman Road, Foxton CB22 6RN `` Ian Wilson ARPS, as above

Alison Baskerville – joint EA meeting with the Digital Imaging Group

Sunday 11 June / 10:30-16:30

`` £15/£10 Society members `` A lecture by Alison

Baskerville, a renowned British documentary photographer `` Foxton Village Hall, 2 Hardman Road, Foxton CB22 6RN `` Mark Gillett, rpsdigeast@gmail.com

Visit to West Stow Anglo-Saxon village Saturday 17 June / 10:30-16:00

`` Visit the Anglo-Saxon village at West Stow with the Archaeology and Heritage Group `` West Stow Anglo-Saxon village, Icklingham Road, Suffolk IP28 6HG `` Mike Sasse, 01892 531179, mike.sasse@btinternet.com

Cambridgeshire CB22 4NE

`` David Ryland,

01953 853040, david_1@btinternet.com EAST MIDLANDS STEWART WALL ARPS, 07955 124000 STEWART(STEWARTWALL.COM

What does it take to win the RPS International Print Competition?

Saturday 13 May / 9:45-14:00

londoncave@rps.org

The Bookworm Club

MICHAEL O’SULLIVAN

Wednesday 17 May / 18:30-21:00

INFO(MOSULLIVANPHOTO.COM

`` The Crusting Pipe, 27 The

Market, Covent Garden, London WC2E 8RD `` London Bookworms, LondonBookworms@rps.org

LONDON LONDONEVENTS(RPS.ORG

‘Sunny climes’ – an exhibition of work by south-west Londoners

Historical Group visit to the Centre for Photographic Conservation, London

Until Wednesday 31 May / 8:00-16:00

`` Cafe Barossa, 277 New King’s Road, Fulham, London SW6 3DU `` Judy Hicks, 07768 923620, londonro2@rps.org

Saturday 27 May / 11:00-15:30

`` £5 group members `` Group field trip `` Centre for Photographic

Sunday 25 June / 10:15-16:45

`` £5 `` Members are invited to bring either recent successful Distinction panels or their work in progress towards a Distinction `` Whittlesford Memorial Hall, Mill Lane, Whittlesford,

tour of the west and east Highgate cemeteries `` Archway Tube Station, Junction Road, London N19 5RQ `` Judy Hicks, as above

`` To be confirmed `` London Cave,

EIRE

Saturday 24 June / 10:30-15:00

Creative Group members’ day

Wednesday 10 May / 10:15-14:00

`` £20/£12 Society members `` We have arranged a special

London Region street walk

Street, Whatton in the Vale NG13 9EL `` Stewart Wall ARPS, as above

JUDY HICKS AND NEIL CORDELL

car park, Happisburgh, Norfolk NR12 0PR `` Nick Bowman, Nickbowman55@hotmail.com

Special photographers’ tour of the west and east Highgate cemeteries

Sunday 21 May / 10:30-16:00

`` £10 `` Whatton Jubille Hall, Church

Norfolk coast weekend `` See website for costs `` Guided photographic trip `` Happisburgh community

See the East Anglia regional exhibition until Sunday 4 June Image: Turneresque by Colin Pickett LRPS

Regular meeting of the SW London Group Tuesday 9 May / 19:00-21:00

`` The Prince of Wales, 138

Upper Richmond Road, Putney SW15 2SP `` London Web, Londonweb@rps.org

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

Conservation, 233 Stanstead Road, Forest Hill SE23 1HU `` Geoff Blackwell ARPS, gblackwell@fastmail.fm

A Sunday morning walk with the London Naturally Group Sunday 28 May / 10:30-13:00

VOL 157 / MAY 2017 / THE RPS JOURNAL / 389

390 | GUIDE | `` To be confirmed `` London Naturally,

london_naturally@rps.org

Regular meeting of the SE London Group

London Region street walk Saturday 8 July / 9:45-14:00

`` London BA2 3AH `` London Cave,

londoncave@rps.org

Tuesday 30 May / 19:00-21:00

`` £5/£3 Society members `` Greenwich Gallery, Peyton

Regular meeting of the SW London Group

`` London Cave, londoncave@

`` Details to be confirmed `` The Prince of Wales, 138

Place, London SE10 8RS rps.org

London Region street walk Saturday 10 June / 9:45-14:00

`` To be confirmed `` London Cave, londoncave@ rps.org

Regular meeting of the SW London Group Tuesday 13 June / 19:00-21:00

`` The Prince of Wales, 138

Upper Richmond Road, Putney SW15 2SP `` London Web, Londonweb@rps.org

The Bookworm Club Wednesday 21 June / 18:30-21:00

`` The Crusting Pipe, 27

The Market, Covent Garden, London WC2E 8RD `` London Bookworms, LondonBookworms@rps.org

A Sunday morning walk with the London Naturally Group

Tuesday 11 July / 19:00–21:00

Upper Richmond Road, Putney SW15 2SP `` London Web, Londonweb@rps.org

The Bookworm Club Wednesday 19 July / 18:30-21:00

`` The Crusting Pipe, 27

The Market, Covent Garden, London WC2E 8RD `` London Bookworms, LondonBookworms@rps.org NORTH WALES

naturally@rps.org

Regular meeting of the SE London Group Tuesday 27 June / 19:00-21:00

`` £5/£3 Society members `` Greenwich Gallery, Peyton Place, London SE10 8RS `` London Cave, londoncave@rps.org

‘Photographing characters’ Sunday 11 June / 11:00-13:30

`` £10 `` Three studios with models,

strobe lighting and portraiture photographers on hand to assist participants and offer their expert knowledge `` The Wilmslow Guild, Bourne Street, Wilmslow SK9 5HD `` Alan Angel FRPS, 0161 980 0106, aandjangel@btinternet.com

RPS North West Region members’ day 2017 Sunday 16 July / 11:00-16:00

`` Hough End Centre, Mauldeth Road West, Manchester M21 7SX `` Brian Smethurst, as above NORTHERN

MARTIN BROWN LRPS, 01691 773316

CAROL PALMER ARPS,

NORTHWALES(RPS.ORG

CAROLMPALMER(BTINTERNET.COM

RICHARD CORBETT 07805 381429

Thursday 1 June / 19:00 –21:30

RICHARD(RICHARDCORBETTPHOTOGRAPHY.COM

`` £10 `` A rare opportunity to visit one of North Wales’ remaining working quarries `` Penmaenmawr Quarry, Bangor Road, Penmaenmawr, Conwy LL34 5NA `` Martin Brown, as above NORTH WEST BRIAN SMETHURST, 01942 719766 BSMETHURST(HOTMAIL.CO.UK

Spring walk – a little gem: the hamlet of Feizor and OxenberWharfe Woods Saturday 13 May / 9:30-16:30

`` Woodend Farm, Austwick Village LA2 8DH

`` Allan Hartley ARPS, 01524

Your events

To ensure inclusion of your events in The RPS Journal please post them on the RPS website six weeks prior to publication. For a list of deadlines, cancellations or last-minute amendments, please contact Emma Wilson on 0141 375 0504 or email emma.wilson@ thinkpublishing. co.uk. These listings are correct at time of going to print

`` The weekend includes talks

by Dan Hartman, Laura Pannack and Dougie Wallace, president Walter Benzie HonFRPS and Honorary Fellows Tom Stoddart and Roger Reynolds, plus a drinks reception and meal `` Carnegie Conference Centre, Halbeath Road, Dunfermline KY11 8DY `` James Frost FRPS, as above

Scotland Region members’ print exhibition 2017/18 – Penicuik Thu 1 – Sun 25 June / 10:30-16:00

`` Penicuik Community Arts Association, Penicuik EH26 9DL `` Doug Berndt, doggier@ blueyonder.co.uk

DIG Scotland Centre – June 2017 meeting Sunday 11 June / 13:30-16:15

`` £15 group season ticket/ £5 single ticket

Visit to Penmaenmawr Quarry

Sunday 25 June / 10:30-13:00

`` To be confirmed `` London Naturally, london_

261173, HartleyAlmal@aol.com

`` Bridge of Allan Parish Church,

NORTHERN IRELAND

12 Keir Street, Bridge of Allan FK9 4NW `` Dave Hunt, digscotland@rps.org

SCOTLAND JAMES FROST FRPS 01578 730466/07881 856294 JAMES.FROST11(BTINTERNET.COM

Photo forum Larkhall

Scotland Region members’ print exhibition 2017/18 – Glenrothes

`` £10/£8 Society members `` Blackwood and Kirkmuirhill

Saturday 1 July / 10:30-16:00

Community Wing, Lanark ML11 9SB `` James Frost FRPS, as above

Mon 1 – Wed 24 May / 10:30-16:00

`` Rothes Halls, Glenrothes KY7 5NX

SOUTH EAST

`` Donald Stewart,

REGIONAL COMMITTEE

Donaldstewart@aol.com

SOUTHEAST(RPS.ORG

Scotland Region spring weekend in Dunfermline

A&H AGM and annual print day Saturday 6 May / 10:30-16:30

`` Leatherhead Institute, 67

Sat 20 – Sun 21 May / 9:00-17:30

`` Prices vary. See website

High Street, Leatherhead, Surrey KT22 8AH `` Chelin Miller, 07804 776980, southeastweb@rps.org

for details

Advisory day – LRPS and ARPS (all five categories) Sunday 7 May / 10:30-17:00

`` £20/£15/£10 spectators `` Distinctions advice from panel members

`` Detling Village Hall, Pilgrim’s

Way, Detling, Maidstone ME14 3EY `` Colin Smith, 07966 178026, colinsmith118@btinternet.com

Remote photowalk and social gathering Monday 15 May / 10:30-15:00

Join the Scotland Region in Dunfermline for their spring weekend 390 / THE RPS JOURNAL / MAY 2017 / VOL 157

`` Join us for a photowalk, a chat and tea

`` 26 The Street, Appledore, Kent TN26 2BX

`` Chelin Miller, 07804 776980, heritageweb@rps.org

| GUIDE | 391 Field trip Torbay area

07434 170644, davepeckham@mac.com

`` St Georges Parish Church,

Imaging the moon

of Torbay

Barn Road, Goodrington, Paignton TQ4 6NG `` Rod Fry ARPS, 01803 844721, rod@rodfry.eclipse.co.uk

SW Visual Art Group members’ day Sunday 16 July / 10:30-16:00

`` £8/£5/£3 Group members `` South West VAG `` The Dolphin Hotel, Station linda.wevill@btinternet.com

`` £20/£15 Society members `` Safely photograph the sun

Saturday 17 June / 11:00-14:00

through a telescope

`` Lilian’s Observatory, 36

Wednesday 19 July / 18:45-21:00

`` Bi-monthly meeting of the West Cornwall Group

`` The Copper Room,

Heartlands, Robinson’s Shaft, Dundance Lane, Pool, Redruth TR15 3QY `` Vivien Howse, 01326 221939, vivien939@btinternet.com SOUTHERN DAVID ASHCROFT LRPS, 07710 302684 SOUTHERN(RPS.ORG

Imaging the sun Saturday 13 May / 11:00-14:00

Sunday 11 June / 10:30-16:00

RPSSWREGION(GMAIL.COM

`` Friendly photowalk `` Rock a Nore car park, Hastings TN34 3DW

`` Bruce Broughton, 07482

275811, bruce-broughton@ hotmail.co.uk

South East Group meeting Sunday 25 June / 10:00-13:00

`` A discussion about street

photography, followed by a review of members’ work `` Tangmere Village Hall, Malcolm Road, Tangmere PO20 2HS `` Janey Devine, docse@rps.org SOUTH WALES MIKE LEWIS, 07855 309667, 01446 710770 MIKEGLEWIS101(BTINTERNET.COM

Waterfalls along the Rivers Nedd, Pyrddin, Mellte and Hepste Saturday 6 May / 10:30-16:00

`` The Angel Inn, Glynneath,

near Neath, West Glamorgan SA11 5NR `` Peter Douglas-Jones, 07776 141409, peter@douglas-jones.biz

SOUTH WEST

West Cornwall Group meeting

Southern Region has planned a behind-the-scenes visit to the Lee Filters factory

Wednesday 17 May / 18:45-21:00

`` The Copper Room,

Heartlands, Robinson Shaft, Dundance Lane, Pool, Redruth TR15 3QY `` Vivien Howse, 01326 221939, vivien939@ btinternet.com

`` £20/£15 Society members `` Lilian’s Observatory, 36

Linden Grove, Chandler’s Ford, Eastleigh SO53 1LD `` Lilian Hobbs, 07785 264684, me@lilianhobbs.com

DIG Southern Centre: ‘Altered reality ... better than the real thing’ with Adrian Lines ARPS and ‘Going solo’ with Jane Lines LRPS Sunday 21 May / 10:30-16:00

`` £12/£8 group members `` Lecture workshops

discussing concepts and techniques for creating successful exhibition and competition images `` Greyfriars Community Centre, 44 Christchurch Road, Ringwood BH24 1DW `` Barry Senior HonFRPS, 01425 471489, digsouthern@rps.org

Field trip to Plymouth Saturday 20 May / 10:00-16:00

`` A day photographing

some of the historical sites of Plymouth `` Mutton Cove car park, James Street, Plymouth PL1 4LB `` John Widdows, 01752 781555, johnwiddows@ btinternet.com

Advisory day – LRPS, ARPS

Cornwall field trip

use a large telescope and take photographs of the moon `` Lilian’s Observatory, 36 Linden Grove, Chandler’s Ford, Eastleigh SO53 1LD `` Lilian Hobbs, 07785 264684, me@lilianhobbs.com

Imaging the sun

West Cornwall Group meeting

MICK MEDLEY, 01626 824865/07980 073808

Thursday 1 June / 19:30-22:00

`` £15/£10 Society members `` Fully booked `` Enjoy a rare opportunity to

Road, Bovey Tracey TQ13 9NG

`` Linda Wevill FRPS,

Hastings Old Town photowalk

`` David Peckham,

`` A geology field trip along part

Saturday 8 July / 11:00-16:00

Linden Grove, Chandler’s Ford, Eastleigh SO53 1LD `` Lilian Hobbs, 07785 264684, me@lilianhobbs.com

Lee Filters factory visit Tuesday 20 June / 11:00-15:00

`` £15/£5 Society members `` A rare opportunity to see Lee filters being made

`` Lee Filters, Central Way,

Walworth Business Park, Andover SP10 5AN `` Richard Ellis, landscapef16@gmail.com

Advisory day – LRPS, ARPS and FRPS (all five categories) Sunday 25 June / 10:00

`` £20/£10/£15 `` Castel Douzaine Room,

Les Beauamps, Castel, Guernsey GY5 7PE `` Eric Ferbrache, rpsciorganiser@gmx.com

Imaging the sun Friday 7 July / 11:00-14:00

`` £15/£10 Society members `` Safely photograph the sun through a telescope

`` Lilian’s Observatory, 36

Linden Grove, Chandler’s Ford, Eastleigh SO53 1LD `` Lilian Hobbs, 07785 264684, me@lilianhobbs.com THAMES VALLEY MARK BUCKLEY,SHARP ARPS, 020 8907 5874 MARK.BUCKLEY,SHARP(TISCALI.CO.UK

DIG Thames Valley Centre: presentation potpourri plus PDI competition

Saturday 24 June / 10:00-16:00

Sunday 28 May / 10:00-16:00

Sunday 21 May / 10:00-15:30

`` A day photographing around

`` Attending this advisory day

`` An open event organised by

Golitha Falls and The Minions

`` Golitha Falls, St Cleer, Liskeard PL14 6RX

`` Martin and Viv Howse,

01326 221939, mghvkh@btinternet.com

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

will give you the opportunity to discuss your images with current panel members `` Brownsword Hall, Pummery Square, Poundbury, Dorchester DT1 3GW

the Digital Imaging Group Thames Valley Centre `` Woosehill Community Hall, Emmview Close, Woosehill, Wokingham RG41 3DA `` Alan Bousfield ARPS,

VOL 157 / MAY 2017 / THE RPS JOURNAL / 391

392 | GUIDE | digthamesvalley@rps.org

Advisory day – LRPS and ARPS (fine art, natural history) Sunday 25 June / 10:00-16:00

`` Distinctions advice from panel members

`` Millennium Hall, Main Road, Lacey Green HP27 0QN

`` Kathy Chantler, 01296

483469/07738 112775, kathychantler@gmail.com WESTERN DAVID NORFOLK ARPS, 07771 515273 WESTERN(RPS.ORG

Members’ monthly meeting – May Sunday 7 May / 10:00-12:30

`` £2 `` Fenton House, 122 Wells Road, Bath BA2 3AH

`` David Norfolk ARPS, as above

Show and tell Sunday 7 May / 10:00-13:00

`` Venue TBC `` Justin Orwin,

orwinstudio@gmail.com

Members’ monthly meeting – June Sunday 4 June / 10:00-12:30

`` £2 `` Members’ show and tell `` Fenton House, 122 Wells

The Archaeology and Heritage Group has arranged a photowalk in Kent on Monday 15 May

Towton battlefield Friday 23 June / 15:45-19:00

`` Participants meet at a fixed

`` Western Region

point and drive to each location behind Eric Houlder, our guide and organiser for the day `` Towton, opposite The Crooked Billet, Wakefield Road, Saxton, North Yorkshire LS24 9QN `` Eric Houlder, erichoulder@ gmail.com

`` Fenton House, 122 Wells

Self-help group

`` David Norfolk ARPS, as above

`` £7/£3 Society members `` Creative and Cultural Art

Road, Bath BA2 3AH `` David Norfolk ARPS, as above

RPS Western Region – summer outing Sunday 9 July / 10:00-16:30

members’ meeting

Road, Bath BA2 3AH YORKSHIRE

MARY CROWTHER ARPS, 07921 237962 PHOTOBOX50(GMAIL.COM FACEBOOK: BIT.LY/RPSYORKSHIRE

Self-help group Saturday 13 May / 10:30-12:30

`` £7/£3 Society members `` VJs Art Bar, Finkle Street, York YO1 8RW `` Robert Helliwell ARPS, 01904 500231, bobhelliwell@clara.co.uk

Advisory day – LRPS and ARPS (natural history) Saturday 17 June / 10:30-16:30

`` £20/£15/£10 spectators `` New Brookhouse Club,

221 Barnsley Road, Wakefield WF1 5NU `` Robert Helliwell ARPS, 01904 500231, bobhelliwell@clara.co.uk

Archaeology day at 392 / THE RPS JOURNAL / MAY 2017 / VOL 157

A&H AGM and annual print day Saturday 6 May / 10:30-16:30

`` A good chance for new

members, or those thinking of joining, to find out about the group’s photography and interests, and meet other members `` Leatherhead Institute, 67 High Street, Leatherhead, Surrey KT22 8AH `` Chelin Miller, 07804 776980, heritageweb@rps.org

Saturday 29 July / 13:30-15:00

Space2, Main Deck, Princes Quay, Hull HU1 2PQ `` Robert Helliwell, 01904 500231, bobhelliwell@clara.co.uk

SPECIAL INTEREST GROUPS

Explore more aspects of photography and digital imaging ANALOGUE

RICHARD BRADFORD ARPS ANALOGUE(RPS.ORG

Remote photowalk and social gathering Monday 15 May / 10:30-15:00

`` Join us for a photowalk, a chat and tea

`` 26 The Street, Appledore, Kent TN26 2BX

`` Chelin Miller, 07804 776980, heritageweb@rps.org

Visit to West Stow Anglo-Saxon village

North Yorkshire LS24 9QN

`` Eric Houlder,

erichoulder@gmail.com AUDIO VISUAL HOWARD BAGSHAW ARPS, 01889 881503 HOWARD.BAGSHAW(NTLWORLD.COM CONTEMPORARY PETER ELLIS LRPS, 07770 837977 WORDSNPICSLTD(GMAIL.COM

Advisory day – LRPS, ARPS and FRPS (all five categories) Sunday 25 June / 10:00-16:00

`` Attending this advisory day

will give you the opportunity to discuss your images with current panel members `` Castel Douzaine Room, Les Beauamps, Castel, Guernsey GY5 7PE `` Eric Ferbrache, rpsciorganiser@gmx.com

SE Group meeting

Saturday 17 June / 10:30-16:00

Sunday 25 June / 10:00-13:00

`` Visit the Anglo-Saxon village

`` A discussion about street

at West Stow with the group

`` West Stow Anglo-Saxon

village, Icklingham Road, Suffolk, Bury St Edmunds IP28 6HG `` Mike Sasse, 01892 531179, mike.sasse@btinternet.com

Archaeology day at Towton battlefield

photography, followed by a review of members’ work `` Tangmere Village Hall, Malcolm Road, Tangmere PO20 2HS `` Janey Devine, docse@rps.org CREATIVE MIKE COWLING ARPS CREATIVE.CHAIR(RPS.ORG

Friday 23 June / 15:45-19:00

ARCHAEOLOGY AND HERITAGE RODNEY BERNARD THRING LRPS, 01276 20725 RODNEY.THRING(NTLWORLD.COM

`` Free (but booking required) `` Meet opposite the Crooked

Billet, Wakefield Road, Saxton,

Creative Group members’ day Sunday 25 June / 10:15-16:45

| GUIDE | 393 `` £5 `` Members are invited to

bring either recent successful Distinction panels or their work in progress towards a Distinction `` Whittlesford Memorial Hall, Mill Lane, Whittlesford, Cambridgeshire CB22 4NE `` David Ryland, 01953 853 040, david_1@btinternet.com

with the Digital Imaging Group

GO TO

Sunday 11 June / 10:30-16:30

RPS.ORG/EVENTS FOR THE LATEST UPDATES

DIGITAL IMAGING JANET HAINES

`` £15/£10 Society members `` A lecture by Alison Baskerville, a renowned British documentary photographer `` Foxton Village Hall, 2 Hardman Road, Foxton CB22 6RN `` Mark Gillett, rpsdigeast@gmailcom

DIG Scotland Centre – June meeting

DIGCHAIR(RPS.ORG

DIG Southern Centre: ‘Altered reality... better than the real thing’ with Adrian Lines ARPS and ‘Going solo’ with Jane Lines LRPS

Sunday 11 June / 13:30-16:15

`` £15/£5 Society members `` Parish Church, 12 Keir Street, Bridge of Allan FK9 4NW

`` Dave Hunt,

digscotland@rps.org

Sunday 21 May / 10:30-16:00

`` £12/£8 group members `` Lecture workshops

DIG Thames Valley Centre: presentation potpourri plus PDI competition Sunday 21 May / 10:00-15:30

`` An open event.

Leo Rich ARPS DPAGB will judge the afternoon projected digital image competition `` Woosehill Community Hall, Emmview Close, Woosehill, Wokingham RG41 3DA `` Alan Bousfield ARPS, digthamesvalley@rps.org

Alison Baskerville – joint EA meeting

DOCUMENTARY MO CONNELLY LRPS, 01590 641849 DVJ(RPS.ORG

Your events

OVERSEAS CHAPTERS

`` AUSTRALIA Elaine Herbert ARPS, eherbert @alphalink.com.au `` BENELUX Richard Sylvester LRPS richard.sylvester@skynet.be Ypres photo exhibition Sat 10 – Sun 11 June / 11:00-16:00

Grote Markt 35, Ypres, Belgium `` CANADA webadmin@rps.org `` CHINA BEIJING Yan Li, yanli88@yahoo.com `` CHINA CHONGQING `` CHINA WESTERN

Homage to Arles 21–27 July

`` £2,050 `` Hotel Amphitheatre,

5 Rue Diderot, Arles, France

`` Jay Charnock or Mo Connelly, jaypix@hotmail.com, 0208 570 4116

Discover waterfalls in West Glamorgan with the Landscape Group

HISTORICAL JENNYFORD2000(YAHOO.CO.UK

Group visit to the Centre for Photographic Conservation, London Saturday 27 May / 11:00-15:30

`` £5 `` Field trip to the Centre for

Photographic Conservation `` Centre for Photographic Conservation, 233 Stanstead Road, Forest Hill SE23 1HU `` Geoff Blackwell ARPS, gblackwell@fastmail.fm

07776 141409, peter@douglas-jones.biz

IMAGING SCIENCE

JENNIFER FORD ARPS, 01234 881459

KEN MACLENNAN,BROWN KEN.MACLENNAN(BTINTERNET.COM

South coast scenic shoot Sunday 7 May / 8:00-17:00

LANDSCAPE MARK REEVES LRPS, 07968 616551 RPS.LANDSCAPE.EVENTS(GMAIL.COM

Waterfalls along the Rivers Nedd, Pyrddin, Mellte and Hepste Saturday 6 May / 10:30-16:00

`` The Angel Inn, Glynneath,

near Neath, West Glamorgan SA11 5NR `` Peter Douglas-Jones,

`` £15/£5/free to group members

`` A field trip to some of the

most scenic locations of Hampshire and south-west Sussex `` The Ship Inn car park, Langstone Road, Langstone, Havant, Hampshire PO9 1RD `` Paul Stone, 07432 560581 pjs28jack@googlemail.com

Royal Photographic Society members around the world

Wei Han (Richard), oolongcha @hotmail.com `` CHINA SHANGTUF Guo Jing, shangtuf@yahoo.com.cn `` CHINA QUANZHOU Xiaoling Wang, hgudsh@163.com `` DUBAI Mohammed Arfan Asif ARPS, dubai@rps.org `` GERMANY Chris Renk, germany@rps.org

RPS Germany Chapter exhibition – ‘Reflection’

Fri 19 May – Wed 12 July / 19:00-18:00

Altes Stadtbad, Straße 115, Hagen, Berliner `` HONG KONG Shan Sang Wan FRPS, shansangwan@ yahoo.com.hk `` INDIA Rajen Nandwana, rajennandwana@gmail.com `` INDONESIA Agatha Bunanta ARPS, agathabunanta@gmail.com `` ITALY Olivio Argenti FRPS, info@rps-italy.org

`` JAPAN TOKYO Yoshio Miyake, yoshio-raps@nifty.com `` MALAYSIA Michael Chong ARPS, michaelcsc1985 @gmail.com `` MALTA Ruben Buhagiar, info@rubenbuhagiar.com `` NEW ZEALAND Mark Berger, rps@moothall.co.nz `` SINGAPORE Steven Yee Pui Chung FRPS, peacock@sandvengroup.com `` SRI LANKA

Romesh de Silva, romesh@access.lk `` SWISS CHAPTER Richard Tucker ARPS, tucker42@bluewin.ch `` TAIWAN Joanie Fan Hui Ling ARPS, djpassionfoto@gmail.com `` USA ATLANTIC CHAPTER Carl Lindgren, lindgren.carl @gmail.com `` USA PACIFIC CHAPTER Jeff Barton, rps@vadis.net

VOL 157 / MAY 2017 / THE RPS JOURNAL / 393

394 | GUIDE | Lee Filters factory visit Tuesday 20 June / 11:00-15:00

`` £15/£5/free to group

members `` A rare opportunity to see Lee filters being made `` Lee Filters, Central Way, Walworth Business Park, Andover, Hampshire SP10 5AN `` Richard Ellis, landscapef16@gmail.com,

Norfolk coast weekend Sat 24 – Sun 25 June / 10:30-15:00

`` See website for costs `` Guided photographic trip to part of the Norfolk coast

`` Happisburgh Community car park, Happisburgh NR12 0PR `` Nick Bowman, Nickbowman55@hotmail.com

Landscape Group weekend conference and AGM Friday 3 – Sunday 5 November

`` See website for costs `` The Coniston Hotel, Coniston

Your events

Cold, Skipton, North Yorkshire BD23 4EA `` Mark Reeves ARPS, as above

Nature Group residential weekend

VIVECA KOH FRPS, 07956 517524

Friday 2 – Monday 5 June

VIVECA.KOH(GMAIL.COM

`` £248 `` A weekend of photography

at the Cober Hill Hotel `` Cober Hill Hotel, Cloughton, near Scarborough, Yorkshire YO13 0AR `` Leonard Shepherd, 01969 622043, shepherdlen@ btinternet.com

Nature Group field meeting to the Ainsdale dunes Saturday 10 June / 10:00-16:00

`` Photograph early orchids and insects

`` The Ainsdale Discovery

Centre, The Promenade, Shore Road, Ainsdale-on-Sea, near Southport PR8 2QB `` Trevor Davenport ARPS, 01704 870284, 07831 643844, trevor43davenport@gmail.com

MEDICAL AFZALANSARY(AOL.COM

Ophthalmic OCT imaging 2017 Saturday 10 June / 9:30-16:30

`` £30 `` A one-day symposium of

lectures from experts in ophthalmology and ophthalmic imaging `` Clinical Tutorial Complex, 2nd floor Moorfields Eye Hospital, 162 City Road, London EC1V 2PD `` Bob Tapper, 07798 558856, medicalsecretary@rps.org NATURE KEVIN ELSBY FRPS, WILDLIFE(GREENBEE.NET

394 / THE RPS JOURNAL / MAY 2017 / VOL 157

Rollright Visual Art Group – spring meeting Saturday 20 May / 10:00-16:30

`` £13 entry/£5 lunch `` Rollright VAG spring meeting `` The Village Hall, Main Street, Long Compton CV36 5JS

SW Visual Art Group members’ day Sunday 16 July / 10:30-16:00

`` South West VAG `` The Dolphin Hotel, Station

Road, Bovey Tracey TQ13 9NG

`` Linda Wevill FRPS,

linda.wevill@btinternet.com

EXHIBITIONS

SALLY SMART ARPS, EXHIBITIONS ASSISTANT 01225 325724, SALLY(RPS.ORG

RPS International Print Exhibition 159 Until Saturday 3 June

TRAVEL KEITH POINTON LRPS, 01588 640592 BAGPOINT(AOL.COM

DR AFZAL ANSARY ASIS FRPS, 07970 403672

VISUAL ART

Homage to Arles

`` Barnsley Saturday 10 June – Sunday 2 July

`` Titanic Museum, Belfast

(part of Belfast International Photo Festival)

21 July – 27 July

Monday 10 July – Friday 21 July

`` £2,050 `` Hotel Amphitheatre, 5 Rue

`` Blue Drill Hall, Edinburgh `` Jason White, 01226 327011,

Diderot, Arles, France

`` Jay Charnock or Mo Connelly,

jasonwhite@barnsleycivic.co.uk

jaypix@hotmail.com, 0208 570 4116

2017 Members’ Biennial exhibition

Rocky Mountain Gold 2017 – photo tour

`` The Point, Doncaster

Until Saturday 3 June

2-19 October

`` £2,250 `` Join us on an autumn

photographic adventure through the Rocky Mountains from Denver to Yellowstone National Park and back `` Denver, Colorado, USA `` Keith Pointon LRPS, as above

Tuesday 6 – Sunday 11 June

`` Cheltenham Science Festival `` Gary Evans FRPS, gary@ rps.org

PATRONAGE

The following salons/ exhibitions have RPSapproved patronage:

10th PSA China International Exhibition of Photography Closing date: 8 June `` `` salon.psachina.org `` RPS 2017/26 `` 6th Port Talbot International Salon of Photography Closing date: 17 June `` `` porttalbotcameraclub.org/ salon/salon-home.html

`` RPS 2017/21

155th Edinburgh International Exhibition of Photography 2017 Closing date: 21 June `` `` edinburghphotosalon.org/ `` RPS 2017/12 45th PSNY International Salon of Photography 2017 Closing date: 24 June `` `` psnyusa.org/ `` RPS 2017/13 68th Midland Salon Closing date: 28 June `` `` midland-salon.com `` RPS 2017/25

Saturday 24 June – Saturday 5 August

`` Warrington Museum and

The South Devon Salon Closing date: 16 July `` `` newtonabbot-photoclub.org.uk `` RPS 2017/19

International Images for Science Exhibition

Grace International Salon of Photography 2017 Closing date: 24 July `` `` gracesalon.com `` RPS 2017/24

Art Gallery `` Roger Jeffery, 01925 442396, rjeffery@culturewarrington.org

Until Sunday 14 May Open days 2, 3, 4 and 12 May

`` Royal Albert Hall, London

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396 | GUIDE | SHOWCASE TRADITIONAL IRISH BLACKSMITH, 1973 Local traditional blacksmith Tom O’Neill is shoeing a horse for Patrick Falcon, outside his forge at Liscannor, County Clare. Blacksmiths have been replaced by farriers who work with metals and use modern equipment.

Enduring traditions

Ray Flynn ARPS looks at rural life in Ireland for his Fenton House exhibition

e has been an ardent photographer for the past 50 years – ever since he received a camera from his parents when he was 15. Ray Flynn ARPS first opened a studio in the 1970s before going on to teach photography at colleges in Dublin, and has since enjoyed a decorated career, having achieved an Associateship with the British Institute of Professional Photography and an Associate Distinction with the Royal Photographic Society. Here, Flynn details the inspiration behind this month’s Fenton House exhibition, Retro Ireland, and how he hopes it will help refocus attention on the crafts so integral to the country’s heritage.

What inspired this exhibition? I went through a period of photographing celebrities,

396 / THE RPS JOURNAL / MAY 2017 / VOL 157

sports stars and film stars before turning my attention to ordinary, everyday people in their working environment. Many traditional Irish crafts are on the brink of being forgotten, due to technological advances and a lack of uptake from younger generations. With only a handful of individuals continuing to keep the traditions alive, this exhibition will place the spotlight firmly on these disappearing facets of Ireland’s culture to ensure their significance is never lost.

Why did you choose the gelatin silver process over digital printing? When I began this project, I made four or five digital prints but I felt they were too pristine and didn’t fully depict the historical legacy of the subject matter. Instead, I settled on handprinted gelatine prints, with

all of their warts and imperfections, as I felt it helped create a truer representation of the timehonoured traditional crafts I captured for this project. These days, people look to plug-ins and Photoshop to simulate grain and tramlines, dust and scratches, and so on. Instead, this project enabled me to put my experience of black and white photography production into action.

What can audiences expect from the exhibition? The 29 prints on display at Fenton House include subjects such as traditional blacksmiths, net salmon fishing and roof thatching, to firewood foraging, turf cutting and the use of heavy work horses. The biggest challenge lay in locating these practising individuals, especially as they’re so scarce on the ground.

TURF CUTTER, 1990 This west of Ireland turf cutter, named Tony, has designed his own wheelbarrow to bring the freshly cut turf from the bog to the roadside. There it will be stacked and left to dry. Tony will then return to draw off the turf as he requires it for his own personal, and family, use. This is not a commercial venture but a traditional way of life for these people. Only a very few such families remain today.

GO TO

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I photographed the blacksmith outside his forge after coming across him by sheer luck, but in other cases people would tell me about a certain craft person in a village or a town, and I would journey off to find them. I never knew in advance what to expect so it was always about making the best of what I found.

What do you hope visitors will get from the exhibition? I hope that it provides older viewers with a healthy dose of nostalgia for the traditions and working patterns of the past. For younger generations, Retro Ireland provides a window into working activities that they will rarely see in action in modern times. Who knows, perhaps they may even be inspired to take them up themselves.

SHEEP SHEARING BY HAND, 1979 Sheep shearing by hand is no longer practised. It was a wonderful skill, as seen here in Camross, County Wexford, in 1979. It is now gone forever. Faster electric shearing equipment is used today.

VOL 157 / MAY 2017 / THE RPS JOURNAL / 397

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EOS 80D Body ............................£998 EOS 80D + 18-55 STM ............. £1048 EOS 80D + 18-135 STM ........... £1249 EOS 760D Body ..........................£598 EOS 750D Body ..........................£598 EOS 750D + 18-55 STM ..............£648 EOS 750D + 18-135 STM ............£848 EOS 1300D + 18-55 IS ................£348

Nikon D500 APS-C

APS-C Body only £1299 Plus 18-140 VR £1599

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Nikon APS-C Cameras

D7200 Body only ...................................... £848 D7200 + 18-105 VR ................................. £1087 D5600 + 18-55 AF-P.................................. £798 D5600 + 18-140 VR ................................... £989 D5500 Body only ...................................... £578 D5500 + 18-55 VRII ................................... £648 D5500 + 18-140 VR ................................... £797 D3400 + 18-55 AF-P.................................. £438

500 F4 G E AFS FL ED VR £8447

M6 Body £729

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Plus 15-45 £1098

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£1239

£4797

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Body only

Canon EOS 7D MKII

£839 £1079

Canon EOS M System

EOS M3 + 15-45 ............................. £399 11-22 f4/5.6 IS STM ....................... £317 15-45 f3.5/6.3 IS STM .................... £219 18-55 f3.5/5.6 IS STM .................... £199 18-150 f3.5/6.3 IS STM .................. £398 22 f2 STM ....................................... £198 28 f3.5 Macro IS ............................. £289 55-200 f4.5/6.3 IS STM .................. £268

CANON EF FULL FRAME LENSES 8-15 F4 L USM Fisheye. . . . . .£1097 11-24 F4 L USM . . . . . . . . . . . .£2649 16-35 F2.8 L USM MKIII . . . . .£2097 16-35 F4 L IS USM. . . . . . . . . . . £849 20 F2.8 USM . . . . . . . . . . . . . . . . £447 24 F2.8 IS USM . . . . . . . . . . . . . . £419 24-70 F2.8 L II USM. . . . . . . . .£1797 24-70 F4 L IS USM. . . . . . . . . . . £769 24-105 F4 L IS USM MKII. . . .£1049 24-105 F3.5/5.6 IS STM . . . . . .£359 28 F2.8 IS USM . . . . . . . . . . . . . . £387 35 F2 IS USM. . . . . . . . . . . . . . . . £468 40 F2.8 STM . . . . . . . . . . . . . . . . £159 50 F1.2 L USM . . . . . . . . . . . . .£1297 50 F1.4 USM . . . . . . . . . . . . . . . . £319 50 F1.8 STM . . . . . . . . . . . . . . . . . £99 70-200 F2.8 IS LII USM. . . . . .£1947 70-200 F2.8 non IS L USM. . .£1297 70-200 F4 L IS USM. . . . . . . . .£1148 70-200 F4 L USM . . . . . . . . . . . . £658 70-300 F4/5.6 L IS USM . . . . .£1247 70-300 F4/5.6 IS USM II . . . . . . £477 85 F1.8 USM . . . . . . . . . . . . . . . . £338 400 F4 DOII IS USM £6666

100 F2.8 IS L USM macro. . . £797 100 F2.8 Macro USM. . . . . . . £458 100-400 F4.5/5.6 IS LII USM £1849 200-400 F4 IS L USM . . . . . £10399 200 F2.8 II L USM . . . . . . . . . . . £698 300 F2.8 IS L USM II . . . . . . . .£5666 300 F4 L IS USM. . . . . . . . . . . .£1278 400 F2.8 IS L USM II . . . . . . . .£9499 400 F4 DO II IS USM . . . . . . . £6666 400 F5.6 L USM . . . . . . . . . . . .£1198 500 F4 IS L USM II . . . . . . . . . £7999 600 F4 IS L USM II . . . . . . . .£11348 1.4x III converter . . . . . . . . . . . . £387 2x III converter. . . . . . . . . . . . . . £366 CANON FLASHGUNS & DSLR GRIPS MR-14 EX II . . . . . . . . . . . . . . . . .£498 MT-24 EXII . . . . . . . . . . . . . . . . . .£747 430EX III RT Speedlight . . . . . .£218 600EX-RT II Speedlight . . . . . . £538 BG-E20 (fit 5D MKIV) . . . . . . . . £297 BG-E16 (fit 7D MKII) . . . . . . . . . £179 BG-E18 (fit 750/760D) . . . . . . . £115 BG-E14 (fit 80D). . . . . . . . . . . . . £137 BG-E13 (fit 6D) . . . . . . . . . . . . . . £147

8-16 F4.5/5.6 DC HSM . . . . . .£599 10-20 F3.5 EX DC HSM . . . . . .£339 12-24 F4 DG HSM Art . . . . . £1399 12-24 F4.5/5.6 II DG. . . . . . . . .£649 14 F1.8 DG HSM Art . . . . . . . £ASK 17-50 F2.8 EX DC OS. . . . . . . .£329 18-35 F1.8 DC HSM Art . . . . .£649 18-300 F3.5/6.3 DC mac OS .£369 20 F1.4 DG HSM Art . . . . . . . .£699 24 F1.4 DG HSM Art . . . . . . . .£649 24-35 F2 DG HSM Art . . . . . . .£759 24-70 F2.8 DG OS HSM Art. .£ASK 24-70 F2.8 EX DG . . . . . . . . . . .£578 35 F1.4 DG HSM Art . . . . . . . .£649 50 F1.4 EX DG HSM Art . . . . .£599 50-100 F1.8 DC HSM Art . . . .£949 50-500 F4.5/6.3 DG OS. . . . £1099 70-200 F2.8 EX DG OS . . . . . .£899 70-300 F4.5/5.6 Mac DG . . . .£129

70-300 F4.5/5.6 APO Mac DG £179 85 F1.4 DG Art. . . . . . . . . . . . . .£999 100-400 F5-6.3 DG OS HSM Contemporary . . . . . . . £ASK 105 F2.8 EX DG OS HSM . . . .£359 135 F1.8 DG HSM Art.. . . . . . £ASK 150 F2.8 EX DG OS. . . . . . . . . .£799 150-600 F5/6.3 OS Contemp £799

500 F4 IS L USM II

£7999

DX NON FULL FRAME LENSES

10.5 F2.8 DX Fisheye . . . . . . . .£599 10-24 F3.5/4.5 AFS G . . . . . . . .£729 16-80 F2.8/4 AFS ED VR. . . . . .£858 16-85 F3.5/5.6 AFS VR . . . . . . .£568 18-105 F3.5/5.6 AFS G no box £239 18-140 F3.5/5.6 AFS VR . . . . . .£458 18-300 F3.5/6.3 AFS VR . . . . . .£628 35 F1.8 AFS G . . . . . . . . . . . . . . .£178

FX FULL FRAME LENSES

14-24 F2.8 AFS G ED. . . . . . . £1638 16-35 F4 AFS VR . . . . . . . . . . £1018 18-35 F3.5/4.5 AFS G . . . . . . . .£618 20 F1.8 AFS G ED. . . . . . . . . . . .£647 24 F1.8 AFS G ED. . . . . . . . . . . .£628 24-70 F2.8 AFS G ED VR. . . . £1598 24-120 F4 AFS G ED VR . . . . . .£897 35 F1.8 AFS G . . . . . . . . . . . . . . .£438 50 F1.4 AFS G . . . . . . . . . . . . . . .£377 50 F1.8 AFS G . . . . . . . . . . . . . . .£188 70-200 F2.8 AFS E FL ED VR £2648 70-200 F4 AFS G ED VR . . . . £1178 70-300 F4.5/5.6 AFS VR . . . . . .£497 70-300 F4.5/6.3 AFP VR . . . . . .£288 70-300 F4.5/6.3 AFP non VR .£259 85 F1.8 AFS G . . . . . . . . . . . . . . .£428 105 F2.8 AFS VR macro . . . . . .£748 200-500 F5.6 AFS E ED VR. . £1178 300 F2.8 AFS ED VRII . . . . . . £4897 300 F4 AFS E PF ED VR. . . . . £1497 400 F2.8 G E FL ED VR . . . . £10398 500 F4 E AFS FL ED VR . . . . . £8447 600 F4 E AFS FL ED VR . . . . . £9699

15-30 f2.8 Di VC USD ..............£928 16-300 f3.5/6.3 Di II VC PZD .£428 18-200 F3.5/6.3 Di II VC..........£198 24-70 f2.8 Di VC USD ..............£799 70-200 f2.8 Di VC USD G2 .. £1349

150-600 F5/6.3 OS Sport . . £1329 500 F4 DG OS HSM Sport . £4997 500 F4.5 EX APO DG HSM. £3299 TC1401 converter. . . . . . . . . . .£249 TC2001 converter. . . . . . . . . . .£299 USB Lens dock. . . . . . . . . . . .£39.99 70-300 F4/5.6 Di VC USD .......£298 70-300 F4/5.6 Di AF.................£128 85 f1.8 SP Di VC USD ...............£748 150-600 F5/6.3 VC USD G2 £1349 150-600 F5/6.3 SP VC USD ....£828 Kenko Converters 1.4x or 2x Pro 300 conv each..£159 Auto ext tube set ............. .£109.99

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X-T2 body Graphite

£1599

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16-55mm F2.8 .................................... £898 18mm F2 XF........................................ £449 18-55mm F2.8/4 OIS ....................... £618 18-135mm F3.5/5.6 XF.................... £649 23mm F1.4 XF .................................... £788 23mm F2 XF R WR ............................ £418 27mm F2.8 XF .................................... £328 35mm F1.4 XF .................................... £448 35mm F2 R WR................................... £347 50mm F2 R WR................................... £449 50-140mm F2.8 R OIS ....................£1328 50-230mm F4.5/6.7 XC OIS ........... £247 55-200mm F3.5/4.8 OIS XF............ £597

SYSTEM

56mm F1.2 R APD ...........................£1158 56mm F1.2 XF .................................... £797 60mm F2.4 XF .................................... £578 90mm F2 R LM WR ........................... £797 100-400 F4/5.6 OIS WR .....................£1439 1.4x XF TC WR ..................................... £299 2x XF TC WR ........................................ £347 11mm or 16mm Ext tube ea ............ £64 VPB-XT2 Vertical grip....................... £268 EF-20 TTL Flashgun ............................. £98 EF-42 TTL Flashgun .......................... £168 EF-X20 TTL Flashgun ....................... £168 EF-500 TTL Flashgun ....................... £449

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£1799

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£1699/1299

Teleplus 2x DG conv ................£89 Kenko ext tube set DG ................£89 SIGMA CAF USED 10-20 F4/5.6 HSM box .............. £219 17-70 F2.8/4 DC OS..................£249 18-125 F3.8/5.6 OS DC ...........£149 18-200 F3.5/6.3 DC...................... £149 24-70 F2.8 HSM..........................£469 28-105 F2.8/4 .................................£69 28-135 F3.8/5.6 .............................£99 28-200 F3.5/5.6 Asph ................£99 50 F2.8 EX macro ..................... £149 50-500 F4/6.3 EX DG OS...... £699 50-500 F4/6.3 EX DG ............ £399 70-200 F2.8 EX ........................ £399 120-300 F2.8 EX DG .............. £799 120-400 F4/5.6 DG ................ £399 150 F2.8 EX DG OS mac .........£499 150-500 F5/6.3 DG OS .............. £449

180 F3.5 EX DG HSM mac....... £399 1.4x EX DG converter ................ £149 Kenko Pro 300 DG 1.4x conv....£99 Kenko Pro 300 1.4x conv............£99 Kenko ext tubes..............................£79 OTHER CAF USED TAM 18-270 F3.5/6.3 VCII ...... £169 TAM 28-300 F3.5/5.6 Di VC . £449 TAM 28-75 F2.8 XR Di ........... £199 TAM 70-300 F4/5.6 ......................£99 TAM 200-500 F5/6.3.................£449 Zeiss 50 F1.4 ZE box ................£599 CANON FLASH USED ST-E2 transmitter ......................£79 MR-14EX ringflash ................. £319 430EXII....................................... £169 550EX ......................................... £149 580EX box ................................ £179 580EX MKII ............................... £299

MBD-80 grip ...............................£49 MBD-100 grip.............................£39 MBD-200 grip.............................£49 NIKON AF FILM BODIES USED F5 body ..................................... £399 F4E body inc MB-23.............. £399 F801 body ............................ £29/59 F601 body ...................................£29 NIKON AF LENSES USED 14-24 F2.8 AFS M- box .........£1099 14-24 F2.8 AFS ......................£999 16-35 F4 VR.............................£749 16-85 F3.5/5.6 AFS VR ..........£399 17-55 F2.8 AFS .............................£499 18-35 F3.5/4.5 AFD ....................£299 18-55 F3.5/5.6 AFS VR................ £99 18-105 F3.5/5.6 AFS VR ............£179 18-200 F3.5/5.6 AFS VRI ...........£299 18-300 F3.5/5.6 VR .....................£649 28 F1.8 AFS G................................£399 24-70 F2.8 AFS box ....................£999 24-85 F3.5/4.5 VR ........................ £329 24-120 f4 AFS VR ......................... £699

24-120 F3.5/5.6 AFD .................. £199 28 F1.8 AFS G ................................ £449 28-100 F3.5/5.6 AF G ....................£69 28-300 F3.5/5.6 VR...................... £599 35 F1.8 DX....................................... £149 35 F2 AFD ....................................... £199 35-70 F3.3/4.5 AF ...........................£59 40 f2.8 AFS Micro ................... £169 45 F2.8 DN PC-E ...................£1099 50 F1.8 AFS box...................... £149 50 F1.8 AFD.................................£99 55-200 F4/5.6 AFS ....................£79 60 F2.8 AFS .............................. £399 60 F2.8 AF ................................. £199 70-200 F2.8 AFS VRII ...........£1349 70-200 F2.8 AFS VRI .............. £899 70-200 F4 AFS VR................... £899 70-300 F4/5.6 VR .................... £369 80-400 F3.5/5.6 AFS VR......£1399 85 F1.4 AFS M- box ............... £999 85 F1.8 AFD.............................. £249 85 F2.8 DN PC-E ...................£1099 105 F2.8 AFS VR...................... £579

105 F2.8 AFD ........................... £399 135 F2 AFD box ...................... £799 180 F2.8 AFD M- box ............ £449 200-400 F4 AFS VRII ............£3699 300 F2.8 AFS VRII box.........£4199 300 F2.8 AFS VRI ..................£2999 300 F4 AFS E PF ....................£1299 300 F4 AFS box....................... £549 400 F2.8 AFS VR serviced ...................................£5799 400 F2.8 AFS non VR...........£3999 600 F4 AFS II non VR serviced ...................................£3999 600 F4 AFS II non VR .........£3499 TC14EII ....................................... £299 TC17EII ....................................... £249 TC20EIII M- box ...................... £329 TC20EII. ...................................... £199 TC20E ......................................... £149 SIGMA NAF USED 18-200 F3.5/6.3 DC OS .............£199 24-35 F2 DG Art box .................£599 24-105 F4 DG OS HSM .............£499

28-200 F3.5/5.6 early................... £69 30 F1.4 EX DC ...............................£199 35 F1.4 DG Art..............................£499 50 F1.4 EX DC M- box........... £299 50-500 F4/6.3 DG OS ............ £699 50-500 F4/6.3 DG.......... £399/499 70-300 F4/5.6 APO DG............£99 120-400 F4/5.6 DG ................ £399 105 F2.8 EX DG OS ..................... £269 105 F2.8 EX DG............................. £199 150-500 F5/6.3 DG OS .............. £499 150-600 F5/6.3 DG OS Sport box ......................................£1079 300-800 F5.6 EX DG .................£2999 TC-1401 1.4x converter ............ £179 2x EX DG converter.................... £149 1.4x EX converter ...........................£99 2x EX converter...............................£99 TAMRON NAF USED 10-24 F3.5/4.5 DiII ....................... £239 11-18 F4.5/5.6 ............................... £219 18-250 F3.5/6.3 ............................ £149 19-35 F3.5/4.5 ..................................£99

24-70 F2.8 USD VC box ............ £599 28-300 F3.5/6.3 XR Di................ £149 70-300 F4/5.6 ...................................£79 OTHER NAF USED TOK 10-17 F3.5/4.5 ATX ....... £249 TOK 12-24 F4 ATX Pro .......... £329 TOK 80-200 F2.8 ATX Pro .... £299 FLASH / ACCESSORIES USED SB-24 ......................................................£49 SB-25 ......................................................£49 SB-28 ....................................................£69 SB-80DX..............................................£79 SB-600............................................... £169 SB-400..................................................£79 SB-700............................................... £199 SB-900............................................... £249 SB-910 box ..................................... £299 Sigma EM140DG Ringfbox .... £199 SB-R1 kit M- box .......................... £399 DR-3 angle finder...........................£59 MB-10 (fits F90) ...............................£29 MB-23 (fits F4)..................................£69 MC-30 remote .................................£39

Why not register to receive our email newsletters? Simply send your email address to info@mifsuds.com to enrol FUJI DIGITAL USED X-T1 body graphite box ...... £499 X-T1 body black...................... £499 X-T1 body black...................... £449 X-T10 body box ...................... £349 X-E1 body black box............. £199 16 F1.4 XF box ........................ £599 18 F2 WR ................................... £299 18-55 F2.8/4 XF ...................... £399 35 F1.4 R box ........................... £399 56 F1.2 R .................................. £599 60 F2.4 macro box................. £429 1.4x WR converter M- box .. £239 X-T2 grip.................................... £229 LEICA DIGITAL USED EVF2 viewfinder ..................... £269 MINOLTA/SONY DIGITAL USED Sony RX100 MKIII box............ £449 Sony A7R II body box...........£2499 Sony A7 II body ........................ £999 Sony A58 body ......................... £169 Sony VG-B30AM ..........................£69 Sony VG-C70AM....................... £139 Sony VG-CE2 .............................. £179

BRONICA ETRS 645 USED 40 F4 MC ................................... £149 75 F2.8 PE ................................. £149 105 F3.5........................................£99 135 f4 PE ................................... £249 150 F3.5 E ....................................£99 150 F3.5 PE M- Box................ £149 200 F4.5 PE............................... £199 E14 Ext tube ...............................£49 E42 Ext tube ...............................£49 120 RFH ........................................£69 Polaroid Back .............................£39 Plain prism ..................................£59 Rotary prism ...............................£99 Winder early ...............................£79 Speed Grip E...............................£39 Tripod adapter E .......................£39 Winder early ...............................£49 Metz SCA 386 .............................£49 BRONICA SQ 6x6 USED 40 F4 S ....................................... £299 50 F3.5 PS ................................. £299 50 F3.5 S.................................... £149 110 F4.5 PS macro ................. £399 135 F4 PS M-............................ £229

35MM & MISCELLANEOUS USED CANON FD USED 28 F2.8 ..........................................£49 Used Leica 35-70 F3.5/4.5 ............................£59 R8 body black box

70-200 F2.8 IS USM LI........... £999 70-200 F2.8 USM L ................ £799 70-300 F4.5/5.6 DO IS U ...... £399 70-300 F4/5.6 L IS U .............. £949 70-300 F4.5/5.6 IS USM ....... £249 75-300 F4/5.6 MKII ...................£99 85 F1.8 M-................................. £269 100 F2.8 USM box.................. £339 100-400 F4.5/5.6 L IS U..........£899 180 F3.5 L mac .......................... £799 300 F2.8 LII IS U ......................£4799 300 F2.8 LI IS U........................£2999 300 F4 L IS USM box ............... £799 400 F5.6 L USM ......................... £799 500 F4 LI IS USM.....................£4499 1.4x extender MKIII ............... £319 1.4x extender MKII box........ £249 2x extender MKIII box............ £339 2x extender MKII box ............. £239

We carry out sensor cleaning on the premises, firmware updating and equipment hire - please enquire for details NIKON DIGITAL AF USED D4s body box ........................£3799 D4 body box..........................£2299 D3X body box .......................£1799 D3s body box ........................£1799 D3 body box..........................£1199 D2xs body box........................ £399 D800 body box.....................£1399 D700 body box.............. £499/599 D300s body ............................. £349 D300 body box....................... £299 D200 body box....................... £149 D7100 body box .................... £499 D5000 body box .................... £199 D100 body ..................................£99 D90 body .................................. £199 D60 body .................................. £149 D50 body .....................................£79 MBD-15 grip ............................ £149 MBD-14 grip ............................ £149 MBD-12 grip ............................ £279 MBD-10 grip M- box ............. £129 MBD-10 grip ...............................£79

28-85 F3.5/4.5 ............................£99 35-70 F4 .......................................£39 35-70 F3.5/4.5 ..................................£25 35-80 f4/5.6 .......................................£25 35-105 F3.5/4.5 ...............................£99 50 F1.7 AF ..........................................£89 75-300 F4.5/5.6 ...............................£99 85 F1.4 G box ................................ £649 100-300 F4.5/5.6 APO ............... £179 100-300 F4.5/5.6.......................... £149 VC700 grip.........................................£39 RC1000S cord...................................£29 SONY LENSES USED 16-80 F3.5/4.5 ZA DT................. £499 18-55 F3.5/5.6 SAM .......................£59 18-200 F3.5/6.3 DT ..................... £199 55-200 F4/5.6 DT SSM .................£69 75-300 F4/5.6 ................................ £129 SIGMA MIN/SONY AF USED 18-35 F1.8 Art............................ £449 28-135 F3.8/5.6 ............................£79 28-300 F3.5/6.3 macro........... £149 50 F1.4 .......................................... £149 50 F2.8 EX DG macro ............. £149

55-200 F4/5.6 ...............................£69 70-300 F4/5.6 DG OS ............ £169 70-300 F4/5.6 APO DG ............£99 135-400 F4.5/5.6 .................... £299 150-500 F5./6.3 DG ............... £499 170-500 F5/6.3........................ £299 1.4x EX conv ...............................£99 TAM 10-24 F3.5/4.5 DiII ....... £239 TAM 18-200 F3.5/6.3................£99 TAM 90 F2.8 .................... £179/249 Teleplus 1.4x conv ....................£69 Teleplus 2x conv .......................£79 Kenko 1.4x Pro 300DG ......... £149 MINOLTA FLASH USED Minolta 5200i .............................£29 Minolta 5400HS.........................£39 Minolta 5600HSD M- ...............£99 OLYMPUS 4/3 USED E3 body ..................................... £299 E10 MKII body ......................... £349 E10 body................................... £279 E510 body ................................ £149 7-14 F4 ED ................................ £499 9 F8 Fisheye ................................£79

11-22 F2.8/3.5 ......................... £349 14-42 F3.5/5.6 ............................£49 14-45 F3.5/5.6 ............................£79 14-50 F3.8/5.6 ......................... £199 35 F3.5 ..........................................£99 40-150 F4/5.6 .............................£49 50 F2 macro ............................. £349 90-250 F2.9 ............................£1999 EC-14 or EC-20 conv each .. £199 25mm ext tube..........................£99 FL-36 Flash ............................... £119 HLD-4 grip...................................£99 VA-1 angle finder ......................£99 SIGMA 4/3 USED 50-500 F4/6.3 EX DG HSM .. £399 OLYMPUS MICRO 4/3 USED Stylus 1F.................................... £299 OMD-EM1 body M- box ...... £599 OMD E-M5 MKII b/o box ..... £499 OMD E-M5 body box............ £249 OMD-EM10 body ................... £249 12-40 F2.8 Pro ......................... £649 12-50 F3.5/6.3 ......................... £149 17 F2.8 ....................................... £159

45 F1.8 box .............................. £199 40-150 F2.8 Pro ...................... £949 HLD-8 grip................................ £149 HLD-7 grip box ....................... £119 HLD-6 grip...................................£99 PANASONIC DIGITAL USED GH2 body ................................. £299 G6 body black......................... £299 G3 body box ............................ £129 GX80 body ............................... £369 GX7 body.................................. £399 GF7 body silver box .............. £199 GF3 body black .........................£99 GF1 body ........................................£79 GM1 body silver ..................... £299 12-35 F2.8 ................................. £549 14 F2.5 ....................................... £199 14-42 F3.5/5.6 ......................... £199 14-42 F3.5/5.6 ............................£79 14-45 F3.5/5.6 ......................... £149 20 F1.7 ....................................... £199 35-100 F4/5.6............................ £199 45-200 F4/4.5 box ................. £199 100-300 F4/5.6........................ £349

150 F3.5 S ....................................£79 150 F4 PS ......................... £149/199 180 F4.5 PS............................... £399 200 F4.5 PS M- box ............... £199 2x PS converter M- ................ £179 135N back ................................ £119 SQAi 120 RFH .............................£79 SQAi prism late ....................... £299 45° Prism box .......................... £129 Plain Prism S Boxed .................£69 AE Prism Early ............................£79 ME Prism Finder ........................£69 Metz SCA 386 .............................£49 Pro shade S .................................£59 Lens Hood 65-80.......................£20 SQAi Motorwinder ................ £149 Speed grip S ...............................£79 CONTAX 645 USED 45 F2.8 ....................................... £499 HASSELBLAD 6x6 USED 501CM chrome + 80 F2.8 CB + A12..............£1599 500CM chrome + 80 F2.8 T* + A12 ................. £799 45 degree prism late ............ £299

45 degree prism early .............£99 Sports viewfinder .....................£69 Chimney.......................................£89 A16.............................................. £199 A12 chrome latest ................. £299 A12 late blk/chr ...................... £129 Polaroid back tatty ...................£79 50 F4 CF FLE ............................ £849 150 F4 chrome serviced...... £199 Ext tube 21, 55 each ................£39 Vivitar 2x conv ...........................£49 Lens hoods various ........... £20/50 MAMIYA 645 MF USED 645 Pro TL + prism + back + 80 F2.8 + winder boxed .. £499 Plain prism (645 Super) ..........£39 Polariod Back HP401 ...............£29 Polaroid back .............................£29 120 Insert.....................................£20 HA401 120 RFH Box.................£49 120 Back.......................................£39 Winder ..........................................£79 45 F2.8 N ................................... £199 150 F2.8 A................................. £199 150 F3.5 N ...................................£79

150 F3.8 NL leaf...................... £299 210 F4 N M- ................................£79 Ext Tube 1, 2, 3S each .............£29 Teleplus 2x converter ..............£49 Vivitar 2x converter..................£39 MAMIYA TLR 6x6 USED C330 F Body + WLF ............... £149 65 F3.5 box late ...................... £199 65 F3.5 serviced...................... £149 80 F2.8 late serviced ............. £139 180 F4.5 ..................................... £149 250 f4.5 late serviced............ £249 250 f4.5 early serviced ...... £179 Porrofinder ..................................£59 MAMIYA 6 & 7 RF 6x7 USED 50 F4.5 L + VF .......................... £699 80 F4.5 L M- box..................... £699 150 F4.5 M- .............................. £399 MAMIYA RB 6x7 USED Pro SD + 90 KL + WLF + back .......................... £549 Pro S + 90 + WLF + back ..... £399 Pro S body ................................ £149 Pro S body scruffy ....................£99 Plain prism late....................... £199

WLF. ...............................................£79 120 645V back ...........................£99 90 F3.5 KL ................................. £299 127 F3.5 KL............................... £299 180 F4.5............................................ £149 Pro SD ext tube 2 82mm............£99 Pro SD ext tube 1 45mm............£99 Ext tube 2...........................................£49 MAMIYA RZ 6x7 USED RZ Pro body ............................. £149 120 RFH Pro ................................£99 Polaroid back .............................£79 FE701 prism ............................. £299 WLF. ...............................................£79 Winder II.......................................£69 50 F4.5 W .................................. £249 65 F4 box M- ........................... £399 90 F3.5 W M- box ................... £299 180 F4.5 W................................ £199 Pro shade.....................................£49 PENTAX 645AF USED AF500FTZ flash ..........................£79 PENTAX 645MF USED 645 + 75 F2.8 ........................... £249 645 body + insert .................. £199

55 F2.8 ....................................... £249 150 F3.5 ..................................... £199 200 F4 ........................................ £149 300 F4 ........................................ £249 1.4x converter ......................... £199 PENTAX 67 USED 45 F4 latest M- ........................ £499 135 F4 macro late .................. £249 165 F2.8 latest M- .................. £499 200 F4 latest ............................ £169 200 F4 early ...................................£99 300 F4 early scruffy ................... £99 Pentax rear conv 1.4x .............. £249 2x rear converter.................... £179 Auto ext tubes ...........................£49 Vivitar 2x conv ...........................£49 Wooden grip ........................... £119 ROLLEI 6x6 TLR USED 3.5F White Face serviced...£1799 3.5F Planar..............................£1499 2.8E ............................................. £997 Automat K4B ........................... £599

CONTAX 35mm RF USED 90 F2.8 G ................................... £299 CONTAX MF USED 28-70 F3.5/4.5 MM ................ £169 HASSELBLAD XPAN USED Centre filter 49mm........................£129 LEICA M USED IIIf red dial st serviced chrome body........................... £499 5cm f1.5 chrome 39mm...... £997 90 F2.8 early chrome............ £499 LEICA SLR USED R8 body black box................. £499 LEICA OPTICS USED Televid APO 77 + eyepiece .... £799 Televid 77 + 20x60 ................ £649 Trinovid 10x42 ........................ £599 Ultravid 8x32 HD ................... £849 LIGHTMETERS USED Polaris ...........................................£99 Sekonic L308 BII ........................£99

MINOLTA MD USED X300 chrome body ..................£49 X300s black body .....................£49 X700 black body .......................£69 XGM chrome body ...................£49 28 F3.5 MD ..................................£39 50 F1.7 MD ..................................£49 50 F2 MD .....................................£49 70-210 F4 MD.............................£99 2x Converter ...............................£79 Ext tube for 50 F3.5..................£29 Ext tube set.................................£49 Auto bellows 1...........................£99 NIKON MF USED F3HP body................................ £399 FE2 body chrome .................. £349 F3 body ..................................... £199 F2 Photomic body box ........ £399 FM2 body chrome box ........ £399 FM2n body chr box............... £299 FM2n body chr ....................... £249

FE body chrome........................£99 20 F3.5 AI .................................. £199 24 F2.8 AI. ................................. £199 28 F3.5 AIS...................................£99 28 F2.8 E box ..............................£69 28-85 F3.5/4.5 AIS.................. £199 35 F2.8 AIS................................ £149 35 F2.8 PC................................. £349 35-70 F3.3/4.5 AIS.................. £129 35-70 F3.5 AIS ............................£99 35-105 F3.5/4.5 AIS ..................£79 50 F1.4 AI .................................. £199 50 F1.8 E.......................................£59 55 F2.8 AIS................................ £199 85 F2 AIS ................................... £169 180 F2.8 AIS ED scruffy ........ £179 500 F4 AIS................... £1699/1299 600 F5.6...................................£1499 TC200 ............................................£49 SC-17 TTL lead ...........................£25 DW-3 WLF find fit F3 ...............£99

DW-21 fits F4 ........................... £149 OLYMPUS OM USED OM-4T body ............................ £249 OM-1n body blk serviced ... £199 OM-2SP body .............................£99 OM-2n body blk or chr ........ £149 24 F2.8 ....................................... £199 28 F3.5 ..........................................£49 35-70 F4 .......................................£79 35-105 F3.5/4.5..........................£79 50 F3.5 macro ............................£79 200 F4 ...........................................£79 300 F4.5..................................... £199 7, 14, 25 man ext tube ea ......£20 14 or 25 auto ext tube ea ......£29 PENTAX 35mm AF USED 16-45 F4 .................................... £199 17-70 F4 SDM M- box .......... £299 18-55 F3.5/5.6 ............................£69 28-80 F3.5/5.6 ............................£49 50-135 F2.8 SDM.................... £379

55-300 F4/5.8 ED WR ............ £229 55-300 F4/5.8 ED box........... £199 70 F2.8 Limited ....................... £349 SIGMA PKAF USED 18-250 F3.5/6.3....................... £199 PENTAX MF USED LX + prism serviced .............. £299 K1000 body.................................£89 50 F1.4 PK ....................................£99 50 F4 macro PK..........................£99 50 F2..............................................£49 STUDIO LIGHTING USED Bowens Esprit 1000 twin head kit ..................................... £599 TAMRON ADII USED 28 F2.5 ..........................................£49 90 F2.5 SP ................................. £149 VANGUARD SCOPES USED Endeavour HD65A................. £229 VOIGTLANDER USED 15 F4.5 + VF M- box .............. £269

Sony HV56AM ........................... £169 Sony LA-EA4 mount adap ... £189 SONY NEX USED A6000 body ................................... £329 NEX 5 body .................................... £129 FE 16-35 F4 ZA OSS E................ £999 FE 16-50 F3.5/5.6 EZ .................. £149 FE 24-70 F4 ZA OSS box .......... £699 FE 28-70 F3.5/5.6 OSS ............... £299 FE 70-200 F4 G OSS box .......... £999 FE 90 F2.8 macro ......................... £799 Samyang 100 F2.8 macro ....... £229 MINOLTA/SONY AF USED 800Si body ..................................£69 7xi body .......................................£49 7000i body ..................................£39 600Si body ..................................£69 300Si body ..................................£19 20-35 F3.5/4.5 M- box .......... £249 24 F2.8 AF ................................. £199 24-50 F4 .......................................£99 24-85 F3.5/4.5 ......................... £149 28 F2.8 ..........................................£99 28-80 F4/5.6................................£39

MEDIUM FORMAT 6x45, 6x6, 6x7 & 6x9 USED

Used Hasselblad

16-35 F2.8 USM LII................. £899 16-35 F2.8 USM LI.................. £699 17-40 F4 L ................................. £499 17-85 F4/5.6............................. £199 18-135 F3.5/5.6 IS USM ............ £349 20 F2.8 USM................................... £349 24 F3.5 TSE MKI box................... £699 24-70 F2.8 L USM box ............... £799 24-85 F3.5/4.5 USM.................... £149 24-105 F4 L..................................... £599 28-80 F3.5/5.6 ............................£79 28-90 F3.5/5.6 ............................£79 28-135 F3.5/5.6 IS USM ....... £169 40 F2.8 STM ............................. £139 50 F1.2 L USM box................. £999 50 F1.8 MKII ................................£59 60 F2.8 USM EFS mac ........... £249 65 F2.8 MP-E ............................ £849 70-200 F2.8 IS USM LII .......£1499

35-70 F4 .......................................£69 50 F1.4 ..........................................£99 50 F1.8 ..........................................£49 50 F2..............................................£49 70-150 F4.5 .................................£29 75-200 F4.5 .................................£49 100-300 F5.6 ...............................£79 135 F3.5 (Breechlock) ..............£39 2x Extender B .............................£49 25mm Ext tube..........................£29 50mm Ext tube..........................£29 177A flash....................................£20 199A flash....................................£39 244T flash ....................................£20 277T flash ....................................£25 300TL flash ..................................£49 Winder A ......................................£20 Winder B ......................................£30

For more used equipment listings please see website www.mifsuds.com