The RPS Journal April 2016

THE MUSIC ISSUE YOUR BACKSTAGE PASS TO BOWIE, HENDRIX, KATE BUSH AND MORE

APRIL 2016 / VOLUME 156 / NUMBER 4 / WWW.RPS.ORG

MASTERCLASS

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GET GREAT GIG PAUL McCARTNEY SHOTS WITH OUR AS CAPTURED BY EXPERT GUIDE CLIVE ARROWSMITH

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OPENING SHOT

| APRIL 2016 | 241

MANKOWITZ’S GREATEST HITS

I COMING UP

IN FUTURE ISSUES We find out from Martin Parr HonFRPS about his current exhibitions and F1 photographer Darren Heath HonFRPS shows us his best shots

t is a great honour to be guest editing this special edition of the Journal, dedicated to the world of rock and pop music photography.

I was flattered when, after receiving my Society Fellowship in January, the editorial team asked if I would participate in an issue inspired by my lifelong work in the music industry. How could I say no?

Since the 1950s, pop songs have bewitched us as a society. But as well as falling for the latest three-minute composition, another phenomenon has been working its magic on our sensibilities: the pop star. Since Elvis shot to fame in post-war America, musicians have been a mainstay of the teenager’s bedroom wall, there to be adored and imitated.

The music industry and photography have had a long and fruitful relationship, and perhaps no performer was more aware of the power of the image than the late, great David Bowie.

Starting on page 272, we speak to my old pal Mick Rock about his career-defining images of Bowie, taken just as Ziggy Stardust was about to go stellar. Rock and Bowie’s lives would never be the same again.

Moving into the 21st century, we feature Andy Ford who, as well as contributing to the music press, including NME, works on

personal projects, such as his study of the punk scene in the south-west of England. Looking at these images, you can’t help but feel the raw energy of the gigs he photographs. Great stuff.

The editorial team also insisted I share some of my own work. After a lovely interview with journalist Jude Rogers, I gathered a selection of my favourite images, starting on page 284.

As well as all this, journalist David Hepworth explores the changing dialogue between music and photography; Clive Arrowsmith unearths three unseen shots of Paul McCartney; we find out more about copyright in the music press; Fiona McKinlay gives an excellent masterclass on how best to photograph in a gig situation; and we hear from three of my former assistants.

That just leaves me to say thanks for the fabulous opportunity, and I hope you enjoy this special edition of The RPS Journal.

GERED MANKOWITZ FRPS Guest editor

PATRON AND SPONSORS

VOL 156 / APRIL 2016 / THE RPS JOURNAL / 241

242 | APRIL 2016

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 Director-General 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

298 Hamar girl at an initiation by Neil Harris ARPS, now on show at Fenton House

EDITORIAL ENQUIRIES Acting editor Andrew Cattanach andrew@thinkpublishing.co.uk 0141 375 0481 Contributing editors Gavin Stoker, Geoff Harris LRPS, Fiona McKinlay, Kathleen Morgan, Jonathan McIntosh Design Matthew Ball, John Pender Sub-editor Sam Bartlett FEATURES

Advertising sales Daniel Haynes daniel.haynes@thinkpublishing.co.uk 020 3771 7200

272 | MARTIAN CHRONICLE David Bowie's career took off with his creation of Ziggy Stardust, and Mick Rock saw it all first hand …

Account director Helen Cassidy helen.cassidy@thinkpublishing.co.uk Group account director John Innes

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.

280 | UK SUBCULTURE South-west England's punk scene, as lived by Andy Ford 284 | BEST SHOTS Guest editor Gered Mankowitz FRPS shares the stories behind his iconic rock 'n' roll photographs

ISSN: 1468-8670

The Rolling Stones by Gered Mankowitz

304 Fine tune your image taking with our masterclass and in-depth features

242 / THE RPS JOURNAL / APRIL 2016 / VOL 156

296 | DUBAI DELIGHTS A showcase of winning images from this year's HIPA competition

FIONA MCKINLAY; NEIL HARRIS ARPS; ANDY FORD

278 | READY STEADY GO! David Hepworth on why pop and photography make a dynamic duo

© 2016 The Royal Photographic Society.

All rights reserved.

280

One of Andy Ford's South West Underground punk series

THE CRAFT

301 | MUST TRY ( LATEST KIT The Canon EOS 80D DSLR goes under the microscope, plus a load of other up-to-the minute gear 304 | MASTERCLASS/IN DEPTH Gig guide: get the best images, from mosh pit to stadium, plus how to make your mark in the music press

EVERY MONTH

244 | BIG PICTURE Clive Arrowsmith's Paul McCartney 247 | IN FOCUS ( BOOKS News, exhibitions, competitions, Society views and more, plus reviews of four new publications 260 | DISTINCTIONS Mike Hodgson, ARPS Applied, and Sean Goodhart LRPS 298 | SHOWCASE Neil Harris ARPS at Fenton House

SEAN GOODHART

309 | MEMBER GUIDE Society events both near and far

266 Abstract of Valencia's City of Arts and Sciences by Sean Goodhart

320 | TIMES PAST Sweet Gospel Singers as seen by Tony Ray-Jones VOL 156 / APRIL 2016 / THE RPS JOURNAL / 243

244 | BIG PICTURE |

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EXCLUSIVE

Paul and Linda McCartney

By Clive Arrowsmith DISCOVERY

When I was putting together my latest book, I went up into the loft and started going through all this stuff and I came upon these old images. They really capture the seminal moments of the shoot, when it all came together – the fun we were having, plus Paul and Linda’s closeness. It’s the naturalness of the pictures that is the key to their success.

SHOOTING THE BAND 1993 This was taken for Paul’s album 0ff the Ground. Paul said to my stylist: ‘Get loads of uniforms and mad clothes so we can dress up.’ We all had a wonderful time. It was a whole day shooting all these crazy outfits, with Linda, who was a member of The Royal Photographic Society, putting on a beard and everyone cracking up laughing. It was just one of those wonderful halcyon days.

PAUL AND LINDA 1993

I remember taking this photograph of Paul and Linda, with him looking up at her, and thinking they were really in love.

I saw it in their eyes and in the way their hands were entwined.

They were best friends and lovers having a wonderful time.

BUNGEE JUMP 1993

Paul was in the studio and he had this idea of being photographed bungee jumping holding his Hofner guitar, so I set up a support for him to lie on and hung the ropes from the ceiling. I photographed the background from a plane and added it later.

Clive Arrowsmith is a fashion, beauty and portrait photographer.

His book Arrowsmith: Fashion, Beauty and Portraits is published

by ACC Editions VOL 156 / APRIL 2016 / THE RPS JOURNAL / 245

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247

IN NEWS, VIEWS, EXHIBITIONS AND MEMBER INSIGHT

TIME TO APPLY Joan Wakelin Bursary still open 250

WHAT NOT TO MISS Our pick of the best exhibitions 252

SOUND AND VISION AV Festival jury unveiled 254

FOCUS

SEND US YOUR PHOTOS OF THE QUEEN

To help celebrate Her Majesty the Queen’s birthday, we will publish your images of her in the Journal

GEOFF PUGH/STRINGER

Queen Elizabeth turns 90 this year, and to help celebrate this landmark, we at the Journal will publish Society members’ photographs of the monarch.

Regardless of where or when you took them – during a street parade in 1962 or a state visit in 2000 – we want to see your images, and we will publish a selection of the pictures received in the June issue of the Journal. Please send them to us by 30 April.

The Queen will turn 90 on 21 April. There will be official nationwide events to mark the occasion in June, and the Society, which can boast her as its patron, will join in the festivities by running a feature in that month’s Journal which celebrates her reign in pictures.

Send your images to RPS Journal, Think, Red Tree Business Suites, 33 Dalmarnock Road, Glasgow G40 4LA or email rpsjournal@ thinkpublishing.co.uk

BOOK NOW!

Society patron Queen Elizabeth II will celebrate her birthday this month

ADVISORY DAY ! TRAVEL

The Scotland region is hosting a special travel advisory day in Bridge of Allan on Saturday 4 June with Leo Palmer FRPS. For more details turn to page 311 VOL 156 / APRIL 2016 / THE RPS JOURNAL / 247

248 | IN FOCUS |

SOCIETY MEMBERS SHORTLISTED IN MAJOR COMPETITIONS We’re not halfway through 2016 yet members are already making their mark First up is Philip Joyce ARPS, whose image Jump has been shortlisted for the ‘split second’ category of the Sony World Photography Awards. ‘I was amazed,’ he said, having twice entered before but got nowhere.

Meanwhile, husband and wife duo Sue O’Connell ARPS and Peter Brisley

ARPS have done well in the National Geographic Traveller magazine’s 2016 contest. Brisley’s images of young nuns shaving their heads made him a finalist in the ‘portfolio’ category, while O’Connell reached the finals of the ‘faces, people and encounters’ category with her image Sleeping on the Job. She was also highly commended in the 2015 Travel Photographer of the Year competition.

Young nuns in Myanmar

by Sue O’Connell ARPS

Jump by Philip Joyce ARPS

PHOTOGRAPHY SHOW CLICKS WITH VISITORS

This year’s Photography Show, held at the Birmingham NEC from March 19 to 22, was the biggest ever, with more than 30,000 trade and general visitors flooding through the doors.

The Society’s stand was another major draw. Some of the Journal’s editorial team were on hand to chat with Society members and visitors, and there were opportunities to get feedback on proposed LRPS panels or

take advantage of exclusive membership discounts.

For many visitors, this year’s show provided the first chance to see some of the major camera releases of 2016 first hand, including the Nikon D5 and D500.

Meanwhile, Canon showcased its EOS-1D X MkII and EOS 80D SLRs, while Pentax revealed a mock-up of its new full-frame DSLR. Lots of accessories were also announced, including a

248 / THE RPS JOURNAL / APRIL 2016 / VOL 156

The Society’s stand attracted a steady stream of enthusiasts

new wireless lighting-control system from Sony and the Shoulderpod, a tiny video rig to help stabilise video filming on smartphones.

For details of next year’s show, go to photographyshow.com

GEOFF HARRIS; SUE O’CONNELL ARPS; © PHILIP JOYCE ARPS, UK, SHORTLIST, OPEN SPLIT SECOND, 2016 SONY WORLD PHOTOGRAPHY AWARDS

Record numbers join Journal team at flagship event in Birmingham

| IN FOCUS | 249 FROM ROBERT GATES ARPS

THE VALUE OF VOLUNTEERS

Stalwarts’ efforts cannot be overstated

I

MARK IRVING

IN THE DIARY

WORLDWIDE PINHOLE CAMERA DAY It’s World Pinhole Photography Day on 24 April. Photographers from all over the world will be sharing images created by this lo-fi but fascinating process. Pinhole specialist Mark Irving, who’s recently joined the Society, will be among those taking part – check out his intriguing website at markirving.co.uk

was delighted when our president asked me to write this month’s column as it gives me the opportunity to tell you about the many members who give so much of their personal time and energy to the Society and its activities.

Looking through the members’ section of the Journal gives an indication of the diversity of events across the country – all of them relying on significant input from our local volunteers. Many have specific skills, such as financial or web knowledge, but all of them bring ideas and muchappreciated help to regions and groups.

Some of our volunteers work quietly in the background and, in particular, I would like to mention our small group at the National Media Museum in Bradford.

Formed a couple of years ago, they meet every week at the museum’s research centre, Insight (below). After some initial training in conservation and material-handling techniques from the professional staff at the museum, the volunteers have been collating information regarding

almost 270,000 images in the RPS Collection prior to digitisation. They are in the unique position of being able to see at close quarters the stunning images while enhancing their own knowledge of photographic history.

Already they have looked at material by Roger Fenton, Samuel Bourne and Frank Meadow Sutcliffe – just three of the many outstanding people represented.

As a former regional organiser, group volunteer and now a trustee and Distinctions panel chair, I have greatly enhanced my membership of the Society by being involved as a volunteer. Why not get more involved in your group or region? I can thoroughly recommend it.

ROBERT GATES ARPS is a council member of The Royal Photographic Society

Volunteers at the RPS Collection

VOL 156 / APRIL 2016 / THE RPS JOURNAL / 249

250 | IN FOCUS |

RECOGNISING VOLUNTEERS

An image from Manuela Henao Restrepo’s Joan Wakelin project

Well done to members who have given their service to the Society FOUR YEARS’ SERVICE Barry Collin LRPS Joan Jordan LRPS David Jordan FRPS John Widdows FRPS Diana Wilkins LRPS Linda Wevill FRPS Alan Cross LRPS Janet Barton Roger Norton LRPS

APPLY NOW FOR THE JOAN WAKELIN BURSARY The Society seeks positive social documentary projects

PHOTO CREDIT: CLIVE R. HAYNES FRPS WWW.CRHFOTO.CO.UK CAMERA MODEL: ACS CONVERTED NIKON D70IR 720NM

Friday 20 May is the closing date for this year’s Joan Wakelin Bursary, which offers £2,000 for the production of a photographic essay on an overseas social documentary issue.

The bursary, named after the distinguished documentary photographer and Honorary Fellow, offers

Qrt hoz.indd 1

great opportunities. The bursary recipient’s story is very likely to appear in the Guardian, for example, with shortlisted candidates being interviewed at the newspaper’s offices, by picture editor Roger Tooth.

Rather than harrowing stories from the world’s flash points, the judges are

particularly keen to encourage the positive and upbeat. Social documentary embraces a vast arena across our fast-changing world – just take the 2013 recipient, Eleri Griffiths, who looked at a Cameroonian women’s beekeeping cooperative.

Applying for the 2016 Joan Wakelin Bursary is free and open to all, regardless of age or nationality, but please note that the award funds new work and may not be used to support ongoing projects.

For full details go to bit.ly/wakelin016

EIGHT YEARS’ SERVICE Tony Kaye ASIS FRPS Margaret Johnson LRPS Kevin Maskell FRPS Elizabeth Rhodes Alan Hodgson ASIS FRPS Carol Drew TWELVE YEARS’ SERVICE Richard Stevens ASIS FRPS Philip Ellis ASIS FRPS Michael Christianson ASIS FRPS Barry Freeman ARPS Alan Turner ARPS Margery Maskell ARPS Philip Quarry FRPS Derek Birch ASIS HonFRPS Mary O’Connor LRPS Chris Kislingbury ARPS Mark Buckley-Sharp ARPS Judith Buckley-Sharp LRPS

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365

ASTRANTIA FLOWER WITH FRIEND

By Sharon Cross LRPS This image was shot in my garden. I was fascinated by the complexity of the flower and was

concentrating very hard on getting the best angle when this little bug landed in just the right spot.

I quickly reframed the image so my focal point was in the correct place.

It was a lucky shot.

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CLOSE!UP AND MACRO

I suppose being in the right place at the right time makes photography such a challenge and a pleasure. It was taken on my Canon 7D, with a 100mm macro lens at f/4.5, ISO 320.

LUNCHTIME IN THE RAINFOREST

By Martin Hodgkiss I photographed this banded peacock butterfly in the Gallon Jug area of the Belizean rainforest while

GET INVOLVED Submit photographs for the next competition at rps-365.org MOTHER

By Steve Varman I accidentally disturbed a harvestman when rummaging around in the garden shed.

I decided to take a photo, so I set up a ‘stage’ of old wood by a window in my living room, letting in plenty of natural light. I let the harvestman wander around as I took photos, and when I shifted focus to its

extraordinary legs, I knew I was on to something.

It wasn’t until I processed the photos later that I realised it was a female carrying an egg sack.

Discoveries like these make macro photography so interesting to me. I captured the image using a Canon 5D MkIII and a Canon EF 100mm macro lens at f/2.8, 1/20s, ISO 200.

staying at an eco lodge called Chan Chich. I was surrounded by wildlife and on this particular day I was trying out my macro lens in the hope I could get an image that captured the

colours of the jungle.

For this photograph I used my Canon 6D with a 100mm macro lens at f/5, 1/320s, ISO 800.

I then made some minor adjustments in Photoshop and Lightroom CC.

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252 | IN FOCUS |

PERFORMING FOR THE CAMERA Eyal Ofer Galleries, Tate Modern, London UNTIL 12 JUNE

This exhibition of 500 images spanning 150 years examines the relationship between photography and performance, from the invention of photography to today’s selfie culture. bit.ly/forthecamera

WHAT NOT TO MISS BREAKING STONES Proud Gallery, King’s Road, London 7 APRIL$5 JUNE

Proud Gallery presents iconic images of the Rolling Stones as they broke through to stardom between 1963-5, taken by the inimitable Terry O’Neill. The

invitation to shoot the Stones came from manager Andrew Loog Oldham, who’d seen O’Neill’s work with the Beatles. ‘I didn’t have to work too hard,’ O’Neill recounts.

‘They were just immediately cool ... I didn’t realise what an impact they were having until I went to Hollywood in

1964 on an assignment.

Here I was taking photos of legends like Fred Astaire and all they wanted to talk about was the Rolling Stones.’

A book is being released by ACC Editions on 11 April to coincide with the exhibition. proudonline.co.uk/ exhibitions

REGENERATION3 QUAD, Derby UNTIL 12 JUNE

Part of the FORMAT photography festival, this show brings together 50 artists of 25 nationalities, representing some 40 international art institutions. The work includes printing and photographic series, photobooks, projections and on-site installations. derbyquad.co.uk APRIL ONWARDS

TIM RUDMAN: AN UNEASY CALM The Lightbox, Woking 23 APRIL$3 JULY

This exhibition marks the publication of a new book of spectacular images from Iceland by Tim Rudman FRPS. His work originates in film and is transformed into silver gelatin prints, using traditional ‘wet’ printing techniques in the darkroom. thelightbox.org.uk

ECHOES OF THE GREAT WAR Weston Park Museum, Sheffield 30 APRIL$4 SEPTEMBER

This year marks the centenary of the Battle of the Somme, and Echoes of the Great War features haunting images of the remnants of the Western Front

by Peter Cattrell. Cattrell’s great uncle was killed on the Somme, along with many of his Sheffield contemporaries. museums-sheffield.org.uk

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DEGREES° Flowerfield Arts Centre, Portstewart, Northern Ireland 2$29 APRIL

Joyce Ferder Rankin LRPS presents stills and video that span the globe, from 87° north to 67° south. Her images capture the remarkable beauty of our natural world as well as some of the struggles our planet’s animals face as a consequence of climate change. bit.ly/joyceferder

RPS North West print exhibition Pyramid Arts Centre, Warrington. Until 30 April Helen Muspratt Pallant House Gallery, Chichester. Until 8 May Off The Hook: The Rolling Stones by Gered Mankowitz Snap Galleries, 12 Piccadilly Arcade, London. Until 28 May RPS Focus Group exhibition Assembly Room, North Street, Chichester 2–9 April (not Sundays) Peter Marlow’s Cathedrals Coventry Cathedral 29 April–5 September

© ICONIC IMAGES/TERRY O’NEILL; © EIKOH HOSOE; EMILE BARRET, LLIASONS, 2015 © LLIASONS, EMILE BARRET & CO; © JOYCE FERDER RANKIN LRPS; PETER CATTRELL, GERMAN BUTTON, SERRE, SOMME. IMAGE © PETER CATTRELL; © TIM RUDMAN

ALSO SHOWING

254 | IN FOCUS | GROUP FOCUS

EAST ANGLIA REGION We speak to regional organiser Ian Wilson ARPS

JURY'S IN FOR AV FESTIVAL Judges announced for the special interest group’s biannual event The Society's 22nd International Audio Visual Festival has announced its jury. Acting as chair is Richard Brown, a wellknown international AV worker and judge; the other jury members are Lorenzo De Francesco, director of audio visual services for the Fédération Internationale de l'Art Photographique (FIAP), and Ken Geen, a retired BBC sound engineer and

technical advisor to the International Federation of Sound Hunters.

The festival organising committee has also applied for and been granted FIAP patronage for the first time since 1998. It is anticipated this will lead to an increase in the number of entries and attendees, and widen the variety and style of submissions.

This year's festival takes place over the weekend of 24-25 September in Cheltenham – full details at rps.org/iavf

Neptune as found in Cheltenham, host to this year’s AV festival

DISTINCTIONS SUCCESSES

Well done to members on their recent achievements LRPS 02/16 David Bish, Kent Val Brierley, Dorset David Burnell, Gwent Andrew P Crawford, Leatherhead Ilya Fisher, London

Sean Goodhart, Northamptonshire Alan Graham, Kent Michael Ian Grigsby, Dorset Robert Holt, Northamptonshire Richard Kay, Bristol Diane Long, Kent

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IN A NUTSHELL The region stretches from the M25 and Essex coast to The Wash and Norfolk coast, and currently has 748 members including 36 Fellows, 157 Associates and 286 Licentiates.

Will Cheung FRPS is a regular face at Distinctions advisory days and our deputy regional organiser, Ann Miles FRPS, ensures the administrative work is shipshape. The group is well served with eminent nature photographers including David Osborn FRPS, Dawn Osborn FRPS, Kevin Elsby FRPS and Roger Hance FRPS, who are running a specialist regional nature photography Distinctions day this month.

WHAT’S HAPPENING IN THE AREA? We have an outing on a Thames sailing barge, the selection for our annual print and projected image exhibition and a Distinctions advisory day. Later in the year, we have the introduction to Distinctions and LRPS print assessment weekend in Swaffham.

Last year, John Hooton FRPS gave a free lecture to all, and this year we’re delighted

Peter Mitchell, Devon Peter Mudd, South Yorkshire Stewart Oxley, Essex David Rae, Dorset Harvey Raybould, Kent Susan Rowe, Durham Mark Seton, Essex Andy Teasdale, Caernarfonshire Stephen Barnes, East Sussex Lisa Bukalders, Dorset Peter Butler, Devon

to welcome Susan Brown FRPS in October.

CHALLENGES AND JOYS OF ORGANISING THE REGION I’m proud of the region’s record of encouraging its members to challenge themselves by taking on RPS Distinctions. Being able to witness photographic

Gary Chester, Bedfordshire Peter Cramp, Cambridgeshire Noi Dennis, North Yorkshire Chris Dsouza, Greater London Nigel Essery, Leicestershire Lynne Ewin, Cheshire Nigel Hazell, West Yorkshire Desmond King, Norfolk Maria Leekblade, Hampshire Robert Maynard, West Sussex Lionel Mitchell, County Armagh

AV FESTIVAL © IAN BATEMAN; OLDSHOREMORE BEACH © NICJ AKERS LRPS

Delegates pack in for the last international get-together, in Cirencester

| IN FOCUS | 255 NEWS IN BRIEF

Young photographers have until 29 July to submit their entries

CLIMATE CHANGE PHOTO COMPETITION

Oldshoremore Beach

by Nick Akers LRPS

journeys is the icing on the cake. Alongside this, the annual regional exhibition has really taken off under the careful eye of Moira Ellice ARPS. We have some enormously talented people in East Anglia and it’s essential that their work is shown to as wide an audience as possible.

Bob Morgan, Cornwall David Morley, Cambridgeshire Charlotte Nuttall, Derbyshire Michael Pemberton, New Zealand Colin Smith, Kent Mark Stimpson, Norfolk Julie Syrett, Dorset Keith Taylor, Hampshire Andrew Wainwright,

WHY THE REGION IS GREAT FOR PHOTOGRAPHERS? East Anglia is known for its big skies and has fantastic locations for photography. Its coast and wetlands are havens for birds and its seaside towns, such as Cromer and Southwold,

Nottinghamshire Karin Wilson, Gloucestershire Neil Wolfe, Yorkshire Raymond Yardley, Devon ARPS EXEMPTIONS 02/16 Diana Gur, London Mervyn Mitchell, Nottinghamshire Claire Neale, Hampshire

have iconic piers. It is also home to the docks of Harwich and Felixstowe and boasts the historic centres of Norwich, Colchester, Ipswich and Cambridge.

Visit rps.org/regions-andchapters/regions/ east-anglia

Ilya Fisher LRPS

Landscape photographer Henry Dallal and the Lucie Foundation have teamed up with the United Nations framework convention on climate change to launch a photography competition.

Open to all youths aged 7-18, the competition aims to raise awareness about climate change, especially among those who are the ‘future custodians of our planet’.

Selected images will be exhibited at the United Nations climate summit in Marrakech from 7-18 November. The closing date for entries is 29 July.

To find out more, visit cc.lucies.org

SHORT FILM AWARD

The DepicT! short film award is open for entries.

The organisers are looking for films lasting less than 90 seconds. Entrants could be in with a chance of winning up to £2,500, and all shortlisted films will be screened at the Encounters Short Film and Animation Festival (20–25 September).

Submissions close on 4 July.

For more information, visit depict.org/news VOL 156 / APRIL 2016 / THE RPS JOURNAL / 255

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| IN FOCUS | 257

A NEW DISTINCTION TO CELEBRATE FILM

Ahead of a new Distinction, film and photography lecturer Andy Golding FRPS, the Society education advisor, explores the links between still and moving images

A member of the Kawesqar tribe c. 1930

L

PATRICIO GUZMÁN; MARTIN GUSINDE

ater this year, The Royal Photographic Society is to extend its Distinctions to filmmakers, rewarding excellence in all forms of the moving image – from documentary, drama and art house to short films, animation and video.

The still and the moving photograph share a common genesis and remain intimately linked.

The qualities of the most enthralling cinematography can clearly be judged alongside those of the finest photographs. Both forms’ underlying concepts – the confluence of framing, construction and composition, the play of light and shade – combine to engage the viewer.

The single image, the series and the film image form a continuum of potential options in seeking the most appropriate medium for the message.

The Society has joined the BFI Film Audience Network to promote Patricio Guzmán’s film The Pearl

Chilean tribal figure Selk’nam in around 1930

‘THIS VISUALLY STUNNING FILM EXEMPLIFIES THE POWER OF THE STILL AND MOVING IMAGE’ Button. Visually stunning, it exemplifies the power of the still and moving image, both artfully combined to entrance and intrigue us, and to immerse us in the horrors of human degradation – colonialism and dictatorship in this case.

Amazing cinematography frames extraordinary flowing images that resolve themselves obliquely into streams, rivers, seas, icescapes and the cosmos.

Water acts as a metaphor for an ancient Chilean tribe of grace and beauty living

PEARL OF WISDOM

Gabriela Paterito, one of the 20 remaining Kawesqar, who appears in the film

The film’s title is partly inspired by a shirt button found in the sea during a 2004 investigation

by Chilean judge Juan Guzmán into disappearances under the regime of Augusto Pinochet.

in harmony with the sea that was hunted to virtual extinction by Spanish colonialists. The tribes are linked to those murdered by the Pinochet regime by being weighted down and dropped in the same seas.

The film also lingers on photographs that will stay in the mind. Most haunting of all are the 1930s images

by Martin Gusinde, a German priest and ethnographer, gracefully displaying a people before they were exterminated.

He shows their glorious naked bodies adorned with paints, patterns and alien headgear, suggesting their unity with the earth, the sea and the stars.

A documentary and art house film combined, The Pearl Button is held together by the artistry of the cinematographer and the photographers.

The Society’s new Distinction will support and encourage filmmakers of all levels in making challenging and innovative productions.

All genres, traditional and contemporary, from all cultural origins, will be sought and considered for the Society’s accolades.

The Pearl Button is out now. See the trailer at bit.ly/pearlbuttontrailer

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Discover Santorini.

Engage your senses. Awaken your creativity.

Tour dates: 7th – 14th June 2016

For more information contact Light and Land on: T +44 1747 824727 E admin@lightandland.co.uk www.lightandland.co.uk

BOOK REVIEWS

| IN FOCUS | 259

FAMILY PHOTOGRAPHY NOW Sophie Howarth and Stephen McLaren Thames and Hudson (£29.95) If you’re hoping for a how-to guide for better baby shots, you’ll be disappointed – this is a collection of images of the family, taken by Trent Parke, Birte Kaufmann and other leading contemporary photographers. The images are thoughtful, disturbing and funny in turn, and there is a great variety of work to explore.

GEOFF HARRIS LRPS

One of Elliott Landy’s intimate images of the roots rock pioneers

BAND À PART

ELLIOTT LANDY

Timeless 60s images are a treat for music photography fans

THE BAND PHOTOGRAPHS 1968%1969 Elliott Landy LandyVision/Backbeat Books (£19.99) I was a much younger person when I shelled out good money for a copy of Rag Mama Rag by The Band. They were (mostly) Canadians who famously accompanied Bob Dylan on The Basement Tapes and then became a key recording act in their own right.

Their music occupied a hinterland between rock, country and folk; bringing an acoustic sound that became synonymous with Woodstock in upstate New York. Their roots approach to music was matched by their image, and this was captured by photographer Elliott Landy in more than 8,000 frames.

Only around 30 ever got widely published, some as album covers and posters, and Landy considers this his best body of work. His relationship with the band was rare for a photographer, and eventually the band members ceased to notice him as he went about taking photographs.

After more than two years of work, Landy and his editor Rachel

Ana Dobken have distilled that huge portfolio of The Band into this substantial art photography book (incidentally, it was the biggest photobook project funded through Kickstarter). It’s mostly a black and white record of the band’s time in Woodstock, recording their second album in Los Angeles, and backstage at Winterland in San Francisco for their first concert as The Band, together with smaller portfolios in colour and falsecolour infrared. The images are set in context with notes by Landy and record producer John Simon.

The image quality is excellent, with deep blacks on high-quality paper.

Initially I regretted there being no captions, but finally realised that by listing all the photographs at the end with thumbnails and details I could first soak up the atmosphere and then fill in the details.

This book is a fascinating crossover between photomonograph and rock music history, blended with an exemplar on individual and multiperson portraiture.

And if you’re a fan of The Band, then this would be even harder to resist.

ANDY FINNEY

UNDERWATER PHOTOGRAPHY MASTERCLASS Alex Mustard Ammonite Press (£19.99) This is a massive topic to cover in a single book but Mustard does a good job of explaining the key concepts and talking through the essential gear. The author has won lots of awards for his underwater images and is also a marine biologist, but manages to discuss complicated procedures with refreshingly little jargon. A wide variety of subjects and genres are covered too.

JANE NORTON

KEN. TO BE DESTROYED Sara Davidmann Schilt Publishing (£35) When photographer Sara Davidmann and her siblings inherited letters and photos from her uncle and aunt, they discovered the uncle, Ken, was secretly transgender – a scandalous thing in conservative 1950s Edinburgh. In response, Davidmann produced a new set of images based on the photos. The resulting book is creative and thought provoking, and a reminder that we are lucky to live in more tolerant times.

GERRY BARNETT

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260 | APRIL WHAT ARE 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

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

the project that I would assemble a panel of images that would meet the standards of ARPS. It was only when into the third month that I got the feeling that a panel of images might be possible. Even then I wasn’t sure.

The turning point came when, out of necessity, I developed a shooting technique that gave a consistent style. To achieve a ‘clean’ shot of the allotment holders, without things getting in the way, I realised

I needed to be very close using a wide-angle lens held at ground level.

Getting above my subjects also proved to be a useful and novel way to shoot.

I did this with nothing more sophisticated than a camera mounted on a monopod.

Holding it high above the subjects at 45 degrees, the lens was prefocused and the shutter was fired by cable release. A lot of trial and error was needed before I became sufficiently skilled at this technique.

WATERING CAN AERIAL SHOT Strong shadows help describe an activity

Mike Hodgson ARPS Applied These images are part of a larger project documenting the first year of Long Lane Allotments.

During that period, more than 80 new plots were established on a local greenfield site.

My aim was to create a panel that reflected some of the typical activities that took

place on these allotments, meanwhile giving an impression of the space the plot holders occupied.

Allotments are full of visual clutter, so I looked carefully for compositions that described each scene simply and clearly. Applying a monochrome treatment meant I could also avoid distracting colours. Finally, for the panel to work as I intended, I needed natural, unposed and unselfconscious images of the plot holders.

I had no idea at the start of

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FEATURE SPONSORED BY

TWO MEN AND TWO DOGS When the dogs aren’t even looking at the camera is when unobtrusiveness is achieved

RAINBOW While photographing Peter I became aware of a rainbow behind him. I didn’t tell him because he might have changed his behaviour VOL 156 / APRIL 2016 / THE RPS JOURNAL / 261

262 | DISTINCTIONS |

MAN AND GREENHOUSE FRAMEWORK Strong shapes and forms make for good compositions. But it takes visualisation to imagine what they might look like from above

MAN AND SHADOW ON SHED PANEL Selective framing can tell the story and also have visual strength 262 / THE RPS JOURNAL / APRIL 2016 / VOL 156

FEATURE SPONSORED BY

DOG AND CHILD LOOKING BEYOND FENCE Patience is needed to capture a moment that begs a question

WOMAN AND DOG and MAN DRINKING AND WOMAN Monochrome works well for a subject in which there are many distracting colours

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264 | DISTINCTIONS |

ASSESSOR’S VIEW

VANESSA SLAWSON FRPS, DEPUTY CHAIR, APPLIED PANEL

FACT FILE

Mike Hodgson ARPS has only been photographing for 10 years. Initially interested in natural history and landscape, he has more recently turned to photographing people and their activities

The applied category for Associate and Fellowship Distinctions includes numerous photographic disciplines.

So that the submission can be assessed against the correct criteria, a statement of intent must be submitted with the portfolio.

Mike Hodgson clearly set out to 'document the first year of Long Lane Allotments', and 'create a panel of images that

264 / THE RPS JOURNAL / APRIL 2016 / VOL 156

reflected some of the typical activities that took place on these allotments'.

In this respect, Mike submitted a very clear and concise statement of intent setting out exactly what he wished to illustrate through his images.

People were an essential part of the narrative and he managed to avoid repetition in his photography; repetition of images being a common cause of failure.

There is evidence of the photographer’s input and personal approach with the choice of viewpoints, especially where he

has included the use of overhead and low angles. The portfolio shows a very good use of shadows and the inclusion of thoughtful reflections.

Mike's decision to work in monochrome has been very effective. He maintained a consistency of tones throughout his panel, even though the images were taken in a variety of weather conditions.

This is a well thought-out piece of work where every image can stand alone while also adding to the strength of the whole panel.

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MAN SITTING IN FOLDING CHAIR Gaining the trust of your subject puts them at ease and results in relaxed and natural postures

YOUTH WITH HANDS ON BACK OF HEAD Realising that shots from above were possible opened up new possibilities for portraying life on the allotments

HANGING PLAN

‘He maintained a consistency of tones throughout, even though the images were taken in a variety of conditions’

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266 | DISTINCTIONS |

266 / THE RPS JOURNAL / APRIL 2016 / VOL 156

FEATURE SPONSORED BY

Sean Goodhart LRPS I promised myself that I would achieve my LRPS before I was 50 – I just made it. I had submitted a panel in 2014, which was made up of more varied images. There were a couple of technical flaws, but the criticism that hit me the hardest was that my panel was ‘incoherent’.

For this attempt, I made sure that my panel was the exact opposite of incoherent, and instead I structured the images around a strong theme: the City of Arts and Sciences in Valencia.

Through my job as a chartered engineer, I often visit an oil refinery near Valencia. Again and again I find myself coming back to this arts and entertainment complex designed by Santiago Calatrava and Félix Candela.

I enjoy photographing architecture, possibly because it doesn’t move and I can take my time and find an interesting viewpoint.

I’m a fan of the neo-futurist architecture of Calatrava, and I’ve started photographing other examples of his work, as well as buildings by Frank Gehry. These could possibly form the basis of an Associate submission.

I started taking the images for this panel in 2013, with the most recent ones taken in June 2015. The selection, editing and printing took me to November of that year.

The best advice I can offer someone about to apply for their Licentiate is to remember you cannot verbally defend an image during an assessment, so it has to be completely and unambiguously clear what it is you are trying to achieve.

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268 | DISTINCTIONS |

ASSESSOR’S VIEW

ROBERT GATES ARPS, CHAIRMAN OF THE LRPS PANEL As soon as this panel of prints was displayed it was clear to me that Sean was a very creative photographer.

This panel of 10 architectural images shows a high degree of personal input and creativity.

The monochrome images were superbly printed with a good tonal range, and without any hint of a colour cast – pure black and white. The three colour images were positioned well on the top row, the night shots being taken at such a time to allow detail in the sky. It’s often difficult to retain both highlight and shadow detail in night pictures but Sean’s original prints were technically very good.

The geometric shapes, patterns and curves were a delight to view, and all carefully positioned in the panel.

It was only after the assessments were over that I learned some of the images had been captured with an

FACT FILE

A PhD holder and chartered engineer, Sean Goodhart has been taking photographs since his teens and bought his first 35mm SLR in a junk shop in Coventry 268 / THE RPS JOURNAL / APRIL 2016 / VOL 156

iPhone and a plastic camera. While technical quality and technique are very important parts of the assessment, Sean’s work also shows that you don’t need the latest and most expensive equipment to achieve this quality and be successful.

What applicants do need is an understanding of light and how it affects the subject, together with composition, design, some imagination and creativity. The panel members like to see that the photographer has introduced some personal input into the work and understands the subject.

This panel demonstrates that Sean is passionate about architecture and he has produced a diverse set of creative images using relatively simple equipment. It’s the visual awareness of the photographer that produces an outstanding image, regardless of the equipment used. The panel members and I really enjoyed seeing this work and were unanimous in our recommendation that Sean be awarded the Licentiate Distinction.

FEATURE SPONSORED BY

Previous page, then clockwise from far left: ROCKET I discovered this view inside the access to the car parking – it's the lift shaft. Nikon D7100. 10-24mm @ 10mm, ISO 1,250, 1/80, f/7.1 SPACESHIP While walking around the buildings and getting under the walkways and service entrances I found gems like this. iPhone 4S. ISO 50, 1/440, f/4.28 HARP This is a section of a bridge support – but

of course, being a detail it becomes abstract, especially when you don’t reveal which way is up. Nikon Coolpix P7000. ISO 200, 10.7mm [50mm], 1/90, f/3.5 EYE A tripod was necessary for this long exposure. Nikon D7100. 10-24mm @ 10mm, ISO 100, 1/20s, f/16 STILL SCIENCE For this one I wanted the shallow water in front of the science museum to appear absolutely calm.

Nikon D7100.

10-24mm @ 10mm, ISO 100, 30sec, f/13

HANGING PLAN

‘Sean’s work shows that you don’t need the latest and most expensive equipment to achieve this quality'

VOL 156 / APRIL 2016 / THE RPS JOURNAL / 269

270 | DISTINCTIONS |

Image: Fiona Alison

Attend a Distinctions assessment day

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nspired by what you’ve seen on the surrounding pages?

Then come along to an assessment day to see more portfolios being assessed by the Society’s expert panels, and learn what makes for a successful submission.

LRPS and ARPS assessments are open

to an audience, for which tickets are free to applicants and Society members (£10 for non-members), and must be ordered in advance.

Unless otherwise stated, our assessments take place at The Royal Photographic Society headquarters, at Fenton House, 122 Wells Road, Bath BA2 3AH.

AT T E N D A N A S S E S S M E N T D AY

LRPS (prints and/or images for screen) Sunday 22 May (Barry, Vale of Glamorgan) Wednesday 8 June Thursday 9 June Wednesday 13 July Thursday 14 July Sunday 18 September (Swaffham, Norfolk) ARPS (prints and/or images for screen) Applied Wednesday 28 September

Thursday 29 September Conceptual & Contemporary Wednesday 20 April Wednesday 21 September Creative Wednesday 22 June Thursday 23 June Natural History Tuesday 13 September Wednesday 14 September Pictorial Wednesday 15 June Thursday 16 June

FRPS Applied Thursday 29 September Conceptual & Contemporary Wednesday 20 April Wednesday 21 September Creative Thursday 23 June Natural History Wednesday 14 September Pictorial Thursday 16 June

BOOK NOW

For the latest availability, please visit rps.org/events and, for details on attending each of these dates, please email distinctions@rps.org or call 01225 325733

FIND OUT MORE

For more information on assessments, including how-to guides and application forms, go to rps.org/distinctions

EXPERT ADVICE

Turn to our member guide on page 308 to find dates for advisory days, where you can gain expert advice on your portfolio

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272 | BOWIE

Over a year, Mick Rock photographed the birth of a phenomenon – Ziggy Stardust – whose creator would help revitalise the careers of some of the best-known names in music, explains Damien Love

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BOWIE © MICK ROCK

BOWIE BACKSTAGE PASS

| INSIGHT | 273

CREDIT SITS IN BOX 4MM DEEP

NICKY ROCHUSSEN

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274 | BOWIE

M

274 / THE RPS JOURNAL / APRIL 2016 / VOL 156

PREVIOUS PAGE: David Bowie, whose diet at one stage was said to have consisted of cigarettes, milk, peppers and cocaine RIGHT Bowie begins his transformation into Ziggy Stardust

the pictures capturing Bowie off-duty that are most striking today: scenes from inbetween moments backstage and on the road. Bowie eating, travelling, sleeping. Bowie half-naked, applying his own make-up in some tiny municipal dressing room, table crammed with cigarettes, bananas, wine and face powder. The clash between his increasing exoticism and the surrounding mundanity is arresting.

Nothing summarises Bowie’s impact in 1970s UK quite like shots of him and Ronson in full pomp, eating a British Rail lunch on a train to Aberdeen.

All these pictures speak of intimacy

and trust. But even more remarkable than the access Rock gained is that he thought to be there at all, and recognised a process worth documenting. When they met, in March 1972, Bowie was by no means a star.

He had been trying to make it for almost a decade, having released his first record in 1964. Rock’s ears first pricked up while at the underground magazine Oz, when someone passed him Bowie’s 1971 album, Hunky Dory. It was his fourth LP and, while recognised as a classic today, had shifted few copies at the time. But Rock was instantly intrigued, particularly by the references

BOWIE © MICK ROCK

ore than once, Mick Rock will begin, ‘David is …’ then correct himself: ‘… David was.’

As we speak, it is three weeks since Bowie died, and the photographer admits he is still getting used to the idea of referring to his friend in the past tense. ‘That he’s gone just ...’

The sentence hangs unfinished.

Bowie had been much on Rock’s mind in recent months, even before the announcement of his death on 10 January, two days after the release of his extraordinary final album, Blackstar.

In September came the first publication of The Rise Of David Bowie: 1972-73, a lovingly produced collection from Taschen gathering some of the 5,000 photographs Rock estimates he took during that intense 20-month period four decades ago, as Bowie transformed from a struggling London songwriter into a global phenomenon, by metamorphosing into the interplanetary rock messiah Ziggy Stardust.

The book was initially released in a deluxe collector’s edition co-signed by Rock and Bowie – cutely, that numbered run was limited to 1,972 copies.

Originally priced at $700, copies have been spotted on eBay for up to $10,000.

Now, though, the long-planned trade edition is being published, and while the price is far less eye-watering, Rock’s collection remains no less mouthwatering. Across some 300 images, the impression is of photographer and subject joined at the hip. Rock catches Bowie gradually disappearing behind the Ziggy persona, and documents him reaching full flight as a stage performer, in pictures such as the famed ‘guitar fellatio’ shot that scandalised and delighted Britain’s inky-fingered music press in 1972: Bowie’s androgynous alien insect going down in homage before Mick Ronson, the guitarist who looked like a handsome glam bricklayer and played like a musketeer.

What’s most revealing here, however, is how quickly Bowie gauged the image’s impact: subsequent live shots find him replaying the pose in evermore outrageous variations. With similar stagecraft, Bowie would instruct the removal of any barriers, encouraging audiences to press in, reach out.

As vivid as the performance photographs and promo shots are, it is

NICKY ROCHUSSEN

to the Velvet Underground Bowie smuggled on to the album.

‘Y’know, the Velvets hadn’t exactly sold a billion records,’ he says. ‘But I was one of those know-it-alls who’d discovered them and The Stooges, so I thought … Hmmm.’ Through Bowie, Rock would soon work with the Velvet Underground’s Lou Reed and Stooges leader Iggy Pop, both of whom Bowie would help make seminal albums in London in 1972, using his success to revitalise their stalled careers.

Touting himself as a writer who also took photographs (‘Cheaper’), Rock hustled two commissions for

‘I WAS ONE OF THOSE KNOW!IT! ALLS WHO’D DISCOVERED THE VELVETS AND THE STOOGES …’

Bowie pieces, one for Rolling Stone, one for softcore porn magazine Club International. ‘They’d decided they wanted a little bit more than just skin. And David had just started saying, ‘Look at me, I do it both ways,’ which got their attention.’

He first met Bowie backstage at Birmingham Town Hall, where the singer played to just 400 people. ‘I

| INSIGHT | 275

asked if I could take some pictures. We got on. Then I went back to his place in Beckenham a couple of days later.’

Bonding over Syd Barrett (see sidebar), it was on this day that Rock shot the picture that cemented their association: Bowie, turned away, orange feather-cut flaming through the dimness of his room against the soft green leaves beyond his window, gazing into an art nouveau mirror while his framed reflection gazes out at us. When he saw the picture, Rock recalls Bowie saying, ‘Mick sees me the way I see myself.’ In 2014, Bowie would use it for his career-spanning compilation Nothing Has Changed.

VOL 156 / APRIL 2016 / THE RPS JOURNAL / 275

276 | BOWIE

FACING PAGE:.

In silks, platforms and nail polish, David Bowie gives his own take on the glitz of glam

THE MAN WHO SHOT THE SEVENTIES

Three classic Mick Rock album covers

THE MADCAP LAUGHS

TRANSFORMER

SYD BARRETT, 1970

LOU REED, 1972

QUEEN, 1974

The troubled ex-Pink Floyd frontman was an obsession of Bowie’s, and before meeting Bowie, Rock had snagged Barrett’s last ever interview. ‘He said, “I’ve got a very irregular head … I’m full of dust and guitars.”’ This was part of the session at the singer’s house.

‘When I arrived, Syd was still in his pants …’

‘Lou did a London show before heading into the studio [with Bowie, the LP's producer]. I took a load of photos. Lou loved this slightly out of focus one. In 1976-77, I had the option of going to Berlin with David, or New York with Lou. I couldn’t resist the lure of Lou in New York; he showed me things no-one else could have.’

Rock’s moody half-lit shot became one of the defining images of Queen; the following year, the band would restage it in their famous Bohemian Rhapsody video. ‘I did two Queen covers, but that’s the one that became iconic – which is the word they use nowadays for old rock ’n’ roll pictures.’

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QUEEN II

‘From there,’ Rock explains, ‘I continued across the next 20 months.

It’s only looking back I realise how fast things moved. That was March; two and a half months later, Starman exploded on Top of the Pops; a month later, Ziggy Stardust was released. It came out the day before that ‘guitar fellatio’ shot at Oxford Town Hall. By then, there were 1,000 people in the audience.

‘They started talking about me as ‘Bowie’s official photographer’ – it was hype. Y’know: when we went to America that autumn, he had three bodyguards. He didn’t need any bodyguards – but, by the time he returned, he did. It was all theatre: David has an official photographer, David has bodyguards … All projection, which Ziggy was all about: David making himself a star. Activity just started swirling around him – the things with Lou and Iggy. He was like a ringmaster.’

The whirl ended when Bowie did what Bowie always did and moved on: changing his hair, his band, his music, his country – and his photographer.

Rock and Bowie remained in intermittent touch, and reconnected for a New York session in 2002, the many unseen images from which Rock is now assessing for exhibition. After working together so intensely right at the beginning, did he ever feel pangs of ex’s jealousy in later years, when he saw Bowie shot by other photographers.

‘No. I was too busy. And, y’know, when David worked with someone like [Masayoshi] Sukita [who shot Bowie most famously for 1977’s Heroes], what they got were great studio shots. I got all this great candid stuff.

‘You can argue it was fortuitous, that I was in the right place at the right time – but the fact is, I was in the right place, and nobody else was. That doesn’t mean I’m a prophet. But I was where I wanted to be. And I bore witness.’

For that, we should be grateful. Rock's pictures don’t simply depict a singer seizing the moment, but document an artist creating it. They place us in the eye of the storm as Bowie became Bowie, painting a Technicolor lightning bolt across the sleepy grey face of Britain.

The Rise of David Bowie: 1972-73 is published by Taschen this month

BOWIE © MICK ROCK

‘ACTIVITY JUST STARTED SWIRLING AROUND HIM. HE WAS LIKE A RINGMASTER’

RIGHT Taken at Bowie's house in Beckenham, London, this image caused the singer to exclaim: 'Mick [Rock] sees me the way I see myself'

278 | DAVID HEPWORTH

SMASH

AND GRAB

In pop music, there’s nothing more dangerous than too much time. The best songs are written in minutes, the best recordings are first takes and the pictures that fix the images of the performers forever are arrived at every bit as quickly.

Angus McBean didn’t know who the Beatles were when he arrived at EMI’s London offices in 1963. Neither he nor the group got past reception. He just sent them up the staircase, asked them to look over, lay on his back in reception and snapped the handful of frames that

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defined their mop top charm. When EMI moved 30 years later they ripped out that staircase and took it with them. That’s what you call a famous photograph.

Brian Epstein said it was only when Ringo arrived that the Beatles became the complete picture. The great bands naturally arrange themselves into pictures which tell their internal story.

If they’re lucky they get to work with photographers who see the same picture.

The close proximity of Jim Marshall provoked Johnny Cash into flipping the bird at San Quentin prison in 1969. The anonymous agency snapper kept his cool as the Sex Pistols detonated their beer can bomb in his lens. Gered

Mankowitz shot the Rolling Stones full-length in his studio in Mason’s Yard in the mid-sixties, enabling us fans to study their shoes. Note this picture well.

Photogenic bands always seem to have big heads on tiny torsos, like fifties footballers on cigarette cards.

I was present at a Rolling Stones photo session in a hotel room in Kensington in the mid-eighties. It can’t possibly have lasted longer than two minutes yet it produced five useable shots.

The best music photographers, like the best music producers, know you have to capture the picture while the energy is there. Never give a band time to get bored.

THE ROLLING STONES © GERED MANKOWITZ

Co-founder of Q and The Word, former Smash Hits editor David Hepworth reflects on the role of photography in the high-paced world of pop

© MARC TIELEMANS / ALAMY STOCK PHOTO

Angus McBean sets the Beatles template, above. Left: Gered Mankowitz’s full-length Rolling Stones

The bigger the act becomes the more they insist on controlling every aspect of their image. This invariably results in them looking less interesting. It tells you a lot about the insecurities of even the biggest names that they bother. We will never know what George Michael doesn’t like about the right side of his face because he doesn’t let us see it in photographs.

The music business may be vulgar and rapacious but, in the past at least, it was prepared to subsidise some edgy image making if it felt it was going to make its acts more appealing.

The 12-inch square cover of the long-playing record was the most

‘CAPTURE THE PICTURE WHILE THE ENERGY IS THERE. NEVER GIVE A BAND TIME TO GET BORED’ popular photographic canvas of the post-war period, whether that meant Robert Frank’s work on the Stones’ Exile on Main Street, Robert Mapplethorpe’s picture of Patti Smith on Horses or Grace Jones as rendered by Jean-Paul Goude on Living My Life.

Photographers Anton Corbijn and Annie Leibovitz were given slack on music magazines such as NME and Rolling Stone – they would never have been

allowed on the upscale titles that clamour to employ them now.

Both the album covers and music magazine have gone the way of physical product. I don’t know if the music of the bands of the present day will continue to appeal for as long as the music of the Beatles and Stones has done. One thing I do know for certain – the mystique of these acts will not endure anything like as long because it was not established by great photographs. These pictures, taken at the peak of their young powers, are what we see in our heads whenever we think of them all those years later.

These are the same images they spend the rest of their lives trying to live up to.

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280 | ANDY FORD

CALL OF THE

WILD

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Andy Ford’s passion for his subject is palpable in this series looking at south-west England’s vibrant punk scene, explains Kevin EG Perry

A

ndy Ford’s South West Underground project captures the furious energy of Devon and Cornwall’s DIY punk scene, yet it began with modest expectations. ‘My intention was just to get a cool live shot to put on my wall,’ he says. ‘I was into the music, so I was going anyway as a fan. It’s one of those things that started to just build …’

Ford shot the bulk of the project between 2010 and 2013, at venues such as the White Rabbit in Plymouth, the Studio Bar in Penzance, the Live Bar in Truro and the Cavern in Exeter. As part of the community he knew the bands involved, but more importantly he knew just how it felt to be in the crowd.

‘Your strongest work comes from what you’re passionate about,’ he says.

‘I’d been that kid in the middle of a mosh pit. I started taking these pictures to try to capture these unbelievable shows and their real raw energy. That’s why kids go to these things. It’s the opposite of your everyday life, where you’re working at a crappy job or something like that. You can go to this and lose your mind.’

His years of being a body in the crowd also allowed him to get ultra-close to the action – without destroying his equipment. ‘Touch wood, to date the only things I’ve knackered have been one or two flashes,’ he laughs. ‘You develop your peripheral vision for any bodies coming out of leftfield. I’d go early and scope out a little nook or something I could cram myself into. You develop a sixth sense for someone coming flying over your head.’

Kasa Jacob Porter, vocalist for Cornish punk band Kasa, out in the thick of it

Phil.X A straight-edge aficionado of punk taken on a Hasselblad with a single soft box

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‘IT’S MAD MODERN DANCE WITH A TRIBAL EDGE, AND A WEIRD UNWRITTEN SET OF RULES'

Chris, Lucy & Ben Punk zine editor Chris at home with his wife and son – an image at odds with the carnage of the live images

Inspired by Glen Friedman’s classic punk rock photography to display his work in black and white, it was only when he began studying at Plymouth College of Art that Ford began to see his project in another light. ‘I was looking at a lot of documentary work, and photo books of Teddy boys and mods,’ he says.

‘I started to think about my photos from a more cultural perspective, and realised this DIY movement was an interesting subculture, and a reaction against Simon Cowell and the mainstream of 2010.’

This changed Ford’s approach, and encouraged him to shoot the portraits which form his Duct Tape Empire series.

‘I realised that this, as a culture, was an interesting thing. In 20 years’ time it could be as interesting as portraits of skinheads are today. Also, I realised that when you look at all these energetic, violent live shots you might assume certain things about the people, yet they’re often vegan or straight edge, or are parents to kids. The portraits were a way to counter people’s preconceptions.’

Ford is well placed to understand both the quiet home life of his subjects and

Converge Jacob Bannon, vocalist of cult US punk band Converge, interacts with the audience at a rare, small-venue gig in the south-west on a balmy Sunday afternoon

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the cathartic release of the live shows.

‘It’s something to do with testosterone and hormones running wild in young guys,’ he points out. ‘That’s the same whether you’ve had a few drinks and are going crazy, or you’re straight edge.

Either way, there’s a need for a release.’

And years of experience have left him able to read a crowd in the way a buffalo understands a herd. ‘From outside it looks like pure chaos, but when you’re in it there are all sorts of ethics and a mutual understanding of what it is. It’s a release, but people aren’t trying to hurt one another. It’s a mad modern dance.

There’s a tribal edge to it, with a weird unwritten set of rules.’

What stands out about South West Underground, and Ford’s music photography in general, is his understanding that the crowd are just as important as the band on stage. ‘I shot this stuff on a really wide lens, so I could be right in the thick of it and still get the context,’ he says. ‘When you go to an amazing live show, there’s an intensity on the verge of absolute chaos. I was always trying to find those perfect shots where everything came together. It’s about the crowd, and the energy. The one thing a music photograph shouldn’t be is boring.’

See more at andyfordphotography.co.uk

© ANDY FORD

282 | ANDY FORD

NICKY ROCHUSSEN

| INSIGHT | 283

CALL FOR ENTRIES

IMAGE: © TADAO CERN Comfort Zone 2

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284 | BEST SHOTS

20 FEET

FROM STARDOM

From iconic portraits to reportage and innovative advertising, Gered Mankowitz FRPS continues to quietly push the boundaries of photography, discovers Jude Rogers

A

childhood in front of the lens, a passion for theatre, an interest in technical innovation: there are easily caricatured rock photographers, and then there’s Gered Mankowitz.

Best known for his iconic shots of Marianne Faithfull, Jimi Hendrix and Kate Bush, among others, he has had an extraordinary career, but his professional motto is refreshingly simple.

BILLY FURY 1982 Odeon Hammersmith London I don't like being thrust into press situations, because I hate competitive conditions. I also hate

it if I’m trying to be squeezed into somebody else’s schedule. If somebody says: 'You’ve got five minutes with the boys in the dressing room,' they resent you

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‘The subject is always the hero,’ he says, plainly, over coffee near the Snap Gallery in Mayfair, where his Rolling Stones exhibition, Off The Hook, opens this month. ‘That’s what’s really important. Technique is fine, but it should never overwhelm the subject.’

Mankowitz, who in January was awarded a Fellowship from the Society, had a fascinating childhood. The son of celebrated playwright and film producer Wolf Mankowitz, his family were often photographed for glossy magazines.

coming in, and that's no way to work.

Billy Fury was the only person I relinquished control for, because I'd adored him in the early '60s: next to

Tommy Steele and Cliff Richard he was sexy and dangerous.

Luckily, I got a nice editorial shot in five minutes – although he kept me waiting outside for 40.

KATE BUSH 1978 Great Windmill Street studio, Soho My first session with Kate, to promote her first album, The Kick Inside.

When Kate came out of the dressing room, that’s how she looked, and I was completely stunned.

I'd met her before to discuss the shoot, and she was so bright and enthusiastic and young, and really liked the idea of me giving her dancers' clothes to wear, to show her interest in dance.

I'd also put her with a wonderful make-up artist and hairdresser with whom I knew she would click, and they did. We worked together over the next couple of years.

She's in complete control here.

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286 | BEST SHOTS

studio, Hampstead Taken as part of the cover shoot for

George’s solo Cloud Nine album. He was a wonderful and highly entertaining subject: responsive,

‘And I always enjoyed that, although I’m embarrassed to admit it. I loved photographers turning houses into theatrical settings, the lights, the make-up, the dressing-up ... how these men would turn places into different places, and people into different people.’

Initially craving a career in acting or directing, a 13th birthday present from

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charming and utterly devoid of pretension.

My inspiration for this particular shot was a childhood TV

hero called Paladin and is supposed to echo a gunslinger hero vibe, but with a guitar.

‘BACK THEN, THERE WASN’T A PHOTOGRAPHIC LANGUAGE FOR THESE KINDS OF SUBJECTS’ his grandmother took Mankowitz in a different direction: a Bencini Comet camera, bought from Boots. His talent

was spotted soon after by Tom Blau of the Camera Press agency, who bought some shots he’d taken on a school trip to the Netherlands. At 15, he got commissioned to do portraits of local people while living briefly in Barbados.

Back in London at 16, Mankowitz for a short period tried fashion photography.

‘I couldn’t relate to it. Fashion models

© GERED MANKOWITZ

GEORGE HARRISON

1987 Old Chapel

JIMI HENDRIX 1967 Mason’s Yard photo session This was before he’d had a hit. He came to the studio with this jacket in a little canvas bag, and he wasn’t wildly charismatic, but very quiet, and lovely.

He kept calling me ‘sir’.

I got him to put his hands on his hips because I didn’t want to crop his hands off.

I cut the top of his head off because I wanted to focus on his face and body. I only took one frame of it.

No idea why. Thank god he didn't blink.

were untouchable, unreachable.’ Reality came for him in the brave new world of pop music, and the extraordinary characters it issued.

Chance helped too. As Mankowitz was setting up his first studio in London’s Mason’s Yard in 1963 – alongside Jeff Vickers FRPS, for whom Mankowitz had worked as an assistant

– he became friends with early folkrock duo Chad and Jeremy. His first photo of them for Ember Records – in black and white, against an old urinal on a bombsite in Swiss Cottage – still looks bold today.

‘There was a bit of a rawness to those photos because of my inexperience, but that created a visual difference against

the more polished work of established showbiz portraits,’ he says. ‘There wasn’t a photographic language back then for these kinds of subjects, so we were trying to capture things in new ways.’

Having a studio helped Mankowitz’s career. He knew that if he went to a dressing room or press call, he’d have five minutes with a band. To develop a

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288 | BEST SHOTS PP ARNOLD 1967 Kafunta Because I wasn’t really trained, I tried to push myself in almost every session, and I was learning on the job all the time.

This image isn't known well, but I love it: it was for PP Arnold's album, Kafunta, for [Rolling Stones manager] Andrew Loog Oldham’s label,

Immediate Records.

She wanted to have a visual link with her African roots.

As an image, it’s not clearly intellectualised: it’s a gut thing, but it's great. It's a double exposure, obviously, but we've also got a great hairdresser, and an innovative makeup artist. It's doing something very new for its time.

more photojournalistic approach, space and time were required. ‘Plus I realised right at the beginning that if they made the commitment to come to my studio, you’re already halfway there with making your subject work with you,’ he adds. ‘This was before Polaroids, so there was no way of the subject seeing what you’re doing, so the one element that was crucial in taking a photograph was trust.’

Groups who suited his style came to Mankowitz thereafter. His long

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ANNIE LENNOX 1980 Great Windmill Street studio, Soho Shot in 1980 during the first few months of Eurythmics, for no specific purpose – just fun.

I had worked with Annie and Dave when they were in the Tourists, and shot several sessions with them as Eurythmics until my final session

in 1986 for the Revenge album.

Annie was a chameleon in front of the camera and a most inspiring subject.

This image, like all of the others on these pages, was taken using a medium-format Hasselblad 500C – which has been my primary camera since the beginning.

‘IF THEY MADE THE COMMITMENT TO COME TO THE STUDIO, YOU WERE ALREADY HALFWAY THERE’ relationship with the Rolling Stones began after he shot them in a cage on a building site behind his studio: the Daily Mirror had branded them animals a week before.

But it was Jagger’s then girlfriend, Marianne Faithfull, who Mankowitz

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290 | BEST SHOTS

famously shot lounging in the Salisbury pub in St Martin’s Lane, who first introduced him to the band. After which came the Small Faces, and an upcoming American guitarist called Jimi Hendrix – although the image for which Mankowitz is most famous wasn’t actually seen by the public until 1992.

Back then, he’d shot the picture as a potential album cover, but not in colour – a mistake in the effervescent brightness of late ’60s pop culture. Instead, it was used, largely unnoticed, on covers of promo singles; years later, as rock heritage became an industry, people responded to it differently. ‘A buyer left an exhibition with it literally under his

‘THERE WAS THE FEELING WHEN I WAS STARTING OUT THAT YOU COULD PUSH BOUNDARIES’ arm, and after that it was everywhere, in music magazines, on posters. I realised that this was my Campbell’s soup can.

This is the picture that’s going to get people to remember me.’

Nevertheless, Mankowitz has done plenty of other fascinating work outside music, including innovative reportage work with newspapers, and years developing advertising campaigns with surreal stage sets.

His Rolling Stones exhibition features this playfulness again, as he revisits classic shots and reinvents them: blowing them up into huge formats, and treating them with digital effects.

‘There was always the feeling when I was starting out that you could push boundaries, and if it didn’t work, nobody was going to rap you over the knuckles or say “you’ll never work again”.’ He smiles again, broadly.

‘That’s something to live by.’

Off The Hook is at Snap Galleries, London, until 28 May, where the accompanying limited-edition book Backstage is on sale

THREE OF GERED MANKOWITZ’S FORMER ASSISTANTS, PHOTOGRAPHERS IN THEIR OWN RIGHT | TURN THE PAGE | TONOWMEETEXCELLENT

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© GERED MANKOWITZ; © ANDREW WHITTON

MARIANNE FAITHFULL 1964 Decca Studios I had met Marianne socially, and immediately wanted to photograph her – she was beautiful, yes, but she was bright and funny too.

This shot at Decca Studios was completely spontaneous, and as close to a photojournalistic portrait as you'll get.

You can see that she’s listening back to her performance, and just feeling whatever she was feeling.

It’s not glamorous and sexy like the photograph I did of her in the Salisbury pub a few years later either. In those days, everybody changed very quickly.

There was no blueprint, so every step these people took, it changed them.

292 | EXPERIENCE

A HAND!UP

IN THE BUSINESS

CHRIS FRAZER SMITH Assistant: 1987–1991 was Gered’s first assistant. He was working out of his studio in Belsize Park, a Victorian chapel with a great atmosphere – quite theatrical and full of crazy props from previous shoots.

He was mainly shooting studio work for ad agencies, so there were always sets being built, bigger studios hired, casting going on, and scenic partners and model makers around. I ran his cameras and lighting, making sure equipment was serviced, suggesting kit to buy, and sorting out hired gear and transport.

The stand-out

I

experience was heading to LA with Gered to photograph Phil Spector.

We were due to fly there, shoot the next day and then fly back. However, Spector was in no hurry and we ended up staying a week, hanging out with Andrew Loog Oldham while the Rolling Stones came to play the LA Coliseum, with a certain Guns N’ Roses supporting.

It was a fantastic, bizarre week, ending with us getting pictures of a charming Phil Spector at his house in Pasadena.

We hired stretch limos to move us and the kit to the shoot. Gered was as cool as a cucumber and to hang out with Oldham was pretty special.

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Helping Hands, above, and Phillip and Nigel, Brancaster, right

© CHRIS FRAZER SMITH

Three former assistants of Gered Mankowitz, himself once the deputy of Jeff Vickers FRPS, explain how learning from the ‘magician of reinvention’ helped open doors

ANDREW WHITTON Assistant: 2002–2007 ered was the first photographer who saw potential in me as a good assistant and a future photographer, so I owe him a lot. At that point I was new to London and the world after university was really tough.

My role day-to-day was quite varied. I spent a lot of time digitising his vast film archive to send images to magazines or record labels. When we had shoots I would prepare the kit and make sure the film was logged and processed correctly.

It was pretty much a standard operation back then as digital hadn’t really taken off and Gered loved shooting on his Hasselblad.

Having to deal with magazines was a big plus for me, and Gered always encouraged me to speak to them about my work. It gave me a real leg-up with magazines such

G

as the NME. I learned a great deal but most of all I took away how to conduct myself and manage a shoot.

I have a team of part-time assistants. It’s becoming harder each year for talent to thrive, so if I have the time to be that help then I’m happy to do my bit, as Gered did with me.

Clockwise, from right: Ed Sheeran, Duran Duran; Damon Albarn and Snoop Dogg

HUGH TURVEY HonFRPS Assistant: 1994–1998 uring a long career you need to keep things fresh for clients and your own sanity. Gered is a photographic magician of reinvention, built on his underlying rock (and roll) of business acumen. I gained invaluable experience by just watching the magic – the assimilation of knowledge through experience and practical photographic creativity.

The Oasis shot on Primrose Hill was memorable due to Liam Gallagher’s diabolical grumpiness. The only guy

© ANDREW WHITTON; © HUGH TURVEY HonFRPS

D Watches and a show of x-ray images

by Turvey

in the band who seemed normal was the drummer – they soon got rid of him.

The time with Gered was my photographic formative years. But more importantly, his studio was near the Royal Free and this marked the turning point for my x-ray photography. I had met designers in the music industry and one had asked if I was able to produce an image of a broken bone, which resulted in seeking some advice from the head of radiology. My last 20 years of reinventing the x-ray aesthetic is directly attributable to my time with Gered.

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294 | IMAGE RIGHTS

COPYRIGHT

CASE STUDIES

With image licensing a fraught issue in the music industry, we bring you this short guide to sticking up for yourself in a tough climate

PHOTOGRAPHER: PAT POPE PERFORMER: Garbage arbage emailed me via their management asking if they could use some of my photos in a book they were publishing to celebrate 20 years. They didn’t have any budget for this and wanted the photos for free.

They were, of course, paying the editor, printer, writer and everyone else involved.

I declined their request and published an open letter on Facebook, to which the band’s singer Shirley Manson replied …

People just don’t understand copyright and in the digital age it has become incredibly easy to copy (steal) anything. These days photography has become a valueless commodity.

G

T

DESIGN FOR LIFE 1 When you take a photograph it automatically comes with your copyright. You don’t have to register a copyright in most countries. That copyright will be yours and your heirs’ until 70 years after you die, unless you transfer it to someone else.

WORKING FOR THE MAN 2 It’s different if you are employed as a photographer, in which case your employer will usually own the copyright on photographs you take as part of the job.

MY WAY 3 The internet is not a photographic freefor-all, even if it sometimes behaves like one. If you put your photograph on to the web, whether on a social media site or your own, the rights still belong to you.

agreed with her position: Apple should be paying the artists.

However, while Swift was making her stand, she was pushing a rightsgrabbing contract on to press photographers who cover her shows. The contract said she could use the photos for her use, but the photographer could

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only publish images once, and never license or publish them again.

I vented my frustration in an open letter on my blog.

Then I’m getting calls from CNN and Fox News, and interest from outlets from Asia and Oceania.

Eventually, Taylor Swift changed her contract.

The National Press Photographers Association in the United States seized the opportunity to encourage changes, but in my opinion the changes were not thought out fully and agreed in haste before the spotlight dimmed.

Read more at bit.ly/jasonsheldon

COMMON PEOPLE 4 A creative commons (CC) licence is worth considering to cover images you post online.

However, there is no called termination to a CC licence, so don’t use CC if you might change your mind, especially about commercial use.

GET UP, STAND UP 5 As well as copyright, you get moral rights with any photograph you take. These rights protect your artistic integrity.

They include your right to get a credit for your work and a right to object to someone else modifying your work in any way.

ANDY FINNEY

© PAT POPE; © JASON SHELDON

PHOTOGRAPHER: JASON SHELDON PERFORMER: Taylor Swift aylor Swift publicly criticised Apple Music for declaring it would allow its subscribers to stream music free for three months, and would not be paying royalties to the artists during this period. I fully

COPYRIGHT TOP TIPS

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WINNERS 296 | HIPA | AWARD

BEST IN SHOW

We bring you some of the winning images from this year’s Hamdan Bin Mohammed Bin Rashid Al Maktoum International Photography Awards

GRAND PRIZE IN THE HAPPINESS CATEGORY Antonio Aragón Renuncio ABOVE

In an impoverished village in the west African state of Togo, a group of children are photographed by chance playing with old motorcycle

tyres in the red dusty dirt outside an NGO clinic. Even though these children are mostly the sons, nephews and children of the patients in the clinic, their smiling faces and noisy joy are the embodiment of pure happiness

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AWARD WINNERS

L

ast month, the Hamdan Bin Mohammed Bin Rashid Al Maktoum International Photography Awards (HIPA) announced the winners of the annual competition.

Antonio Aragón Renuncio was awarded the grand prize of $120,000 for his image of children in a village in Togo, west Africa, playing with

motorcycle tyres on a dusty road. The Spanish photographer’s image was first in the ‘Happiness’ category, which was also the competition’s overall theme.

Other winning images include scenes of refugees arriving on land after a dangerous sea crossing, a father and son planting a tree together on a misty day, and an awesome time-lapse shot of lightning around a volcano cloud.

FIRST PRIZE IN THE GENERAL CATEGORY Francisco Negroni Rodriguez

| HIPA | 297

‘The HIPA judging was an intense experience but a wonderful opportunity to review a range of international photography with eight other respected selectors’, says the Society’s directorgeneral Michael Pritchard FRPS, who was one of the judges.

To see all of the winning images, visit hipa.ae

THIRD PRIZE IN THE HAPPINESS CATEGORY Sergey Ponomarev

TOP

ABOVE

Fire and lightning create a terrifying spectacle of fury during the eruption of Calbuco volcano in Chile, awake after 40 years of inactivity

Relief and joy for a refugee family who survive a perilous journey by sea that for many others has unfortunately ended in tragedy VOL 156 / APRIL 2016 / THE RPS JOURNAL / 297

HARRIS ARPS 298 | SHOWCASE | NEIL

SAME DIFFERENCE

Neil Harris ARPS’s exhibition illustrates fundamental similarities between citizens around the globe Crucially, Harris aims to challenge the media’s portrayal of foreigners and expose the fallacies of the ‘us’ and ‘them’ culture that is often perpetuated for political gain.

Can you begin by telling us what inspired the project?

Over the past 10 years I’ve visited places where lifestyles couldn’t be more different to the UK, including southern Ethiopia, northern Pakistan and southeast Asia. However, when you’re travelling and interacting with people you realise that they are essentially the same, only with different packaging.

I want to show how similar people are, regardless of where they live in the world, and challenge the media’s portrayal of ‘foreigners’ being different

‘I WANT TO CHALLENGE MEDIA PORTRAYALS OF “US AND THEM” AS THESE CAN FUEL XENOPHOBIA’

| VISIT | SOCIETY HEADQUARTERS | 298 / THE RPS JOURNAL / APRIL 2016 / VOL 156

from ‘us’ as these preconceptions only help fuel xenophobia.

How do you approach your subjects?

My photographs are a mixture of posed and ‘street style’. Markets and festivals are productive places for photographs, as it’s easy to ask permission in these scenarios.

For posed photographs it helps to interact a little before asking to take a picture – smiling always works wonders. Buddhist countries are easiest to photograph in, especially monasteries, as monks and novices are good at appearing not to notice the camera.

Neil Harris ARPS’s exhibition Same Same But Different will be on show until the end of April at The Royal Photographic Society, Fenton House, 122 Wells Road, Bath BA2 3AH

CREDIT SITS IN BOX 4MM DEEP

T

his month at Fenton House, Neil Harris ARPS presents his project Same Same But Different. Following a visit to the hill tracts in Bangladesh in 2003, where he encountered local tribes, Harris became increasingly interested in photographing people.

After taking early retirement in 2006, he joined The Royal Photographic Society a year later and achieved his ARPS with a panel of travel photography from Myanmar in October 2011.

Throughout his travels around the globe, Harris has come to realise that despite ethnic and cultural differences, people are fundamentally the same deep down. Same Same But Different is comprised of photographs from these trips and through it Harris strives to highlight the fact that the similarities between citizens around the globe far outweigh their differences.

FAR LEFT

Hmong lovers

LEFT

Lao mother

BELOW

CREDIT SITS IN BOX 4MM DEEP

Mursi maiden, Ethiopia

What advice do you have for people striving to take similar portraits?

Don’t be afraid to ask a stranger for a photograph. It’s amazing how often people agree. Always be polite, and if someone indicates no, resist taking the photograph.

I’ve come to realise that an even light helps produce the best portraits; bright sunshine often leaves the eyes in shadow. Sunlight at the correct angle can be great. A few tweaks in Lightroom, such as brightening a face, can really enhance an image.

The most crucial element is to ensure eyes are in sharp focus as it helps audiences really connect to an image – think Steve McCurry HonFRPS’s Afghan Girl portrait. Timing is everything.

For more, visit samesamebutdifferent.uk

Cheeky Chin boys, Myanmar VOL 156 / APRIL 2016 / THE RPS JOURNAL / 299

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THE LATEST TECHNOLOGY, TECHNIQUES AND SKILLS

Canon EOS 80D DSLR

Fully featured mid-range DSLR upgrades the 70D, reports Gavin Stoker

T

his latest APS-C behemoth claims a more immersive experience than its 70D predecessor. The enthusiast-targeted DSLR has a new sensor providing a 24-megapixel effective stills resolution, a redesigned mirror box assembly, the ability to extend the ISO range from 100 to 25,600 and shoot ‘in moonlight’, as well as speeds up to 7fps. Its 45-point all-crosstype AF system is apparently the same as that found on the old 1D MkIV. With wi-fi and NFC

included, if you don’t require full-frame photography, this is a camera that you can quickly adapt to your needs.

Design is similar to the 70D, although it has a deeper grip for added tactility – its controls reachable without having to stretch the hand.

Its polycarbonate resin construction feels sturdy without being hefty. Aimed between pro and consumer markets, the 100 per cent fieldof-view optical viewfinder is backed up by a variangle LCD

Price: £999.99 body only Sensor: 25.8-megapixel APS-C CMOS Lens: Optional, via Canon EF/EF-S mount LCD screen: 3-inch variangle, 1,040K dots Weight: 730g body only More: canon.co.uk In brief: The 80D sits in the middle of Canon’s EOS range as an option for enthusiasts looking to up their game, or pros looking for an affordable back-up

screen, that can be used as a larger focus in ‘live view’ mode.

The adjustable screen is an added benefit for video capture, which is of the full HD variety, with dual-pixel CMOS AF at up to 60fps and with a headphone jack provided for videographers.

For action and sports, there is the opportunity to achieve a buffer rate of 110 jpegs or 25 raw files. In short the appeal of the 80D over its forebears is a better autofocus system, faster burst capture and more buttons and controls for getting hands on.

VOL 156 / APRIL 2016 / THE RPS JOURNAL / 301

302 | THE CRAFT | LATEST KIT

2

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Sony A6300 From £1,000 body only

In the mirrorless camera market, Sigma’s sd Quattro and sd Quattro H pairing – featuring the singular Foveon X3 triple-layered sensor – appear interestingly different.

While the sd Quattro features an APS-C sensor and ‘mediumformat image quality’ from its claimed 39-megapixel resolution, the sd Quattro H features an APS-H 26.6x17.9mm chip and delivers a high resolution of 51MP. Other key features include a 2.36-megapixel electronic viewfinder with 100 per cent coverage, and dual monitors – a 1.62-megapixel 3-inch LCD, plus a second ‘sub monitor’, showing number of shots remaining plus aperture, shutter speed and ISO – all encased in a tough magnesium alloy body.

Sony’s A6300 is the latest of its APS-C-incorporating mirrorless models. Like other electronics manufacturers, Sony is all about ‘hybrid’ products, so for the first time it shoots 4K video alongside 24.2-megapixel stills. Light sensitivity stretches to a claimed ISO 51,200 equivalent.

DSLR-like response times, including ‘the world’s quickest AF response’ (0.05 seconds), are partly down to a latestgeneration Bionz X processor, not to mention 425 phasedetection AF points and ‘4D Focus’ tracking.

The camera boasts wi-fi and NFC compatibility, while for those shooting sports or action there’s the advantage of 11fps maximum burst speed or 8fps if live view is deployed.

Two different sensors for Sigma’s first mirrorless cameras sigma-imaging-uk.com 1

GEAR SPY

New 4k video-shooting compact system camera sony.co.uk

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Vanguard ‘Havana’ bag £74

Discreet bag that doesn’t scream ‘expensive camera inside’ vanguardworld.co.uk l Canon, Nikon, Sigma and Sony users should be on the lookout for a couple of third-party lenses from Sigma in the f/1.8 APS-C format 50-100mm f/1.8 DC HSM Art series, plus the 30mm f/1.4 DC DN (which is directed at owners of mirrorless cameras). l Staying with third-party lenses for Canons, Nikons and Sonys, Tamron has two on the way.

The first is what’s claimed to be the world’s first 85mm f/1.8 lens with vibration compensation for full-frame DSLRs in the SP 85mm f/1.8 Di VC USD. The second is the SP 90mm f/2.8 Di VC USD macro lens.

This series is all about ‘timeless’ design to mirror its inspiration by the crumbling Cuban capital, while the bags themselves are discreet, spacious and comfortable to carry.

It also has the flexibility that photographers are looking for, while it converts into a generaluse messenger bag if required, simply by removing the insert.

We’ve picked out the ‘38’ model as the most fitting and comprehensively featured for Society members, but there is a handful of Havana bags available, ranging from the ‘21’ shoulder bag to ‘41’ backpack, depending on whether you’re a mirrorless camera users or want to carry a DSLR plus two or three lenses, flashes and various accessories.

3

| THE CRAFT | 303

4

MEMBER TEST

5

5

Franzis HDR Projects High dynamic range program hits the spot

C Nikon DL24-500 f/2.8-5.6 £749.99

Canon EF-S

Premium compact puts its lens spec where its model number is nikon.co.uk

18-135mm IS USM lens & Power Zoom adapter £439.99 & £129.99 Telephoto zoom, plus a power adapter for smooth operation canon.co.uk

Arriving in June, this is one of three new premium compact cameras from Nikon that, unusually, makes a boast of its lens capabilities as its actual product name (making for a bit of a mouthful).

That whopping 21x optical zoom capability aside, what’s of most interest perhaps is the sensor it’s married to; a respectable 1 inch in size, able to capture 20.8MP stills and 4K/ UHD video at 30p/25p.

It features expandability courtesy of a vacant hotshoe, with optional accessories including a tiltable DF-E1 electronic viewfinder with eye sensor. There’s an EVF built into the camera, while the larger OLED touchscreen below is also angle adjustable. The camera is Nikon SnapBridge compatible.

Shoot landscapes, video and portraits and want one telephoto zoom that does it all?

With a boast that this relatively compact lens is equally adept at video as it is stills, this optic features what’s claimed to be a new kind of zoom motor, the ‘Nano’ USM. Image stabilisation, equivalent here to four stops, is built in.

Alongside the lens is another first for the brand: a compatible ‘power zoom’ adapter, incorporating electrical contacts that ‘talk’ to the lens. Compatible with Canon’s remote app for control via smartphone or tablet, its settings can also be switched to manual.

The promise is users will be able to achieve smooth footage shooting handheld, at maximum telephoto or on the move.

4

5

hoosing the optimum exposure for highcontrast subjects has always needed care, and I don’t think it has become any easier with digital capture. The obvious answer might seem to be some sort of high dynamic range process, such as that found in some cameras, and even mobile phones.

The result is frequently better than nothing, but still lacks control.

Recently I came across HDR Projects, from German firm Franzis.

Initially sceptical, I downloaded a trial version and was very pleasantly surprised. It immediately produced natural-looking images that did not shout ‘HDR’ and were full of

detail, but with the contrast well controlled.

It’s a sophisticated program with more fine adjustments than I’ll ever use, and requires a stack of varying exposures in register to feed it. Add the expected settings for white balance, noise reduction and ghosting, and a large preview appears, with substantial choice of tweaking available, which includes the ability to produce ‘traditional’ HDR images.

The program’s greatest strength lies in its ability to do what HDR should have done originally: it aids the photographer to produce natural-looking photographs of subjects beyond the dynamic range of the camera.

Puerto de Pollensa, Majorca (top), and Ponte Vecchio in Florence, above AUTHOR PROFILE PAUL STILLMAN LRPS President of Brighton & Hove Camera Club, Stillman is not a ‘natural’ with a computer but enjoys learning what it offers modern photography

VOL 156 / APRIL 2016 / THE RPS JOURNAL / 303

304 | THE CRAFT |

Shoot live music

MASTER CLASS

Contributing editor Fiona McKinlay explores the challenges of concert photography

I

started out as a clueless teenager with a cheap, fully automatic film camera at King Tut’s in Glasgow. The results were dire. When I got my first digital camera, a 2MP Nikon Coolpix, things got much more interesting – the uncontrollable variables of a live music environment are much easier to deal with when you can just hit delete and try again.

Get fast lenses My kit consists of a Canon 5D MkII plus three prime lenses: a Sigma 20mm f/1.8, Canon 50mm f/1.8 and Canon 100mm f/2.0. For low light, these are all a dream.

Unless you’re shooting arena shows, with drenchingly

bright white lights, shooting at anything over f/2.8 is going to be a total nightmare.

Push your ISO To deal with low light, you’re going to need to crank up that ISO. I usually shoot at ISO 800 or 1,600. You’re going to be capturing movement too, so the combination of ISO, shutter speed and aperture will always be a compromise.

Arrange access Most larger venues won’t let you just stroll in with a DSLR … although many small ones will, so that’s a good way to practise and build up contacts. For bigger shows, you’re usually going to need

304 / THE RPS JOURNAL / APRIL 2016 / VOL 156

to go through a press contact – and you’re going to need to be shooting for a purpose.

Online music press can be a good place to start: the work is likely to be unpaid, so think about what you’re looking to gain – experience? enjoyment? – and give your expectations a reality check.

Protect your ears Foam earplugs will do, but the music will sound better if you get some ER20s or similar.

Don’t get tinnitus, because that does not sound like fun.

Get good at Photoshop Shooting raw is a no brainer, but given that you’ve got changing lights, often ranging

from very bright to off, there’s a good chance you’ll leave a gig with lots of over and underexposed snaps. Being quick on your camera’s controls will give you more perfect results, but your most remarkable shots will sometimes be the ones that involve being pretty heavy handed with the sliders in Adobe Camera Raw. Colour correcting musicians bathed in nasty red or blue light is an incredible skill – and one I’m still working on.

Knowledge is power The more you know a band, their songs, their set list and the venue, the more you might be able to predict what’s coming. A lot of bands

AUTHOR PROFILE FIONA McKINLAY Fiona McKinlay, a contributing editor to The RPS Journal, has been shooting gigs for 14 years. Her photographs have cropped up in newspapers, music magazines and, bizarrely enough, on BBC’s The One Show.

MY KIT I usually shoot gigs with my Canon 5D MkII, Sigma 20mm f/1.8, Canon 50mm f/1.8 and Canon 100mm f/2.0.

When I’m ‘off duty’, I’ll usually take my Sony RX100. I have a cheap zoom lens that comes out of the cupboard for festivals, where the stage can be pretty far from the pit.

ABOVE LEFT Katy Perry on her Prismatic tour (SSE Hydro, Glasgow, May 2014), shot with Sony RX100.

Settings: f/4.0, 1/250, ISO 400 ABOVE OK Go, having invited fans on stage for the last song (at KOKO in London, February 2015), shot with Sony RX100.

Settings: f/1.8, 1/500, ISO 400 LEFT The Xcerts at the O2 ABC in Glasgow, October 2011, shot with Canon 5D MkII and Sigma 20mm f/1.8 lens.

Settings: f/2.2, 1/160, ISO 1,600

can actually be pretty static, so knowing when the singer’s going to grab the mic and dive into the front row, having your camera set up ready for it and being in position, will give you shots you’d otherwise miss. It will also save you from being trampled by security when things get crazy.

Key shots As the usual rules for live music photography are that you can only shoot for the first three songs with no flash, you’re fairly time restricted to get what you need. So, know what you’re aiming for. If you’re shooting for mainstream press they’ll want a good shot of the

singer. If you’re with the band, they probably want a stylish shot with every one of them in it. Oh, and you never know when the drummer’s mum might get in touch and ask if they can blow up that one handsome shot you got of him on a canvas for his 21st birthday (true story).

Get a good compact At some point you’re going to find yourself at a gig without a camera or a pass, the lighting is going to be perfect and you’re going to wish you had more than your iPhone in your back pocket. I’ve got a Sony RX100, and I’ve taken shots with it as a punter that I could never have got with a photo pass and a DSLR.

VOL 156 / APRIL 2016 / THE RPS JOURNAL / 305

Get started in the music press Emma Swann, music photographer and founding editor of DIY – a music website turned monthly magazine – explains how her career kicked off

I

started DIY with my friend Stephen Ackroyd in 2002, when we were university students. There wasn’t any semblance of a ‘music blogging’ culture; there were printed music magazines like NME and Q, then online there was Pitchfork and Drowned in Sound. We just thought it’d be a laugh, something to do and, because we had no budget, putting it on the internet. The print magazine was launched in 2011.

Photography, for me, began as a hobby. I got my first

306 / THE RPS JOURNAL / APRIL 2016 / VOL 156

DSLR in 2006, a Canon EOS 350D. I don’t think it occurred to me I should be photographing gigs until we promoted one ourselves. I tried to use the kit lens in a small venue that didn’t have fancy lighting, and wasn’t very successful.

In around 2008 I started seriously shooting gigs, then festivals a couple of years later. My growth went along with DIY’s, so after we’d been in print a short while I started doing portraits too.

Portraits are my favourite;

I love somehow trying to get artists’ personalities in the shot. Ultimately, my job then is to make an artist look like readers will want to listen to them, so something that suits their music as well as gives a little personality is ideal.

Sometimes I’ll have the luxury of a studio - but usually not. So there’s a lot of finding the one plain or nondescript wall in a venue covered in posters, searching for part of a street that isn’t just a brick wall, taping paper up at a record label HQ,

TECHNIQUE IN DEPTH

| THE CRAFT | 307

North London four-piece Wolf Alice

AUTHOR PROFILE EMMA SWANN London-based Emma Swann is a self-taught music photographer and the founding editor of DIY diymag.com

LEFT: Adele at the Brit Awards 2016, where she won four accolades

Oh Wonder, whose tour of Canada and North America begins in late May

hoping a late artist doesn’t turn up after the sun’s set …

I do some candid photography too – in dressing rooms at gigs, in the recording studio, backstage at festivals.

In those instances it’s so important not to outstay your welcome, or encroach on ‘their’ space. I’d like to think that because we cover artists repeatedly I have a working relationship with not just the bands but their people, that they know I won’t become an annoyance. These kinds of images can be loads of fun.

Live music photography is probably technically the most difficult but the adrenaline rush can’t be beaten and you do get the best view in the house for three songs.

I commission a lot of live photography. Basically, the images should tell a story. If you can capture even 10 per cent of the energy of a live gig, you’re doing well. I want the images to convey atmosphere.

Live photography should show what the review can’t, so I see it as reportage of sorts. I have no time for multiple exposures or overediting, or dragging the shutter, sorry. I also have the benefit (or curse?) of having shared a photo pit with many people who want to shoot for us. I remember how people behave.

It’s important to look at what you’ve shot and how you can improve it. I follow

some consistently great photographers on social media. It’s valuable to see what you like in others’ work, and to think about how they may have achieved it.

I often commission Carolina Faruolo; her work astounds me on a regular basis. I strive to get the energy and atmosphere into shots that she manages every time.

When you think you’re at a level where you’re worth commissioning, put together a portfolio. It can be as simple as a gallery on Flickr of your best shots, but should be one page or gallery with a broad selection of venue types and artists to show versatility.

So yes, kick off with the brilliantly lit Academy venue rock band shot, but include some basements where you’ve had to bounce flash; busy gigs with no photo pit but a mosh going on behind you. Commissioning editors need to know they could send you to a no-flash venue with minimal red lighting and you’ll still come back with usable images.

I get about 10 times as many people contacting me wanting to shoot as I do write, and for a live review the ratio is obviously 1:1. It’s important to understand, though, that a lot of what you see on social media may not reflect reality – plenty of the photographers you’ll be looking at probably rely on other work.

VOL 156 / APRIL 2016 / THE RPS JOURNAL / 307

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MEMBER A rich seam of talent

| GUIDE | 309

GUIDE

YOUR RPS EVENTS ! COURSES PROGRAMME

APR!MAY!JUN

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

Over nine months Chris Upton ARPS documented the closure of the last pit in Nottinghamshire, Thoresby Colliery

Chris Upton ARPS to share his insights with East Midlands Region

A

ward-winning Fuji X photographer and Society Associate Chris Upton will share his insights and passions in a talk hosted by the East Midlands Region next month.

Over two sessions, Upton will compare the art of travel and landscape photography with a personal nine-month social documentary project, Thoresby: the end of the Mine.

The latter documents the closure of the last pit in Nottinghamshire, bringing an end to hundreds of years of mining in the county.

He says: ‘Two of my great passions are photography and travel. I’ve been fortunate to

have the amazing experience of observing and photographing a variety of cultures, landscapes and people. I hope that through my images I can bring a little of this to the viewer and inspire others to experience the beauty and diversity of the world for themselves.’

Earlier this year Upton held an exhibition of his Thoresby images in Mansfield, and has published an associated limited-edition book.

The talk will be in Whatton Jubilee Hall on 22 May, and tickets cost £10 for Society members (concessions £5).

A Thoresby miner following a shift

Upton will also discuss his travel photography

For more information or to reserve a ticket, go to rps.org/events VOL 156 / APRIL 2016 / THE RPS JOURNAL / 309

310 | GUIDE |

REGIONS

Meet photographers and view work in your area

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

CENTRAL

park, Flatford Road, East Bergholt, Colchester CO7 6UL `` Pauline Benbrook, pauline@ benbrook.fsworld.co.uk

Exhibition selection and AGM

MIKES.SHARPLES(VIRGIN.NET

Rollright Visual Art Group spring meeting

`` £4 per section `` Foxton Village Hall, Hardman

First AGM with Analogue workshop day

`` Ian Wilson ARPS, as above

`` £22.50/£17.50 Society

Distinctions Advisory Day

`` Includes a paper negative

Road, Foxton CB22 6RN

Saturday 21 May / 10:00–16:30

`` £13 and £5 ploughman’s lunch

`` A day with James Reid ARPS `` The Village Hall, Main Street,

Sunday 12 June / 10:30–16:30

`` £20/£15/£10 observers `` Get advice on your Creative,

Long Compton CV36 5JS `` Andreas Klatt ARPS, rpsva@klatt.co.uk

Pictorial and Travel LRPS and ARPS Creative Distinctions at this event run by Pete McCloskey FRPS, Cathy Roberts FRPS and Andy Wilson FRPS `` Foxton Village Hall, Hardman Road, Foxton CB22 6RN `` Ann Miles FRPS, ann@pin-sharp.co.uk

EAST ANGLIA IAN WILSON ARPS, 07767 473594 IAN(GREENMEN.ORG.UK

A Distinctions day for nature photography Saturday 2 April / 10:00–17:00

`` See website for costs `` Run by David Osborn FRPS,

Nature Group & East Anglia Region joint field meeting to Lackford Lakes

chair of the Society’s Natural History panel `` Foxton Village Hall, Hardman Road, Foxton CB22 6RN `` Ian Wilson ARPS, as above

Saturday 18 June / 9:00–17:00

`` Opportunities to photograph

landscapes, insects, flowers, and birds in Suffolk `` Lackford Lakes Centre, Bury St Edmunds IP28 6HX `` Ann Miles FRPS, 07710 383586, ann@pin-sharp.co.uk

Trip to Maldon and on the Thames barge Kitty Sunday 10 April / 10:00–17:00

`` Fully booked, contact for

Dedham Vale field trip Sunday 17 April / 10:30–18:00

`` Fully booked, contact for

waiting list `` Flatford Mill, Flatford Mill car

waiting list `` Whatton Jubilee Hall, Church Street, Whatton, Notts NG13 9EL `` Ralph Bennett ARPS, as above

Sunday 8 May / 10:30–16:30

MIKE SHARPLES ARPS, 07884 657535

waiting list `` The Hythe, Maldon, Essex CM9 5HN `` Ann Miles FRPS, ann@pin-sharp.co.uk

`` Fully booked, contact for

EAST MIDLANDS RALPH BENNETT ARPS, 01636 651277

Andre du Plessis FRPS will give a talk about his Fellowship social documentary panel on 26 June

RALPH.EMRPS(GMAIL.COM

Advisory day LRPS, and ARPS Creative and Pictorial Sunday 17 April / 10:30–16:00

`` £10 spectators

Saturday 7 May / 10:00–16:30

members

workshop with Andrew Sanderson and a colour film talk by Dr Tony Kaye FRPS `` The University of Northampton, Newton Grand Hall, School of the Arts, St George’s Avenue, Northampton NN2 6JD `` Stephen Godfrey, 07812 605837, analogue@rps.org

Fuji X photographer Chris Upton talks about social documentary and travel photography Sunday 22 May / 10:00–16:00

`` £10/£5 concessions/ students

`` Lecture by Nottinghamshirebased award-winning photographer Chris Upton ARPS who specialises in travel and landscape photography `` Whatton Jubilee Hall, Church Street, Whatton NG13 9EL `` Stewart Wall ARPS, 07955 124000, stewartwall@icloud.com

Andre du Plessis FRPS talks about his Fellowship social documentary panel Sunday 26 June / 10:00–16:00

`` £10/£5 concessions/ students

`` Learn how Andre du Plessis

FRPS produces incredibly beautiful black and white imagery that captures the lives of his subjects `` Whatton Jubilee Hall, Church Street, Whatton, Notts NG13 9EL `` Stewart Wall ARPS, 07955 124000, stewartwall@icloud.com

RPS International Print Exhibition 158 – Derby Thursday 30 June – Friday 19 August

`` University of Derby, Kedleston Road, Derby DE22 1GB

`` Jayne Falconer,

j.falconer@derby.ac.uk EIRE DES CLINTON FRPS, 0035 341 983 7824 DESCLINTON(EIRCOM.NET

RPS International Print Exhibition – Co Dublin Wed 11 May – Wed 22 June

`` Municipal Gallery, Library and Cultural Centre, Dún Laoghaire (dlr LexIcon), Haigh Terrace, Moran Park, Dún Laoghaire, Co Dublin `` Ciara King, cking@DLRCOCO.IE LONDON DEL BARRETT ARPS LONDONEVENTS(RPS.ORG

First Tuesday – an evening with Ken Lennox HonFRPS Tuesday 5 April / 19:00–21:30

`` £12/£7.50 Society members `` The renowned photographer will reveal some of the stories behind his iconic images from his days on Fleet Street, and provide tips and advice `` The Beaufort, London, Eight Moorgate, 1 Dysart Street, London EC2A 2BX `` RPS London, londonevents@rps.org

Urbanicity 2016 Thursday 7 April / 19:00–21:00

`` Free – but bookings requested

`` Meeting to progress ideas and themes for the production of Urbanicity 2 `` The Crusting Pipe, 27 Henrietta Street, London WC2E 8RD `` London Urban, londonevents@rps.org

London Region SW London Group (second meeting) Tuesday 12 April / 19:00–21:00

`` Free – but bookings requested

`` The second meeting of the London Region SW London Group

310 / THE RPS JOURNAL / APRIL 2016 / VOL 156

| GUIDE | 311 `` The Prince of Wales,

138 Upper Richmond Road, London SW15 2SP `` London Web, londonweb@rps.org

National Dance Company of Wales photography opportunity – ‘watch dance class’ 12 April 2016

`` Free – but book directly with the event organiser `` The Place, 17 Duke’s Road, London WC1H 9PY `` RPS London, londonevents@rps.org

London Region street walk Saturday 16 April / 9:45–13:00

`` Visit Portobello Market `` Notting Hill Gate Tube Station, Notting Hill Gate, London W11 3HT `` London Cave, londoncave@rps.org

The Bookworm Club Wednesday 20 April / 18:30–21:00

`` Details to be confirmed `` The Crusting Pipe,

27 The Market, Covent Garden,London WC2E 8RD `` London Events, londonevents@rps.org

Burlesque photography workshop Saturday 23 April / 9:30–14:30

`` £169/£109 Society members

`` Murder Mile Studios, 38

Theydon Road, London E5 9NA `` RPS London, londonevents@rps.org

London, Naturally – walk Sunday 24 April / 10:00–13:00

`` Regular monthly Sunday

morning walk arranged by the London, Naturally micro-group `` TBC, London SE10 8RS `` London Naturally, london_naturally@rps.org

First Tuesday Tuesday 3 May / 19:00–21:00

`` £5/£3 Society members `` Details to be confirmed `` Greenwich Gallery, Peyton Place, London SE10 8RS

`` London Cave,

londoncave@rps.org

Wednesday 18 May / 18:30–21:00

`` Details to be confirmed. `` The Crusting Pipe,

27 The Market, Covent Garden, London WC2E 8RD `` London Events, londonevents@rps.org

London, Naturally – walk Sunday 5 June / 10:00–13:00

`` Regular monthly Sunday morning walk arranged by the London, Naturally micro-group `` TBC, London SE10 8RS `` London Naturally, london_naturally@rps.org

First Tuesday

Saturday 14 May / 9:45–13:00

`` Details to be confirmed `` TBC, London SE10 8RS `` London Cave, londoncave@rps.org

The Bookworm Club

NORTH WALES DON LANGFORD LRPS, 01758 713572 DONCHRISLANGFORD(BTINTERNET.COM NORTH WEST DR AFZAL ANSARY ASIS FRPS, 07970 403672 AFZALANSARY(AOL.COM

RPS International Print Exhibition 158 – Warrington

Tuesday 7 June / 19:00–21:00

Sat 2 April–Sat 30 April

`` £5/£3 Society members `` Details to be confirmed `` Greenwich Gallery, Peyton

`` Warrington Museum & Art

Place, London SE10 8RS

`` London Cave,

londoncave@rps.org

ARPS Advisory Day – Travel, Conceptual and Contemporary Wednesday 8 June / 10:30–16:30

`` Participants £25/£20

Society members `` Observers £15/£10 Society members `` An opportunity to have your work reviewed by Will Cheng FRPS for Travel, and Anne Cassidy FRPS for Conceptual and Contemporary `` The Nikon Centre, 63-64 Margaret Street, London W1W 8SW `` London Distinctions, londondist@rps.org

The Bookworm Club

Gallery, Museum Street, Warrington WA1 1JB `` Derek Dick, ddick@ culturewarrington.org

Contemporary North West – group exhibition

`` Details to be confirmed `` The Crusting Pipe, 27 The

Market, Covent Garden, London WC2E 8RD `` London Events, londonevents@rps.org

London Region street walk Saturday 18 June / 9:45–13:00

`` Details to be confirmed `` TBC, London SE10 8RS `` London Cave, londoncave@rps.org

London, Naturally – walk `` BC, London SE10 8RS `` London Naturally,

london_naturally@rps.org

Tue 5 April–Sun 24 April

`` Lytham Heritage Centre, 2 Henry Street, Lytham FY8 5LE `` Ian Maxwell, mail@ihmaxwell.com

Photo forum Lasswade Sunday 10 April / 10:30–16:00

`` £10/£8 Society members `` Bring your photographs for discussion and comment

`` Midlothian Camera Club, 7 Polton Road, Lasswade EH18 1AB `` James Frost, as above

DIG Scotland Centre April meeting Sunday 17 April / 13:30–16:15

`` £5 `` Bridge of Allan Parish Church, Keir Street, Bridge of Allan FK9 4NW `` Doug Berndt, digscotland@rps.org

Scottish members’ print exhibition/17 Glenrothes KY7 5NX

`` Donald Stewart,

Donaldstewart@aol.com

Scottish members’ print exhibition/17 Sat 28 May–Sat 25 June / 10:30–16:00

RPS North West Monochrome Group meeting Sunday 17 April / 11:00–13:30

`` £5/£4 Society members `` With award-winning fine art photographer and architect Ian Bramham `` Wilmslow Guild, Bourne Street, Wilmslow SK9 5HD `` Afzal Ansary, as above

DIG North West roadshow Sunday 1 May / 9:30–15:00

`` £15/£13 group members `` Paul Gallagher provides

practical advice on the photographic journey, from camera to finished print `` Lowton Church of England High School, car park via Clayhill Grove, Lowton, Warrington WA3 1FZ `` Malcolm Blackburn, 01298 812233, mblackburn@redseats.net NORTHERN GERRY ADCOCK ARPS, 01661 830882 GERRY(GERRYADCOCK.CO.UK NORTHERN IRELAND

JAMES FROST FRPS 01578 730466/07881 856294

Until Thu 30 June / 9:00–18:00

JAMES.FROST11(BTINTERNET.COM

London, our new project,

Centre, Lerwick ZE1 0EQ

`` James Frost, as above

Tue 26 April–Sat 21 May / 10:30–16:00

Breathing London project `` £15/£10 Society members `` After the success of Bleeding

Fri 18 March–Sat 16 April / 10:30–16:00

`` Islesburgh Community

`` Rothes Square,

Wednesday 15 June / 18:30–21:00

Sunday 26 June / 10:00–13:00

London Region street walk

Breathing London, is designed to capture the diversity of London’s open spaces – the lungs of the capital `` All over London, London W2 2UH `` Judy & Jen, greenlondon@rps.org

SCOTLAND

Scottish members’ print exhibition/17

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

Special Travel Advisory Day Saturday 4 June / 11:00–16:00

`` £18/£15/£12/£10 Society members

`` An opportunity to hear

from Travel panel chair Leo Palmer FRPS about the Travel Distinction `` Bridge of Allan Church Hall, Keir Street, Bridge of Allan FK9 4NW `` James Frost FRPS, as above SOUTH EAST DAVID POWELL, 01273 251485 SOUTHEAST(RPS.ORG

Visit to Brede steam engines Wednesday 13 April / 10:00–15:00

`` £15/£10 Society members `` With striking baroque

and art deco architectural features and a fascinating collection of engines on display, prepare to appreciate British engineering at its best `` The Brede Heritage Site, Waterworks Lane, Brede, Rye, East Sussex, TN31 6HG `` Garry Bisshopp, gb.photo@btinternet.com

VOL 156 / APRIL 2016 / THE RPS JOURNAL / 311

312 | GUIDE |

WORKSHOPS

Creative dance lighting photography

Hear from the experts and hone your skills

Environmental portraiture

Saturday 9 April / 10:00–17:00

Saturday 23 April / 9:00–18:00

`` £115/£90 Society

`` £155/£130 Society

`` Fully booked `` Surrey

`` Approaches to portraiture

members

Wedding photography (two days) Sat 9 – Sun 10 April / 10:00–17:00 Sat 11 – Sun 12 June / 10:00–17:00

`` £165/£140 Society

members `` Learn the fundamentals of lighting, subject positioning and more `` Lacock

members

on location. There will be plenty of practical photography, going out into the old market town of Wirksworth in small groups with Paul Hill, Nick Lockett and Martin Shakeshaft `` Derbyshire

One-day introduction to your digital camera (DSLR)

`` £95/£71 Society

members `` This stand-alone course will give you the skills to enhance your images and professionalism to help boost your business `` Lacock, Wiltshire

Introduction to Photoshop members `` This concentrates on areas of Photoshop that are key for photographers `` Society HQ

Saturday 16 April / 10:00–16:30 Sunday 11 June / 10:00–16:30

`` £95/£71 Society

members `` This course provides an introduction to Lightroom’s organisational, editing and printing tools and is suitable for a beginner `` Society HQ

Saturday 18 June / 10:00–17:00

`` £85/£63 `` Shooting only in auto

button mode? Want to get more creative with your camera and understand its buttons and menu functions? If yes, this is the workshop for you `` Society HQ

Coastal landscapes

Business seminars for photographers (two days) Tue 26 – Wed 27 April / 10:30–16:30

`` £190/£160 Society

Sunday 17 April / 10:00–16:00

`` £95/£71 Society members

`` This will cover coastal

Saturday 28 May / 9:00–18:00

`` £155/£130 Society

`` Learn how to see the

`` Improve your

members

photographic potential of the world, compose pictures with impact, and enhance your images using Photoshop `` Society HQ

Shooting for stock Monday 9 May / 10:30–16:30

`` £65/£48 Society

Practical wildlife photography

Better digital printing

`` £105/£80 Society

Saturday 4 June / 10:30–16:30 Sat 14 – Sun 15 May / 10:00-16:30

`` £175/£150 Society members

`` Society HQ

`` £165/£140 Society

Thursday 28 April / 10:00–16:30

Sat 21 – Sun 22 May / 10:00–17:00

members

`` A beginners’ workshop

covering all you need to know about taking great images in a studio environment `` The Manger Barn, 1 High Street, Lacock, Wiltshire

landscape photography, shooting along the cliffs south of Hartland Quay.

Weather permitting, sunset and dusk photography will cover the rocks and shoreline close to the quay `` Devon

`` £95/£71 Society

`` Society HQ

Saturday 30 April / 10:30–16:00

Wednesday 25 May / 10:00-16:30

Product photography

How to photograph children and babies

Photographing landscape, whatever the weather – Tony Worobiec FRPS `` £45/£33 Society

`` £95/£71 Society

Friday 22 April / 10:30–16:30

Sunday 24 April / 10:00–17:00

`` £155/£130 Society

Sunday 26 June / 10:00–17:00

Sunday 12 June / 10:00–16:00

`` £95/£71 Society

members `` Learn how to get the very best results from your printer and Adobe Lightroom. Suitable for beginners `` Society HQ

members `` A hands-on opportunity to enhance your skills in shooting products for online publishing and other promotional material. No prior experience needed `` Colerne near Bath

members

`` Fully booked `` Buckinghamshire

members `` Society HQ

photography in the ancient village of Harrington - an ideal centre for photographing rural life and exploring the natural and man-made landscape `` YHA Hartington Hall, Hall Bank, Hartington, Nr Buxton

members

have recently started out in business or are aspiring to do so on a full or part–time basis `` Society HQ

Close-up and macro photography

members

`` Society HQ

Studio portraiture

Saturday 23 April / 13:00–20:30

Printing with Lightroom

Sunday 1 May / 10:00–16:30

members

`` Essential for those who

Different landscapes and rural life

`` £95/£71 Society

Sunday 24 April / 10:00–17:30

`` £95/£71 Society

Saturday 23 April / 10:00–17:00

Introduction to Lightroom

‘Creative eye’ photography

Photoshop (two days) Sat 21 – Sun 22 May / 10:00–17:00

`` £165/£140 Society members

Close-up and macro photography members `` Buckinghamshire

members

`` A chance to photograph the wildlife at the Westcountry Wildlife Photography Centre with tutor Nigel Hicks `` Devon

Wet collodion (two days) Fri 17 – Sat 18 June / 9:30–17:00

`` £195/£170 Society members

`` Photographic artist

Michael Schaaf will show you how to make your own wet collodion negative. No prior photographic knowledge or experience is needed `` The Manger Barn, 1 High Street, Lacock, Wiltshire

Ambrotypes Sunday 19 June / 9:30–17:00

`` £120/£95 Society members

`` Learn how to make your own ambrotype, direct positives on glass, which you can take home.

No prior experience is needed for you to enjoy this course `` Lacock, Wiltshire

From shutter to print: colour management training

Art nude photography Saturday 23 April / 10:00–17:00

Wednesday 29 June / 10:00–15:00

Saturday 25 June / 10:00–17:00

`` £45/£33 Society

`` £120/£95 Society

members `` Suitable for all photographers wishing to learn about lighting a nude and producing high-quality photographs. The lighting techniques are also suitable for pregnancy and maternity photography `` Lacock, Wiltshire

members

`` Perfect for digital

Get back to nature at the

Westcountry Wildlife Photography Centre Image: Shutterstock

312 / THE RPS JOURNAL / APRIL 2016 / VOL 156

photographers who want to get accurate colour results and more successful colour workflow, or those just converting to digital expecting to see what is on their screen come out of their printer `` Society HQ

| GUIDE | 313 DIG Thames Valley – Bernie Raffe AMPA: off-camera flash practical workshop plus our PDI competition

LRPS Advisory Day in Detling Sunday 1 May / 10:30–17:00

`` £20/£15/£10 spectators `` LRPS Advisory Day in Detling `` Detling Village Hall, Pilgrims Way, Maidstone, Kent ME14 3EY `` Terry McGhie ARPS, 01323 492584, southeast@rps.org

Sunday 15 May / 10:00–15:30

`` £12/£8 group members `` Learn the fundamental

principles plus some advanced concepts of using off-camera flash to take stunning portraits `` Woosehill Community Hall, Emmview Close, Wokingham, Berkshire RG41 3DA `` Laurie Pate, digthamesvalley@rps.org

South East Region Fellowship Advisory Day Sunday 5 June / 10:30–16:00

`` £25 `` Location to be confirmed, Tunbridge Wells TN1 2EP

`` Terry McGhie ARPS, 01323 492584, southeast@rps.org

Thames Valley Distinctions Advisory Day

SOUTH WALES MIKE LEWIS, 07855 309667, 01446 710770

Sunday 26 June / 10:00–16:00

MIKEGLEWIS101(BTINTERNET.COM

Gower Peninsula weekend Saturday 4 June – Sunday 5 June

`` £5 non-Society members `` A weekend exploring the landscapes of the Gower Peninsula SA3 1PR `` Peter Douglas-Jones, peter@douglas-jones.biz

`` Fully booked, contact for Photograph a blacksmith at work with the Southern Group Image: Hammer Fire by Keith Jones

`` The Village Hall, Church Hill, Chacewater, Truro TR4 8PZ

`` Vivien Howse ARPS,

01326 221939, vivien939@btinternet.com

A weekend with Leigh Preston FRPS Saturday 28 May / 10:30–16:00

SOUTH WEST MICK MEDLEY, MICHAEL.MEDLEY(BTINTERNET.COM

A day with Sue Bishop and Vanda Ralevska Sunday 10 April / 10:30–16:00

`` £13/£10/£5 group members

`` We are delighted to welcome

Sue Bishop and Vanda Ralevska to show us their stunning work `` Dolphin Hotel, Station Road, Bovey Tracey, Devon TQ13 9AL `` Linda Wevill FRPS, linda.wevill@btinternet.com

`` £15/£10 Society members `` Fully booked, please contact for waiting list

`` The Dolphin Hotel, Station

Road, Bovey Tracey TQ13 9AL `` Mick Medley, 01626 824865, michael.medley@ btinternet.com SOUTHERN

Thursday 21 April / 10:30–15:30

`` St Saviours Hall, Lambhay

SOUTHERN(RPS.ORG

Landscape Group inaugural event, Chichester and West Wittering `` Fully booked, please contact for waiting list

`` Chichester Cross, Chichester PO19 1HD

Hill, Barbican, Plymouth PL1 2NN `` Rod Fry ARPS, 01803 844721, rod@rodfry.eclipse.co.uk

`` Paul Graber,

Distinctions Advisory Day

Sunday 3 April / 10:00–16:00

Sunday 24 April / 10:30–16:00

`` £10 `` Fully booked for participants,

reserve list available `` The Dolphin Hotel, Station Road, Bovey Tracey, Devon TQ13 9AL `` Martin Howse ARPS, as above

West Cornwall Group meeting Tuesday 17 May / 19:30–21:30

`` A nominal charge will be

made for the hire of the hall

Photograph a blacksmith at work Friday 13 May / 10:00–12:00

`` £15/£10 Society members `` Little Duck Forge, Eastney Beam Engine House, Henderson Road, Portsmouth PO4 9JF `` Martin Silman, 07703 598303, msilman2000@yahoo.com

PAUL GILMOUR LRPS, 07899 042372

Saturday 2 April / 10:30–19:30

South West Region book club meeting

Society at this year’s London Camera Exchange Photo & Video Pro Show! `` The Novotel Hotel, 1 West Quay Road, Southampton SO15 1RA `` Paul Gilmour LRPS, as above

paul.graber@ntlworld.com

Introduction to astrophotography `` £45/£30 Society members `` Dr Lilian Hobbs LRPS will

show you the techniques to photograph the stars, constellations and galaxies `` Marwell Hotel, Thompsons Lane, Colden Common, Winchester, Hants SO21 1JY `` Paul Gilmour LRPS, as above

The LCE Southampton Photo & Video PRO Show 2016 Thursday 21 April / 11:00–18:00

`` Meet the Royal Photographic

THAMES VALLEY MARK BUCKLEY,SHARP ARPS, 020 8907 5874 MARK.BUCKLEY,SHARP(TISCALI.CO.UK

waiting list

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

`` Mark Buckley-Sharp, as above

WESTERN KEVIN SCHWAERZLER, 07710 172203 KEVIN(SCHWAERZLER.AT

Western Region monthly meeting photography competition Sunday 10 April / 10:30–12:30

`` £5/£4 Society members `` The subject for the competition is Bath

`` 122 Wells Road, Bath BA2 3AH

`` Kevin Schwaerzler, as above Ashley Border – automotive photographer Sunday 8 May / 10:00–12:30

Springboard to Success Saturday 16 April / 9:30–15:30

`` £25/£20 group members `` Featuring lectures by David

Noton, travel photographer Tony Smith and Society president Walter Benzie HonFRPS `` Runnymede Hotel, Windsor Road, Egham, Surrey TW20 0AG `` John Curgenven, travel@rps.org

DIG Thames Valley: Tigz Rice – boudoir photography and post-production Sunday 17 April / 10:00–15:30

`` £12/£8 group members `` Rice will share an insight into

the world of boudoir and burlesque photography and provide post-production advice `` Woosehill Community Hall, Emmview Close, Wokingham, Berkshire RG41 3DA `` Laurie Pate, digthamesvalley@rps.org

`` £5 `` The talk will focus on

the qualities and challenges of lighting on location, plus logistics, as well as a discussion on approach and techniques `` 122 Wells Road, Bath BA2 3AH `` Kevin Schwaerzler, as above

Highnam show-and-tell session and Annie Blick Sunday 8 May / 10:00–13:00

`` £5 `` Parish Room Highnam,

Newent Road, Highnam GL2 8DG `` Bob Train

Quarterly meeting Sunday 15 May / 10:00–13:00

`` £5 `` With Brian Hutchings `` Merryfield Village Hall, Ilton, near Ilminster, Somerset

`` Mick Humphreys LRPS, mick@somersite.co.uk

VOL 156 / APRIL 2016 / THE RPS JOURNAL / 313

314 | GUIDE | DI Group Western – Adrian Davies: close-up, macro, design and pattern in nature Sunday 22 May / 10:00–16:00

`` £8/£7/£5 group members `` Merryfield Village Hall, Ilton,

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

near Taunton TA19 9HG `` Dennis Knowles, dennisknowles123 @btinternet.com YORKSHIRE

including paper negatives with Andrew Sanderson and a colour film talk by Dr Tony Kaye FRPS `` The University of Northampton, Newton Grand Hall, School of the Arts, St George’s Avenue, Northampton NN2 6JD `` Stephen Godfrey, 07812 605837, analogue@rps.org ARCHAEOLOGY AND HERITAGE

MARY CROWTHER ARPS, 07921 237962

RODNEY BERNARD THRING LRPS, 01276

PHOTOBOX50(GMAIL.COM

20725 RODNEY.THRING(NTLWORLD.COM

Regional AGM and Insight tour `` £3/£2 Society members `` Annual general meeting

Wednesday 13 April / 10:00–15:00

`` £15/£10 Society members `` The Brede heritage site is a

and Insight tour at the National Media Museum.

Enjoy a curated tour of Society collections `` Insight, National Media Museum, Bradford BD1 1NQ `` Robert Helliwell, 01904 500231, bobhelliwell@clara.co.uk

special place that tells the story of the water supply for the Hastings area from the steam days of 1904 `` The Brede Heritage Site, Waterworks Lane, Brede, East Sussex, Rye TN31 6HG `` Garry Bisshopp, gb.photo@btinternet.com

Self-help group – cafe session

HOWARD BAGSHAW ARPS, 01889 881503

`` £7/£3 Society members `` VJs Art Bar, Finkle Street,

HOWARD.BAGSHAW(NTLWORLD.COM

RPS Great Yorkshire AV day

York YO1 8RW `` Robert Helliwell, 01904 500231, bobhelliwell@clara.co.uk

Sunday 17 April / 10:30–16:00

`` Whatton Jubilee Hall,

Church Street, Whatton, Notts NG13 9EL `` Ralph Bennett ARPS, 01636 651277/07752 870422, ralph.emrps@gmail.com

Bristol Photobook Festival `` Join Brian Steptoe to get up to

speed in the world of photobooks `` SouthBank Club, Dean Lane, Bristol BS3 1DB `` photobook.bristol@gmail.com

South West Contemporary Group meeting Sunday 19 June / 10:30–15:30

`` Carnon Downs Village Hall, Truro TR3 6GH

`` Rod Fry, 01803 844721, rod@rodfry.eclipse.co.uk

£15/£10 spectators

`` Wingfield Barns, Church

CONTEMPORARY

See the Creative Group’s annual exhibition until 2 May Image: After the Age of Oil by Brian Fleming LRPS

Explore more aspects of photography and digital imaging ANALOGUE DAVID HEALEY ARPS, 07968 746211 ANALOGUE(RPS.ORG

AGM and Analogue workshop Saturday 7 May / 10:00–16:30

`` £22.50/£17.50 Society members

`` Our first AGM, with an

Analogue workshop day

314 / THE RPS JOURNAL / APRIL 2016 / VOL 156

CREATIVECHAIR(RPS.ORG

`` Bryan Stubbs,

0113 266 1448, bryan@stubbsav.com

`` £20/Society members

BARRY COLLIN LRPS

`` Leeds Trinity University,

Horsforth, Leeds LS18 5HD

Saturday 18 June / 10:30–16:30

CREATIVE

Annual exhibition of prints and projected images

Sunday 10 April / 10:30–17:00

Distinctions Advisory Day

SPECIAL INTEREST GROUPS

Advisory Day LRPS and ARPS in VA, Creative and Pictorial

AUDIO VISUAL

Saturday 21 May / 10:30–12:30

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

mail@ihmaxwell.com

DIGITAL IMAGING JANET HAINES JANET.HAINES(BTOPENWORLD.COM

DIG Thames Valley: Tigz Rice – boudoir photography and post-production Sunday 17 April / 10:00–15:30

`` £12/£8 group members `` Woosehill Community Hall, Emmview Close, Wokingham, Berkshire RG41 3DA `` Laurie Pate, digthamesvalley@rps.org

Friday 10 June – Sunday 12 June

Visit to Brede steam engines

Sunday 17 April / 10:15–11:45

`` New Brookhouse Club,

`` Ian Maxwell,

PETER ELLIS LRPS, 07770 837977

Sat 23 April – Mon 2 May / 11:00–16:00

Road, Wingfield, Stradbroke, Suffolk IP21 5RA `` Moira Ellice ARPS, moira. ellice2011@btinternet.com

WORDSNPICSLTD(GMAIL.COM

Members’ meeting

Contemporary North West – group exhibition

`` Foxton Village Hall,

Sunday 26 June / 10:30–11:00

Tuesday 5 April – Sunday 24 April

`` Lytham Heritage Centre, 2

Henry Street, Lytham FY8 5LE

Cambridgeshire CB22 6RN `` David Jordan FRPS , daveandjoanjordan @yahoo.co.uk

DIG Scotland Centre April meeting Sunday 17 April / 13:30–16:15

`` £5 `` Bridge of Allan Parish Church, Keir Street, Bridge of Allan FK9 4NW `` Doug Berndt, digscotland@rps.org

DIG North West roadshow Sunday 1 May / 9:30–15:00

`` £15/£13 group members `` Paul Gallagher provides

practical advice on the photographic journey, from camera to finished print `` Lowton Church of England High School, car park via Clayhill Grove, Lowton, Warrington WA3 1FZ `` Malcolm Blackburn, 01298 812233, mblackburn@redseats.net

DIG Thames Valley – Bernie Raffe AMPA: off-camera flash practical workshop plus our PDI competition Sunday 15 May / 10:00–15:30

`` £12/£8 group members `` Learn the fundamental

principles plus some advanced concepts of using off-camera flash to take stunning portraits `` Woosehill Community Hall, Emmview Close, Wokingham, Berkshire RG41 3DA `` Laurie Pate, digthamesvalley@rps.org

DI Group Western – Adrian Davies: close-up, macro, design and pattern in nature Sunday 22 May / 10:00–16:00

`` Davies will look at the

technical side of close-up and macro imaging, and their creative potential `` Merryfield Village Hall, Ilton, Nr Taunton TA19 9HG `` Dennis Knowles, dennisknowles123@ btinternet.com

| GUIDE | 315 DOCUMENTARY MO CONNELLY LRPS, 01590 641849 DVJ(RPS.ORG

First Tuesday – an evening with Ken Lennox HonFRPS Tuesday 5 April / 19:00–21:30

`` £12/£7.50 Society members `` The Beaufort, Eight Moorgate, 1 Dysart Street, London EC2A 2BX `` RPS London, londonevents@rps.org HISTORICAL JENNIFER FORD ARPS, 01234 881459 JENNYFORD2000(YAHOO.CO.UK IMAGING SCIENCE DR TONY KAYE ASIS FRPS, 020 8420 6557 TONYKAYE(HOTMAIL.CO.UK LANDSCAPE TIM PARISH LRPS LANDSCAPE(RPS.ORG

Springboard to Success Saturday 16 April / 09:30–15:30

`` £25/£20 group members `` Featuring lectures by David

Noton, travel photographer Tony Smith and Society president Walter Benzie HonFRPS `` Runnymede Hotel, Windsor Road, Egham, Surrey TW20 0AG `` John Curgenven, travel@rps.org

Capture the unspoiled beauty of Gower Peninsula with the Landscape Group, 4–5 June Image: Shutterstock

birdwatching centre, Egleton, Rutland LE15 8BT `` Tim Parish, timp.parish@gmail.com

Gower Peninsula weekend Saturday 4 June – Sunday 5 June

`` £5 non-members `` Gower Peninsula SA3 1PR `` Peter Douglas-Jones,

Dedham Vale field trip

peter@douglas-jones.biz

Sunday 17 April / 10:30–18:00

`` Fully booked, contact for

waiting list `` Flatford Mill, Flatford Mill car park, Flatford Road, East Bergholt, Colchester CO7 6UL `` Pauline Benbrook, pauline@ benbrook.fsworld.co.uk

MEDICAL DR AFZAL ANSARY ASIS FRPS, 07970 403672 AFZALANSARY(AOL.COM NATURE RICHARD REVELS FRPS, 01767 313065 RICHARD.REVELS(TALKTALK.NET

Using tilt/shift lenses in landscape photography

A Distinctions day for nature photography

Saturday 7 May / 9:30–16:30

`` See website for costs

Saturday 2 April / 10:00–17:00

OVERSEAS CHAPTERS

`` AUSTRALIA Elaine Herbert ARPS, eherbert @alphalink.com.au `` BENELUX Richard Sylvester richard.sylvester@ skynet.be `` CANADA John Bradford, jb.rps@cogeco.ca `` CHINA BEIJING Yan Li, yanli88@yahoo.com `` CHINA CHONGQING `` CHINA WESTERN Wei Han (Richard),

`` Rutland Water, Anglian Water

`` See website for costs `` Foxton Village Hall,

`` The Hythe, Maldon, Essex

`` Ian Wilson ARPS,

`` Ann Miles FRPS,

Nature Group AGM, spring meeting and exhibition

Nature Group field meeting to Abbots Wood

Hardman Road CB22 6RN ian@greenmen.org.uk

Saturday 9 April / 10:30–16:00

`` 40th annual general meeting, spring meeting and annual exhibition opening `` Smethwick Photographic Society Clubrooms, The Old Schoolhouse, Oldbury, West Midlands B69 2AS `` Margaret Johnson LRPS (secretary), 01159 265893, m.jos@btinternet.com

Trip to Maldon and on the Thames barge Kitty Sunday 10 April / 10:00–17:00

`` Fully booked, please contact

for waiting lists CM9 5HN

ann@pin-sharp.co.uk

Friday 29 April / 10:00–16:00

`` Booking essential `` Abbots Wood, Caneheath, Arlington BN26 6SJ

`` Douglas Neve LRPS, 01323 507015 or 07802 748785

Nature Group field meeting to Knapp and Papermill Nature Reserve Wednesday 8 June / 9:30–16:00

`` Photograph meadow flowers, insects and birds along the Leigh Brook `` Knapp and Papermill Nature Reserve, Bridges Stone, Alfrick

Royal Photographic Society members around the world

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

RPS Germany Chapter meeting Saturday 9 April / 11:00–15:00

Dortmunder U, Leonie-

Reygers-Terrasse, Dortmund Chris Renk, germany@rps.org `` 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 Nick Ng, nickng6208@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 156 / APRIL 2016 / THE RPS JOURNAL / 315

316 | GUIDE | WR6 5HR

COUNCIL REPORT ! JANUARY 2016 MINUTES OF THE PREVIOUS MEETING `` The minutes of the meeting held on 16 December 2015 were approved.

SOCIETY PREMISES `` The Society trustees and staff visited The Meeting House, Bristol, in the morning and met as a group on their return to Fenton House. Walter Benzie reminded the meeting of the rationale for moving from Fenton House and invited staff to give their views of the Bristol building. In general the staff felt that the building offered significant benefits over Fenton House and although the space was smaller than was required most felt that could be made to work and would have a more positive impact on visitors.

Walter Benzie asked if people would come to Bristol. It was generally felt that Bristol offered more opportunities than Bath in terms of other attractions and was a better location to support the Society’s own activities. The president thanked the staff for their feedback.

The trustees then had an extended discussion over the benefits and disadvantages of The Meeting House. Geoff Blackwell reminded the meeting that the Society had negotiated a period until 18 January after which the agents would open it to other prospective parties.

The biggest drawback was seen to be insufficient space to support the Society’s educational needs. Two trustees in particular had strong reservations. One considered that two separate buildings were needed as the limited space would constrain the Society’s activities; the other expressed reservations over the listed status, the lack of space; and a need to generate footfall. Council agreed by a majority not to make an immediate offer on the building but to undertake additional work on the cost and viability of installing a mezzanine floor within the building. It would obtain a valuation of Fenton House and only then would it decide on making an offer on The Meeting House.

AWARDS

`` Council discussed

the ongoing cost of the Society awards evening.

The evening was a potential marketing activity but the benefit of it was not being fully realised. It was generally felt that the event should cover its cost and there were opportunities to trim existing costs.

A subgroup from the awards committee would discuss possible changes.

DOCUMENTATION

`` The Distinction

procedures were now on the Society’s website.

The financial procedures were with Rosemary Wilman for review.

STAFF AND HEADQUARTERS MANAGEMENT `` The director-general reported that Tony Mant’s role had been readvertised.

DISTINCTIONS AND QUALIFICATIONS `` The Distinctions review was being progressed and Walter Benzie would be meeting Roger Reynolds on 13 January. After this he expected to

`` Duncan Locke, 01905

821509 or 07989 494232, Duncan.locke@btinternet.com

communicate details of the review to members.

EXHIBITIONS

`` Arrangements for the

International Print Exhibition 159 were in hand. The call for entries would open at the start of March.

EDUCATION

`` Walter Benzie expressed the view that more workshops were needed outside Bath. Although venues were often difficult to find there could be opportunities to engage with regional organisers.

RPS JOURNAL

`` Robert Albright reported

that he had received a letter in response to his Journal piece, commenting that the Journal no longer reflected the Society’s status as a learned Society. He had replied.

Nature Group & East Anglia Region joint field meeting to Lackford Lakes Saturday 18 June / 9:00–17:00

`` Opportunities to photograph

landscapes, insects, flowers, and birds in Suffolk `` Lackford Lakes Centre, Bury St Edmunds IP28 6HX `` Ann Miles FRPS, 07710 383586, ann@pin-sharp.co.uk

Nature Group field meeting with Steve Race, director, Yorkshire Coast Nature Saturday 18 June – Sunday 19 June

`` Photograph diving and flying

gannets from a boat, from RSPB Bempton Cliffs `` Bridlington Harbour car park, Bridlington YO15 3AL `` James Foad LRPS, 01843 580295 or 07810 306365, jamesfoadlrps@inbox.com

Nature Group field meeting to the Ainsdale dunes Saturday 25 June / from 10:00

WEBSITE `` The terms of reference for the website review had been circulated. Emily Mathisen would be asked to suggest names of active and engaged webmasters to participate.

NATIONAL MEDIA MUSEUM `` Awards recipients continued to be contacted regarding adding their work to the RPS Collection.

`` Booking essential `` The Ainsdale Discovery

Centre, The Promenade, Shore Road, Ainsdale-on-Sea, nr Southport PR8 2QB `` Trevor Davenport ARPS, 01704 870284 or 07831 643844, trevor43davenport@ gmail.com TRAVEL KEITH POINTON LRPS, 01588 640592 BAGPOINT(AOL.COM

Springboard to Success Saturday 16 April / 9:30–15:30

Arrangements for the International Print Exhibition 159 are under way Image: Tierworld #70

by Frank Machalowski

ANY OTHER BUSINESS `` Vanessa Slawson had circulated a report from Nick Scott regarding Ubicast. The conclusion was that the DAB and panels felt that the system was not suited for its original purpose. It was noted that there was a reluctance by some volunteers to be filmed or recorded. It was agreed that the director-general would speak to the suppliers regarding disposing of the unit.

NEXT MEETING

`` The next meeting will be held on Tuesday 16 February 2016 at Fenton House, 122 Wells Road, Bath BA2 3AH.

`` £25/£20 group members `` Featuring lectures by David

Noton, travel photographer Tony Smith and Society president Walter Benzie HonFRPS `` Runnymede Hotel, Windsor Road, Egham, Surrey TW20 0AG `` John Curgenven, travel@rps.org

Travel Group AGM Saturday 16 April / 15:45–16:30

`` Notice of the Travel Group AGM `` Runnymede Hotel, Windsor Road, Egham, Surrey TW20 0AG `` Keith Pointon, 01588 640592, bagpoint@aol.com

Cambodia overland photo tours – May/ November Saturday 21 May – Thursday 2 June Saturday 12 – Thursday 24 November

316 / THE RPS JOURNAL / APRIL 2016 / VOL 156

| GUIDE | 317 Closing date: 11 April

`` perpignanphoto.fr `` RPS/45 1st International Salon Simonida Kosovo Closing date: 12 April

`` simonidaphoto.com `` RPS/33 2016 Sydney Harbour International Closing date: 17 April

`` sydney-harbour-

international.org.au/

`` RPS/08

46th HKCC International Salon of Pictorial Photography Closing date: 1 May

`` hongkongcameraclub.com `` RPS/43 2nd International Photographic Art Exhibition – Lines Closing date: 1 May

`` lines.photodivan.com `` RPS/52

`` £950 group members `` Highlights include Phnom

Penh, the temples of Angkor and Tonle Sap lake `` Keith Pointon, as above

Special Travel Advisory Day

Join the Travel Group on a tour of Soria and Old Castile Image: Concatedral, San Pedro

Travel Group tour to Soria and Old Castile Tue 27 September – Mon 3 October

`` £1,875 group members `` Hotel Las Nieves, Salduero del Duero, Soria `` Colin Howard, colin.howard@mac.com

Wallingford wanderings Fri 7 – Sun 9 October/ 17:00–18:00

`` £25/£15/£5 spectators `` Wallingford Town Hall, Market Place, Wallingford OX10 0EG `` Andrew Barrow, arb@andys-scribblings.co.uk VISUAL ARTS VIVECA KOH FRPS, 07956 517524 VIVECA.KAOH(GMAIL.COM

A day with Sue Bishop and Vanda Ralevska

RPS International Print Exhibition – Co Dublin

`` Dolphin Hotel, Station Road,

`` Municipal Gallery, Library and

Sunday 10 April / 10:30–16:00

members

Bovey Tracey, Devon TQ13 9NG

`` Linda Wevill FRPS,

linda.wevill@btinternet.com

Visual Art Group spring weekend

Saturday 4 June / 11:00–16:00

`` A chance to hear from Travel panel chair Leo Palmer FRPS about the Travel Distinction `` Bridge of Allan Church Hall, Keir Street, Bridge of Allan FK9 4NW `` James Frost FRPS, 07881 856294, james.frost11@ btinternet.com

`` £13/£10/£5 group

Wed 11 May – Wed 22 June

Cultural Centre, DÏn Laoghaire (dlr LexIcon), Haigh Terrace, Moran Park, DÏn Laoghaire, Co Dublin `` Ciara King, cking@DLRCOCO.IE

Friday 22 April – Monday 25 April

`` See website for costs `` Cumberland Hotel, East

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

Overcliff Drive, Bournemouth BH1 3AF `` David Wood ARPS, wood.david.j@virgin.net

Rollright Visual Art Group spring meeting

RPS International Print Exhibition 158 – Derby Thursday 30 June – Friday 19 August

`` University of Derby, Kedleston Road, Derby DE22 1GB

PATRONAGE

lunch

The following salons/ exhibitions have Societyapproved patronage:

Long Compton CV36 5JS

93rd Scottish International Salon

rpsva@klatt.co.uk

`` scottish-photographic

Saturday 21 May / 10:00–16:30

`` £13 and £5 ploughman’s `` A day with James Reid ARPS `` The Village Hall, Main Street, `` Andreas Klatt ARPS,

EXHIBITIONS

LESLEY GOODE, EXHIBITIONS MANAGER 01225 325720, LESLEY(RPS.ORG

RPS International Print Exhibition 158 – Warrington Sat 2 April – Sat 30 April

`` Warrington Museum & Art Gallery, Museum Street, Warrington WA1 1JB

Closing date: 3 April

2nd International Salon of Print and Digital Art Varna Closing date: 3 May

`` printsalonvarna.org `` RPS/36 FOCI International Closing date: 3 May

`` focithane.com `` RPS/39 PSA China Special Theme Closing date: 15 May

`` salon.psachina.org/EIndex. aspx

`` RPS/41 32nd Malaysia International Salon of Photography Closing date: 8 June

`` psmsalon.com/ `` RPS/44 154th Edinburgh International Exhibition of Photography Closing date: 15 June

-salon.org `` RPS/38

`` edinburghphotosalon.org/ `` RPS/32

Cheltenham International Salon of Photography

9th International Photographic Salon Varna

Closing date: 10 April

Closing date: 15 June

`` cheltenhamcameraclub.co.uk `` RPS/30

`` fotosalonvarna.org `` RPS/40

Verne Salon International Photographique Le Catalan

67th Midland Salon Closing date: 27 June

`` midland-salon.com `` RPS/47

VOL 156 / APRIL 2016 / THE RPS JOURNAL / 317

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Used Canon

EOS 5D MKIII body box

£1499/1699 BRONICA ETRS 645 USED ETRS body .............................£99 40 F4 MC ..............................£149 45-90 F4/5.6 PE box .........£449 50 F2.8 E...............................£149 100 F4 PE macro ...............£249 105 F3.5..................................£99 135 F4 PE .............................£199 150 F3.5 E ..............................£99 150 F3.5 PE M- Box...........£149 200 F4.5 PE..........................£199 E14 or 28 ext tube each ...£49 120 RFH ..................................£69 Polaroid Back .......................£39 Plain prism ............................£59 Rotary prism .......................£129 AEII Prism...............................£79 Angle viewfinder E...........£129 Winder early .........................£79 Speed Grip E.........................£39 Tripod adapter E .................£39 Winder early .........................£49 Metz SCA 386 .......................£49 BRONICA SQ 6x6 USED SQB complete ....................£399 40 F4 S ..................................£299 50 F3.5 S...............................£149 135 F4 PS M-.......................£249 150 F3.5 S ..............................£79 150 F4 PS ................... £149/199 200 F4.5 PS M- box ..........£199 2x PS converter M- ...........£179 36mm ext tube....................£79 135N back ...........................£139 SQAi Polaroid back.............£79 SQAi 120 RFH .......................£79 SQA 120 RFH ........................£49 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 .........................£69 CANON DIGITAL AF USED 1DX body M- box...........£3399 1D MKIV body box ........£1799 1D MKIII body box............£649 7D body ...............................£399 5D MKIII b/o box £1499/1699 5D MKI body box ................£399 650D body .............................£299 600D body .............................£249 450D body box ....................£149 400D body .............................£129 70D body ................................£549 20D body ................................£119 BG-E2...........£39 BG-ED3 .....£39 BG-E5...........£49 BG-E6 ......£119 BG-E7 ..........................................£99 BG-E8 ..........................................£79 BGE-16 .....................................£169 G1X MKII M- box..................£379 G10 compact ..........................£99 SX-60 HS compact box .....£249 SX-50 HS compact ..............£179 CANON AF USED EOS 1HS body ....................£149 EOS 3 + PB-E2 ....................£239 EOS 3 + BP-E1 ....................£199 EOS 3 .....................................£149 EOS 1n body.......................£129 EOS 3 body .........................£129 EOS 600/650 body ea .......£39 10-22 F3.5/4.5 U ................£299 17-40 F4 L ............................£399 17-85 F4/5.6........................£179 18-55 F3.5/5.6 IS EFS .........£89 18-55 F3.5/5.6 IS STM............ £99 18-55 F3.5/5.6 EFS .................. £59 20-35 F3.5/4.5 USM..............£199 24 f1.4 LII M- box ...................£899 24 F2.8 IS USM........................£369 24-70 F2.8 LII M- box ........£1199 24-70 F2.8 box ........................£699 24-70 f4 IS L USM ..................£599 24-105 F4 L...............................£499 28 F1.8 USM box ...............£299 28-90 F3.5/5.6 ......................£79 28-300 F3.5/5.6 L IS U ..£1399 35-135 F3.5/4.5..................£129 50 F1.4 U box .....................£199 50 F1.8 MKI ..........................£119 55-250 F4/5.6 ISII M- box ..£129 60 F2.8 EFS mac .................£229 70-200 F2.8 LI IS box .......£899 70-200 F4 IS U L ................£649 70-200 F4 U L .....................£329 70-300 F4/5.6 IS U ............£279 75-300 F4/5.6 MKIII U ........£99 85 F1.2 L MKI ......................£899 85 F1.8 M-............................£199 100 F2 M- box ....................£279 100-300 F4/5.6 USM ........£129 100-400 F4.5/5.6 L IS U ................................£699/899 135 F2 M- box ....................£599

Used Sony

A7 RII body box

£1999

Used Rollei

Used Nikon

D4s body box

2.8F TLR serviced

£899

£3399

200 F2.8 LII U ........................£449 300 F2.8 LII IS U ................£3999 300 F2.8 LI IS U..................£2799 300 F4 L IS USM box ......... £699 400 F2.8 L IS U.......£3799/3999 400 F4 DO II Mint unused£5999 400 F4 DO ...........................£2399 400 F5.6 L box ............£599/699 500 F4 L IS U ......................£3699 1.4x extender MKIII ........... £259 1.4x extender MKII ............ £199 2x extender MKIII............... £259 2x extender MKII ................ £199 Teleplus 2x DG conv ..........£89 Kenko ext tube set DG ......... £89 LC-4 wireless kit ..................£89 PB-E2 drive ............................£99 Tripod mnt adapt A (W)...£59 SIGMA CAF USED 8-15 F4.5/5.6 DC box...........£399 10-20 F4/5.6 HSM box .£199 17-70 F2.8/4 DC OS HSM...£239 17-70 F2.8/4.5 DC ....................£149 18-35 F1.8 DC M-......................£469 18-50 F2.8/4.5 DC OS ............£149 18-50 F3.5/5.6 DC box ........ £49 24-35 F2 DG Art box..........£649 24-70 F2.8 HSM....................£469 24-70 F2.8 EX DG mac ..........£349 50 F1.4 EX DC........................£249 50-150 F2.8 DC HSM........... £299 70-200 F2.8 EX DG HSM...£429 120-300 F2.8 EX DG .........£799 120-400 F4/5.6 DG OS ......£449 150 F2.8 macro.....................£429 150-600 F5/6.3 Sport ......£999 180 F3.5 EX macro................£399 300-800 F5.6 EX DG ..........£2699 800 F5.6 EX DG....................£2499 1.4x EX DG conv ....................£149 2x EX DG conv ........................£149 Kenko Pro 300 1.4x conv..... £99 OTHER CAF USED TAM 18-270 DiII .................£179 TAM 28-300 box ................£199 TAM 70-300 F4/5.6 ............... £99 TAM 90 F2.8 Di......................£249 TAM 150-500 F5/6.3 VC....£599 TAM 180 F3.5 Di...................£369 TAM 200-500 M- box........£449 CANON FLASH USED CP-E3 .......................................£49 SB-E2 bracket .......................£99 ST-E3 box .............................£199 ST-E2 transmitter ................£89 ML3 non digital ...................£49 430EXII..................................£149 430EZ non digital ...............£39 580EX box ...........................£179 600EX RT box .....................£329 CANON FD USED A-1 body ................................£99 T90 body................................£99 28 F2.8 ....................................£49 35-70 F3.5/4.5 ......................£49 50 F1.4 ...................................£99 70-200 F4 ...............................£79 100 F4 macro .....................£199 100-300 F5.6 .........................£99 CONTAX MF USED 40-80 F3.5 AE .....................£199 FUJI DIGITAL USED X-T1 body graphite box .£799 X-M1 body blk box...........£189 16-50 F3.5/5.6 XC M- .........£149 18 F2 M- box ......................£199 18-55 F2.8/4........................£279 27 F2.8 XF ............................£249 35 F1.4 box .........................£299 55-200 F3.5/4.8 OIS..........£379 Samyang 8 F2.8 .................£199 X10 black box ....................£179 FUJI MED FORMAT USED GSW690 III ...........................£649 HASSELBLAD XPAN USED Centre filter 49mm.................£129 X-Pan leather case..................£129 HASSELBLAD 6x6 USED PM5 prism 45°....................£149 PME prism box...................£149 45° Prism late .....................£149 45° Prism early .....................£69 NC1 prism..............................£69 WLF late ...............................£110 WLF chrome late.................£99 WLF early ...............................£49 A12 chrome latest ............£299 A12 late blk/chr .................£129 40 F4 FLE...........................£1199 50 F4 blk T* .........................£349 60 F2.8 chrome..................£249 250 F5.6 chrome ...............£199 Vivitar 2x conv .....................£69 Polariser - 60mm.................£79 LEICA DIGITAL USED D-Lux 6 box ........................£449 LEICA M COMPACT USED 35 F2 M- box (M39) .......£1799 50 F1.4 M-.........................£1799

Used Sony FE 35mm f1.4 ZA M- box

£999

Used Nikon D4 body box

Used Nikon D3s body box

£2499

£1799

50 F1.4 6 bit .....................£1199 LEICA SLR USED Angle finder R ....................£149 LEICA BINOCULARS USED Trinovid 10x40 ...................£749 Ultravid 8x42 HD................£849 LIGHTMETERS USED Minolta Flashmeter V ......£199 Minolta Spotmeter M......£199 Sekonic L308 ........................£99 MAMIYA 645 MF USED Plain prism (645 Super) ....£39 WLF 645N/1000S/J.............£49 WLF Pro TL etc .....................£79 Polariod Back HP401 .........£29 Polaroid back .......................£29 120 Insert...............................£20 HA401 120 RFH Box...........£49 120 Back.................................£39 Winder ....................................£79 50 F4 shift ............................£399 55-110 F4.5 box.................£299 150 F2.8 A............................£249 150 F3.5 N .............................£79 210 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 55 F4.5 ..................................£199 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 Prism .......................................£99 Paramender ..........................£49 MAMIYA 7 RF 6x7 USED 50 F4.5 L + VF .....................£699 80 F4.5 L M- box................£699 150 F4.5 M- .........................£399 210 F8 + VF box M- ..........£499 Panoramic kit .......................£49 MAMIYA RB 6x7 USED Pro SD + 127 KL + RFH + WLF .......................£549 Pro S + 90 + RFH + WLF .£449 Pro SD comp M- ................£649 Pro S body ...........................£149 Pro S body scruffy ..............£99 WLF ..........................................£79 120 645V back .....................£99 90 F3.5 KL ............................£249 127 F3.5 KL..........................£299 Ext tube 2.................................... £49 MAMIYA RZ 6x7 USED RZ ProII + 90 + WLF + 120 RFH ............................£499 RZ Pro body ........................£149 120 RFH Pro II.......................£99 120 RFH Pro I ........................£49 WLF ..........................................£79 FE701 AE prism .................£179 Winder II.................................£69 50 F4.5 W .............................£199 65 F4 box M- ......................£399 90 F3.5 W M- box ..............£299 127 F3.5 box .......................£299 180 F4.5 W box ..................£199 Pro shade...............................£49 MINOLTA/SONY DIGITAL USED Sony RX100 MKII................ £299 Sony A7 RII body box.....£1999 Sony A7 body...................... £639 Sony A99 body box ........£1099 Sony A77 body box .......... £429 Sony A350 body................. £149 Sony VGB30AM .....................£79 Sony VGC70AM .................. £139 Sony HVL-F58AM .................. £199 Sony HV56AM ........................ £199 Sony HVL-F32X .........................£79 Sony F20AM...............................£59 SONY NEX USED FE 16-35 F4 ZA OSS..............£899 FE 24-70 F4 ZA OSS..............£599 FE 35 F1.4 ZA M- box ..........£999 FE 70-200 F4 GSS ..................£799 MINOLTA/SONY AF USED Dynax 9 body M- box .....£349 9000 body .............................£79 800Si body ............................£69 700Si + VC700 ......................£69 700Si or 7xi body ea ..........£49 Dynax 5 body...........................£39 505Si Super ............................ £25 300Si or SPXi body ea .......£19 20 F2.8 box .........................£249 20-35 F3.5/4.5 M- box .....£249 24 F2.8 ..................................£169 24-50 F4 ...............................£149 28 F2.8 ....................................£99 28-80 F4/5.6..........................£39 28-85 F3.5/4.5 ......................£99 28-100 F3.5/5.6 D ...............£49 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 50 F2.8 macro .........................£149 75-300 F4.5/5.6 ........................ £99 85 F1.4 box...............................£599 100-300 F4.5/5.6 APO£169/179 500 F8 mirror...........................£349 VC700 grip.................................. £49 VC600 grip.................................. £39 RC1000S/L cord ....................... £15 AW90............................................. £49 MD90 + BP90-M ...................... £79 Angle finder VN........................ £99 SONY LENSES USED 16-35 F2.8 ZASSM box ......... £899 16-50 F2.8 SSM.......................£349 16-70 F4 ZA OSS M- box ....£599 16-80 F3.5/4.5 ZA box.........£369 18-55 F3.5/5.6 SAM ................ £59 18-200 F3.5/6.3 DT ...............£199 18-250 F3.5/6.3 DT ...............£299 24-70 F2.8 ZE SSM ................£749 50 F1.4 box...............................£249 70-300 F4.5/5.6 SSM box...£549 1.4x conv M- box...................£249 SIGMA MIN/SONY AF USED 28-135 F3.8/5.6 ......................£79 28-300 F3.5/6.3 mac ......... £149 50 F1.4 .................................... £149 55-200 F4/5.6 .........................£69 70-300 F4/5.6 DG OS ......£189 600 F8 ...................................£299 1.4x EX DG conv box .......£119 TAM 18-270 F3.5/6.3 DiII PZD box ........................£199 TAM 70-300 F4.5/5.6 Di box......................................£89 TAM 90 F2.8 .............. £199/249 TOK 17 F3.5 ATX Pro ........£299 Teleplus 1.4x conv ..............£69 Teleplus 2x conv .................£79 Kenko 1.4x Pro 300DG ....£149 Min 3600HSD .......................£39 Min 5400HS ..........................£69 Min 5600HSD M-.................£99 NIKON DIGITAL AF USED D4s body box ..................£3399 D4 body box....................£2499 D3s body box ..................£1799 D3 body box...........£999/1299 D2Xs body box ..................£399 D2X body box ....................£299 D810 body box...............£1749 D800E body box ...£999/1199 D800 body box......£999/1199 D700 body box........ £599/699 D600 body M- box ...........£699 D300 body box..................£299 D200 body box..................£199 D7200 body box ...............£599 D7100 body box ..... £399/479 D7000 body .............. £299/349 D5200 body ........................£249 D5000 body ........................£169 D3200 body red ................£149 D3100 body ........................£149 D90 body .............................£199 D80 body .............................£169 D70 body ...............................£79 D70s body .............................£79 MBD-15 M- box .................£169 MBD-10 grip M- box ........£149 NIKON AF USED F4 body ................................£349 F4E body ..............................£299 F4S body .................... £249/399 F801s body ...........................£39 F801 body ...................... £29/59 F601 body .............................£29 12-24 F4 DX............................£449 14-24 F2.8 AFS ................£999 16 F2.8 AFD M- box ............£529 16-85 F3.5/5.6 AFS VR ...£299 17-35 F2.8 AFS ......................£799 17-55 F2.8 AFS ......................£449 18-55 F3.5/5.6 VRII..................£99 18-70 F3.5/4.5 AFS ..............£119 18-135 F3.5/5.6 AFS DX ....£149 18-140 F3.5/5.6 VR DX M- £269 18-200 F3.5/5.6 AFS VRII...£399 18-200 F3.5/5.6 AFS VRI ....£279 20 F2.8 AF...................... £299/329 24 F1.4 AFS G M- box ........£899 24 F2.8 AFD ............................£299 24-50 f3.5/4.5 AF..................£129 24-70 F2.8 AFS box ... £799/999 24-120 F4 VR............................£499 24-120 F3.5/5.6 AFS VR ......£299 28-70 F2.8 AFS........................£299 28-80 F3.3/5.6 G....................... £69 28-85 F3.5/4.5 AF ..................£119 28-100 F3.5/5.6 AF G ............. £69 28-105 F3.5/4.5 AFD box...£149 28-300 F3.5/5.6 VR................£499 40 F2.8 AFS DX M- box.......£149 50 F1.4 AFS .........................£239 50 F1.8 AFD...........................£99 50 F1.8 AF ..............................£79

55-300 F4.5/5.6 AFS VR...£199 60 F2.8 AFD.........................£249 60 F2.8 AF ............................£199 70-200 F2.8 AFS VRII box .................................£1299 70-300 F4/5.6 VR M- ........£329 70-300 F4/5.6 AFD ...........£149 70-300 F4 G...........................£79 80-200 F2.8 AFD N ...........£599 80-200 F2.8 early .... £249/329 80-400 F4.5/5.6 AFS ......£1199 80-400 F4.5/5.6 VR ...........£499 85 F1.4 AFS M- box ..........£999 85 F1.4 AFD............... £499/599 85 F1.8 AF ............................£169 105 F2.8 VR .........................£479 105 F2.8 AFD ......................£399 180 F2.8 AFD M- box .......£499 200 F2 AFS VRI ................£2499 200-400 F4 AFS VRI .......£2999 300 F2.8 AFS VRI ............£2699 300 F2.8 AF ED...................£799 300 F4 AFS M- box ...........£699 300 F4 AFS box..................£599 400 F2.8 AFS E FL ED VR £6999 400 F2.8 AFS non VR Grey£3399 500 F4 AFS VR .................£4499 500 F4 AFS Mk1.. £2699/2999 600 F4 AFS VR .................£4899 TC14EIII.................................£389 TC14EII box .........................£239 TC17EII ..................................£269 TC20EIII M- box .................£279 TC20E box ...........................£149 Kenko MC7............................£69 Teleplus Pro300 1.4x..........£99 SIGMA NAF USED 18-50 F2.8 EX DC Mac.........£199 18-250 F3.5/6.3 DC OS ......£199 28-300 F3.5/6.3 early..........£129 50 F1.4 DG Mint ......... £199/239 50 F1.4 Art ...........................£499 50 F2.8 EX ............................£119 50-500 F4/6.3 DG OS .......£499 50-500 F4/6.3 DG..............£399 70 F2.8 EX Macro ..............£149 70-300 F4/5.6 Apo DG ......£99 120-400 F4/5.6 DG OS ....£449 1.4x EX DG M- .........................£139 1.4x EX conv .............................. £99 2x EX DG conv ........................£159 TAMRON NAF USED 10-24 F3.5/4.5 DiII .................£239 17-50 F2.8 XR Di.....................£199 18-250 F3.5/6.3 ......................£169 18-270 F3.5/6.3 ......................£189 28-300 F3.5/6.3 ........................ £99 70-300 F4/5.6 ............................ £79 OTHER NAF USED TOK 11-16 F2.8 ATX Pro..£349 TOK 12-28 F4 ATX DX ......£399 FLASH / ACCESSORIES USED SB-24 ...............................................£49 SB-25 ...............................................£49 SB-600.........................................£149 SB-700 M- box ........................£199 SB-900.........................................£269 SB-910.........................................£289 SD-8 batt pack.......................... £49 DR-6 angle finder..................£149 DR-5 angle finder..................£149 DR-3 angle finder.................... £69 MB-16 M- box ........................... £89 MB-23 (fits F4)........................... £79 MC-30 remote .......................... £39 MF-23 (date back F4) ............ £79 NIKON MF USED F3HP body...........................£199 F3 body ................................£149 FM2n body chr ..................£179 28 F3.5 AI ...............................£99 28-85 F3.5/4.5 AIS.............£199 35 F2.8 AI ...............................£99 35-70 F3.3/4.5 AIS.............£149 35-70 F3.5 AIS ......................£99 35-105 F3.5/4.5 AIS ............£99 45 F2.8 E silv M-.................£269 50 F1.8 AIS.............................£89 50 F1.8 AIS pancake.........£139 50 F1.8 E.................................£59 85 F2 AI ................................£149 180 F2.8 AIS ED scruffy ...£199 200 F4 AIS macro ..............£279 200 F4 AIS............................£149 200 F4 AI ................................£99 500 F8 ...................................£299 TC14A....................................£129 TC14B ....................................£149 TC200 ......................................£49 TC301 ....................................£199 PN-11 box..............................£99 SC-17 TTL lead .....................£25 DW-4 6x mag find fit F3 ...£99 PK-13/PK-12 ext tube ea ..£29 OLYMPUS DIGITAL USED E3 body box........................£349 E520 body ...........................£149 11-22 F2.8/3.5 M-..............£399 12-60 F2.8/4 SWD .............£399

Used Hasselblad

Used Hasselblad

Used Leica

40mm

50mm f4 CF FLE

f4 FLE

£1199

£799

Used Nikon

Used Nikon

D3 body box

D800 body box

£999/1299

£999/1199

14-42 F3.5/5.6 ......................£49 14-45 F3.5/5.6 ......................£89 14-50 F3.8/5.6 ....................£199 14-54 F2.8/3.5 ....................£179 35 F3.5 ....................................£99 40-150 F4/5.6 .......................£49 50 F2 macro ........................£299 25mm ext tube....................£79 Sigma 105 F2.8 EX DG M_ £249 OLYMPUS PEN USED OMD-EM1 body M- box .£599 OMD E-M5 body box.......£349 OMD-EM10 body ..............£329 Pen E-PM1 + 14-42 M- ....£149 Pen E-PM1 body..................£99 Pen E-P3 body ...................£169 12-40 F2.8 Pro ....................£599 40-150 F2.8 Pro .................£899 75 F1.8 box .........................£599 75-300 F4.8/6.7 box .........£279 1.4x conv MC-14 ...............£199 HLD-7 grip box ..................£139 OLYMPUS OM USED OM-4Ti body ......................£249 OM-2SP body .....................£149 OM-2n body .......................£149 OM-1n body .......................£149 24 F2.8 ..................................£169 28-48 F4 .................................£99 35-105 F3.5/4.5....................£99 50 F3.5 macro ......................£89 300 F4 ...................................£199 PANASONIC DIGITAL USED LX7 compact box..............£219 LX5 compact ......................£129 LX5 viewfinder VF1 ............£99 G3 body box .......................£129 G1 body box .........................£99 GF1 body ................................. £79 14 F2.5 .......................................£169 14-42 F3.5/5.6 ......................£79 14-45 F3.5/5.6 ....................£149 20 F1.7 ...................................£179 25 F1.4 ...................................£299 30 F2.8 macro ....................£239 45-200 F4/5.6 box ............£199 100-300 F4/5.6...................£349 BG-GH3 grip .........................£99 FZ-200 ...................................£199 PENTAX DIGITAL AF USED K5 II body box ....................£399 K5 body box .......................£299 PENTAX 35mm AF USED MZ5N body ...........................£69 10-17 F3.5/4.5 ED .............£239 16-50 F2.8 ............................£399 17-70 F4 SDM M- box .....£349 18-55 F3.5/5.6 ......................£29 18-135 F3.5/5.6 WR ..........£299 20-35 F4 box ..........................£229 28-70 F4 AL ................................ £59 28-80 F3.5/5.6 ......................£49 28-90 F3.5/5.6 FA ................£69 40 F2.8 Limited M- ............£249 50-135 F2.8 SDM...............£399 50-200 F4/5.6 WR................£99 55 F1.4 SDM M- .................£499 55-300 F4/5.8 ED box......£229 70 F2.8 Limited ..................£349 70-300 F4/5.6 .......................£79 540FGZ flash ......................£239 SIGMA PKAF USED 12-24 F4/5.6 EX DG Mint ..£399 35 F1.4 Art box ..................£399 50-500 F4/6.3 DG..............£429 70-300 F4/5.6 DG................£79 TAM 17-35 F2.8 XR Di ......£199 PENTAX 645AF USED 645N body ..........................£399 120 insert...............................£49 PENTAX 645MF USED 645 + 75 F2.8 ......................£249 645 body + insert .............£199 45-85 F4.5 ............................£299 55 F2.8 ..................................£249 150 F3.5 EX++ ....................£149 200 F4 ..................................£149 120 Insert M- box................£49 PENTAX 67 USED 45 F4 ......................................£249 165 F4 leaf latest ...............£249 200 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 ROLLEI USED 2.8F + case serviced.........£899 SAMSUNG USED NX30 + 18-55 blk ..............£329 NX10 + 18-55 .....................£199 50-200 F4/5.6 III M- box ..£119 60 F2.8 SSA M- box...........£249 VOIGTLANDER USED 15 F4.5 + VF M- box .........£269 MORE ON WEBSITE WWW.MIFSUDS.COM

Used Leica

35mm f2 M39 M- box

50mm f1.4 M-

£1799

£1799

Used Nikon 14-24mm f2.8 AFS

£999

Used Nikon

24mm f1.4 AFS M- box

£899

Used Nikon

80-400mm f4.5/5.6 AFS

£1199

Used Nikon

85mm f1.4 AFS M- box

£999

Used Nikon 200mm f2 AFS VRI

£2499

Used Nikon

200-400mm f4 AFS VRI

£2999

Used Nikon

300mm f2.8 AFS VRI

£2699

Used Nikon 300mm f4 AFS

£599/699

Used Nikon

400mm f2.8 AFS E FL ED VR

£6999

Used Nikon 500mm f4 AFS VR

£4499

Used Nikon 500mm f4 AFS MKI

£2699/2999

Mail order used items sold on 10 day approval. Return in ‘as received’ condition for refund if not satisfied (postage not included - mail order only). E&OE.

THE SOCIETY’S COLLECTION 320 | TIMES PAST | FROM

Ray-Jones documented New Orleans’s jazz and blues culture

Sweet Gospel Singers

This noteworthy image captures Tony Ray-Jones’s twin passions of photography and music York street photography and working alongside Joel Meyerowitz, his early colour work is vibrant.

These ‘isolated sketches’ are stylistically different from his more familiar monochrome images, which he developed on his return to the UK in 1965, and which were the subject of last year’s Only in England exhibition (a showcase of work by Ray-Jones and Martin Parr HonFRPS, who credited the former as a profound influence).

Ray-Jones, who would be celebrating his 75th birthday this year, was disappointed that photography was not taken as seriously in the UK as it was in the USA, and despite his growing reputation he was keen to return to America.

He was offered a teaching post in San Francisco and returned in early 1971.

320 / THE RPS JOURNAL / APRIL 2016 / VOL 156

Although he did not, reputedly, enjoy teaching, he continued to work on various commissioned pieces for magazines which gave him the opportunity to photograph and document many aspects of America.

What is clear from his extensive archive is that he had an abiding interest in musicians, especially jazz and blues artists. There are

many subtle and sensitive portraits, often taken at home. But in this photograph he captures the essence of performance and place. It is hard to image that this scene could be anywhere else but New Orleans. And perhaps that is Tony Ray-Jones’s greatest attribute – to sum up, in a single image, a complete story.

PETER HARVEY ARPS

Tony Ray-Jones (1941-72) saw America as a ‘colour-conscious country’

ROYAL PHOTOGRAPHIC SOCIETY COLLECTION/NATIONAL MEDIA MUSEUM; NATIONAL MEDIA MUSEUM/SCIENCE ! SOCIETY PICTURE LIBRARY

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n December 1971, Somerset-born photographer Tony RayJones took hundreds of pictures of musicians in New Orleans. Three months later he died of leukaemia – at the age of 30.

His passion for two of his great loves – music and photography – shines through in these images, despite the fact that he was already showing signs of the illness that was to end his life.

Although he rarely titled his works, this one (part of a set of 36 Kodachrome transparencies) has two – Sweet Gospel Singers and Street Singers. The image encapsulates the style that he had developed over the years.

Having left the London College of Printing in 1961 on a scholarship to Yale, he began the process of finding his photographic vision.

Clearly influenced by New

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