The RPS Journal August 2016

STEPHEN DALTON

EYE TO EYE WITH THE WILDLIFE PIONEER

AUGUST 2016 / VOLUME 156 / NUMBER 8 / WWW.RPS.ORG

FIELDS OF VIEW

MASTERCLASS

FOCUS ON 40 YEARS OF THE NATURE GROUP

HOW TO TAKE LONG!EXPOSURE LANDSCAPES

Š Sandra Åberg

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| AUGUST 2016 | 561

OPENING SHOT NATURAL SELECTIONS

T COMING UP

IN FUTURE ISSUES Professional photographer Rory Lewis presents a portraiture masterclass, Joe McNally FRPS reveals his best shots and Stacy Kranitz shares insights into her immersive style of documentary photography

PRINCIPAL PATRONS

he results are now in from this year’s members’ survey, the outcome of which will help the Society’s council, staff and trustees plan ahead for the coming two years.

For me, the results not only reveal how effective members find the Journal when it comes to communicating everything the Society offers, it also opens my eyes to how involved so many of you are in regional and special interest groups.

It’s with this in mind that the August issue – to help celebrate the 40th anniversary of the Society’s very own Nature Group – has something of a natural theme.

Starting on page 608, we take a look at the work of key members of the group and hear how membership has helped them make progress as photographers.

In my opinion, no review of natural history photography would be complete without the great Stephen Dalton HonFRPS, who is this issue’s cover photographer. For decades he has been a pioneer in his field, and it is fascinating to read how he solves problems through sheer ingenuity and technical skill, customising kit where necessary. And, above all else, his photographs are breathtaking.

MAJOR PARTNERS

This month’s Distinctions pages are given over to recent ARPS recipients who use images of flowers in their panels. Although not submitted under the Natural History category – they are all Creative submissions – the panels are nonetheless celebrations of the natural world, and a joy to see after a so far unseasonably wet summer.

It’s great to have two such prominent parts of the Society – special interest groups and Distinctions – take centre stage in the Journal.

Also in this issue, we speak to Society member Ian Wright who began his career as a press photographer when he was in his teens, taking photos of the burgeoning youth-culture scene in the north-east of England while working under Harold Evans. A blessed life, and one he’s more than willing to share with the Journal and its readers.

ANDREW CATTANACH Acting editor

SUPPORTING PARTNERS

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562 | AUGUST 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 Preasident 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

572 St Andrews proves it's not all about the golf as its photography festival gets in full swing

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, Victoria Axelson, Raymond Francis Sub-editor Sam Bartlett Advertising sales Helen Rosemeir helen.rosemier@thinkpublishing.co.uk 020 3771 7230

FEATURES

Group account director John Innes © 2016 The Royal Photographic Society.

All rights reserved.

600 | SPEED MERCHANT A fascinating catch-up with photographic pioneer Stephen Dalton HonFRPS

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.

608 | WILD THINGS Key players in the Nature Group reveal what makes their hearts sing

Circulation 11,237 (Jan-Dec 2015) ABC ISSN: 1468-8670

Frog in Duckweed

by Stephen Dalton HonFRPS

592 Roy Orbison – just one of the pop and rock luminaries captured by Ian Wright

562 / THE RPS JOURNAL / AUGUST 2016 / VOL 156

GROUP IN THE STREET WITH A HORSE AND CART, RYE HILL, 1968 BY CAROLYN SCOTT, COURTESY OF THE UNIVERSITY OF ST ANDREWS; ROY ORBISON BY IAN WRIGHT; DAVID OSBORN FRPS

592 | TEENAGE CLICKS How 16-year-old Ian Wright came to chronicle the rise of youth culture and some of the biggest names in pop and rock

Account director Helen Cassidy helen.cassidy@thinkpublishing.co.uk

608

Atlantic grey seal by David Osborn FRPS, one of the Nature Group stalwarts

THE CRAFT

EVERY MONTH

619 | MUST TRY ) LATEST KIT The medium-format Hasselblad X1D and a range of other gear in the spotlight, plus member test 623 | MASTERCLASS/IN DEPTH Long-exposure landscapes, and how to get the best shot – come rain, shine, hail or cloud

564 | BIG PICTURE Beaumont-Hamel by Marc Aspland HonFRPS 567 | IN FOCUS ) BOOKS The Society survey, plus news, events and four works reviewed 578 | DISTINCTIONS Four flower-themed successes in the ARPS Creative category, and how to submit a panel on screen

SUSAN BROWN FRPS

614 | SHOWCASE The Digital Imaging Group 629 | MEMBER GUIDE Society events both near and far

623 Susan Brown FRPS advocates the slow approach to landscape photography

640 | TIMES PAST Autumn by Violet K Blaiklock FRPS VOL 156 / AUGUST 2016 / THE RPS JOURNAL / 563

564 | BIG PICTURE |

Beaumont-Hamel

By Marc Aspland HonFRPS THE CONCEPT

While in France with the England football team, at their training base in Chantilly for Euro 2016, I visited a small area in the VallĂŠe de Somme to photograph the WWI battlefield BeaumontHamel. The trip coincided with the anniversary of the Battle of Somme, fought between July and November 1916.

on the first day of the battle but wasn’t taken until late November. It has the graves of 383 British and 45 Newfoundland men.

TECHNIQUE

I used a Canon 1D X with a Canon 45mm tilt-and-shift lens. This enabled me to condense the field of view from our usual vertical plane to either horizontal or very tight vertical, thus focusing our attention on the subject.

THE SITE

The valley is preserved as a living monument to those who died in the war and the vast area includes trenches and shell craters. Known as the Y Ravine, this section was briefly reached

Marc Aspland has worked at the Times for more than 25 years, where he is chief sports photographer. He was made an Honorary Fellow of the Society in 2014

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VOL 156 / AUGUST 2016 / THE RPS JOURNAL / 565

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567

BY ROYAL APPOINTMENT Society banner in Mall parade 569

BEST IN SHOW Our pick of the UK’s exhibitions 572

LIGHTS, CAMERA, ACTION Honorary Fellow’s film treatment 569

INFOCUS NEWS, VIEWS, EXHIBITIONS AND MEMBER INSIGHT

NATIONAL PORTRAIT GALLERY ACQUIRES MEMBER’S WORK

Institution welcomes Josh Olins’ donation of headline-making Duchess of Cambridge images The National Portrait Gallery has acquired photographs of the Duchess of Cambridge taken by portrait and fashion photographer Josh Olins.

For those unfamiliar with the name, Olins, who recently joined the Society, got a lot of press attention for taking the relaxed portraits of the Duchess of Cambridge in the Norfolk countryside for the centenary issue of British Vogue, which he has now donated to the National Portrait Gallery in London.

‘This was the duchess’s first sitting for a magazine and she was a joy to work with, a natural,’ says Olins.

Two of the five portraits can be viewed in the exhibition Vogue 100: A Century of Style at Manchester Art Gallery until 30 October. Visit manchesterartgallery.org

© JOSH OLINS

Olins: ‘duchess was a natural’

BOOK NOW!

STUDIO PORTRAITURE WORKSHOP

Why not sign up to this Society event on Saturday 22 October in Lacock, Wiltshire? For more information see page 632 VOL 156 / AUGUST 2016 / THE RPS JOURNAL / 567

568 | IN FOCUS |

AMATEURS SHINE IN TRAVEL COMPETITION

Duo go head-to-head with pros

The winners of the 2016 National Geographic Travel Photographer of the Year have been announced, with a particularly strong showing from amateur photographers.

Hong Kong-based Anthony Lau was named overall winner for an image of a Mongolian horseman.

Another finalist entry came from Jeremy Tan, who lives in Malaysia. His image shows lightning seemingly striking the Komtar Tower, an iconic landmark in George Town, the capital of Penang state.

‘The tower is symbolic of the rejuvenation that the city, famous for a unique blend of centuries-old buildings and modern structures, has enjoyed in recent years,’ said National Geographic.

See the full list of winners at travel.nationalgeographic.com

How one Society member got his image from Greenland accepted by two major publications

Big Heli, which featured in National Geographic and the Daily Telegraph 568 / THE RPS JOURNAL / AUGUST 2016 / VOL 156

If you’re frustrated that your best travel images are not getting much exposure, take heart from the story of Philip Field ARPS. Field has done well in a series of Society competitions, and an image of his from Greenland has been selected by both the Daily Telegraph (in its weekly Big Picture competition) and National Geographic (via its Your Shot website).

‘National Geographic’s picture editors are continually scanning the Your Shot site – anyone can upload images, so I really recommend other Society members try it out,’ says Field.

‘I’ve even sold pictures to National Geographic via Your Shot, so the exposure is fantastic.

It’s worth trying the Daily Telegraph competition too.’

See yourshot.national geographic.com and telegraph. co.uk/travel/the-big-picture

© PHILIP FIELD ARPS; © JEREMY TAN

WELCOME EXPOSURE

| IN FOCUS | 569 FROM WALTER BENZIE HonFRPS

A PARTY FIT FOR A QUEEN Honouring the Society’s royal patron

I

IN PRODUCTION

HELGA ESTEB / SHUTTERSTOCK.COM; BEN FOX ARPS

McCULLIN MOVIE IS NOW ON

Tom Hardy will portray Don McCullin

t was a great honour to be at the patron’s lunch on the Mall by Buckingham Palace on Sunday 12 June. This was London’s largest ever street party, with more than 10,000 guests.

The celebration was to recognise the wonderful support our monarch has given the community over her 63-year reign.

Society vice-president Robert Albright and Ben Fox from the Distinctions department joined me, and together we were hosts for a small group of members that had been selected by a ballot. Our guests came from all corners of the UK and from such diverse parts of the globe as Japan and Mexico.

Sadly the day started with torrential rain, but by early afternoon the weather cheered up and we were able to enjoy the parades with choirs and marching bands. It was a revelation to see just how many charities and good causes the Queen personally supports – more than 600, I believe.

We were delighted to see our own Royal Photographic Society banner on parade and soon after we had the unexpected pleasure of

meeting HRH Prince William and the Duchess of Cambridge. As you will know, the duchess is a very keen photographer and she told us that despite being at heart a landscape aficionado, she had recently become much more of a portraitist.

We were very restricted as to what cameras were permitted (no DSLRs) so most guests used their mobile phones.

It made me realise what a difficult job a professional photographer would have to properly cover an event such as this.

Finally, the Queen and Prince Philip drove along the Mall in an open-topped car to explosive cheers from the crowd. What a day – and what a great tribute to Her Majesty.

Walter Benzie HonFRPS President of the Royal Photographic Society

Tom Hardy, nominated for an Oscar for his supporting role in The Revenant, is to play Don McCullin HonFRPS in a new film about the life of the well-known war photographer. The film is said to be based on McCullin’s autobiography Unreasonable Behaviour.

See bit.ly/donmcmovie The Duchess of Cambridge – a keen photographer – meets attendees VOL 156 / AUGUST 2016 / THE RPS JOURNAL / 569

570 | IN FOCUS |

THE MINDFUL MOMENT

New course encourages more contemplative photography

Scriven aims to teach photographers to connect more fully with the present moment

RECOGNISING VOLUNTEERS Well done to members who have given their service to the Society FOUR TO EIGHT YEARS’ SERVICE Moira Ellice ARPS Charles Wale

John Speller Richard Lewis ARPS Colin Howard ARPS Hazel Frost FRPS

EIGHT TO TWELVE YEARS’ SERVICE Trevor Gellard FRPS Monica Weller FRPS David Shaw ARPS Hillary Shaw ARPS Keith Pointon LRPS

‘My course will include procedures and techniques to help every photographer connect more fully with the present moment, the goal being to help restore peace and balance in our bodies and minds. It will also be a lot of fun.’

The course takes place on 30 September at the Amersham Studios in Buckinghamshire.

For details, go to rps.org/ learning/workshops

New Society tutor Andrew Scriven

TWELVE YEARS’ AND OVER SERVICE Margaret Johnson LRPS Jenny Ford ARPS Dawn Osborn FRPS David Osborn FRPS Maureen Albright ARPS

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570 / THE RPS JOURNAL / AUGUST 2016 / VOL 156

23/03/2016 15:06 15:27 16/06/2016

© ANDREW SCRIVEN

Photographers talk a lot about gear and technique, but have you considered the importance of mindfulness in image making? The Society is working with a new tutor, Andrew Scriven, who is running a course entitled How Mindfulness and Meditation Links to Photography.

Scriven, a finalist in the 2011 Sony World Photography Awards and 2010 National Geographic International Photo Contest, believes there is a whole other area of photography Xxxxxxxxxxxx that can be explored if xxxxxxxxxxxxxxxxxxxxxxx we approach it in a more meditative and ‘aware’ way.

‘I recently ran a workshop on street photography at the Photography Show and had former soldiers come up to me afterwards saying how photography helped them to heal,’ explains Scriven.

| IN FOCUS | 571

365 AN OLD MAN’S GARAGE BELOW

By Rui Ma I remember photographing the 50-year-old Malaysian Chinese owner of this garage while he was standing smiling, wearing nothing more than his boxer shorts.

There’s an old Chinese saying – ‘not pleased by external gains, not saddened

JUNE’S ONLINE COMPETITION WINNERS

ADVENTURE

GET INVOLVED

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

FOLLOW THE LEADER

By John Holt ARPS This image features a party of French police cadets on a survival exercise on the Glacier de la Meije in the Dauphiné Alps. The chief peak, Barre des Écrins, reaches an incredible 13,458ft.

The image was captured using a Nikon D70s coupled to a Nikkor 70-300mm lens stopped down to at least f/16. As the climbers were roughly two miles away, I managed to jam the lens against a wooden post and grab the shot.

by personal losses’ – and I think this is the attitude by which he lives his life.

This mantra of living as he chooses spurred him on to collect all of these objects over the years and install them in his garage.

The image was shot using a Sony a7S with a Leica 50mm lens, with ISO 400, f/1.4, at 1/50sec.

THE TEMPLE OF THE MOON ABOVE

By Ann Cook FRPS This photograph was shot on a journey through Yemen several years ago – long before the huge rise in digital photography’s popularity.

I used a Canon EOS 1N,

Velvia film, 28-135mm lens and an exposure of 1/30sec.

After my husband and I arrived at the Temple of the Moon, this young man appeared out of nowhere and promptly began bridging up the pillars, where he stayed

for what seemed like an age. The remains of the temple would certainly not have been as interesting without him. Sadly, beautiful Yemen is too dangerous to visit nowadays but, for us, it was an unforgettable adventure.

VOL 156 / AUGUST 2016 / THE RPS JOURNAL / 571

572 | IN FOCUS |

WHAT NOT TO MISS EDWARD BARBER Imperial War Museum, London UNTIL 4 SEPTEMBER

An exhibition of documentary photographer Edward Barber’s images of the anti-nuclear protest movement in 1980s Britain. They appear alongside an installation entitled Mind Map of Anti-Nuclear Protest to create a social record of different responses to war. bit.ly/barberiwm

ST ANDREWS PHOTOGRAPHY FESTIVAL Various venues 1 AUGUST ' 11 SEPTEMBER

As well as golf, St Andrews is closely associated with photography and the town is currently holding its first photography festival.

A wide range of work is on display, including historic images by local photography pioneer Dr John Adamson.

He taught his brother Robert Adamson, who went on to form the seminal documentary partnership with David Octavius Hill, as well as Thomas Rodger – who set up the first photographic studio

in the town in 1849 while still a teenager.

Contemporary photographers are also strongly represented with headliners including Calum Colvin, Document Scotland, Robert Moyes Adam, Alicia Bruce and more. facebook.com/ StAndPhotoFest

JO SPENCE Stills Centre for Photography, Edinburgh UNTIL 16 OCTOBER

A showcase of the late photographer’s output, including collaborative images produced in 1981 by the Polysnappers – a group that included Spence and three fellow students from the Polytechnic of Central London. stills.org/exhibitions/current

1,000 YEARS OF ART IN THE ENGLISH PARISH CHURCH Christ Church, Eaton

WILLIAM EGGLESTON: PORTRAITS National Portrait Gallery, London

SYD SHELTON: ROCK AGAINST RACISM Impressions Gallery, Bradford

6$14 AUGUST

UNTIL 23 OCTOBER

UNTIL 3 SEPTEMBER

Mike Trendell FRPS will be exhibiting a range of images at this historic church, making this a must-see for aficionados of architectural and ecclesiastical photography.

Trendell is also the author of English Parish Churches (Blurb Books). bit.ly/miketrendell

A major exhibition of 100 works by this pioneer of colour photography.

The show includes large prints of two iconic photographs: one portraying Eggleston’s uncle Adyn Schuyler Senior, the other of Devoe Money (above). npg.org.uk/whatson/ eggleston

Shelton’s images capture a pivotal moment in British culture when musicians and political activists combined to fight racism through music.

Featured bands include The Clash, Sham 69, Aswad, Elvis Costello and The Specials. bit.ly/rarsheldon

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FOUR GENTLEMEN GOLFERS IN A CAR, ST ANDREWS, 1904. BY JOHN FAIRWEATHER, HELD IN COWIE COLLECTION. COURTESY OF THE UNIVERSITY OF ST ANDREWS LIBRARY; EDWARD BARBER; JO SPENCE; SYD SHELTON; WILLIAM EGGLESTON; MIKE TRENDELL FRPS

ALSO SHOWING

Exhibitionism: The Rolling Stones Saatchi Gallery, London Until 4 September Terence Donovan: Speed of Light The Photographers’ Gallery, London Until 25 September The English Garden Beyond the Image Photographers’ Gallery, Suffolk Until 25 September Painting with Light Tate Britain, London Until 25 September Newbury Camera Club Print Exhibition West Berkshire Museum, Newbury Until 2 October

| SURVEY | 573

THE SOCIETY IN FOCUS From Distinctions to informing our future direction, members have their say

Like all membership organisations, we at the Society benefit from member feedback. That’s why every two years we conduct a member-wide survey that asks questions about your relationship to the Society and to photography in general.

Understanding what you hope to get from your

membership, and how well we communicate the many benefits the Society offers, helps us review our priorities and plan ahead.

The survey also allows us to ensure that decisions the staff and trustees make about the Society’s direction reflect members’ interests.

Of the 1,508 members who completed the

WHAT ARE YOUR MAIN REASONS FOR BELONGING TO THE SOCIETY?

ARE YOU INTENDING TO APPLY FOR A DISTINCTION OR QUALIFICATION IN 2016%17? IF SO, AT WHAT LEVEL?

57%

Receive the Journal

42%

Join a Special Interest Group Be part of a Region or Chapter

20%

Enter a Society competition/exhibition

20%

Camera club Another organisation

27%

THINK THE JOURNAL IS GOOD OR ABOVE

HAVE A PHOTOGRAPHY QUALIFICATION

60%

54%

ARE MEMBERS OF A SPECIAL INTEREST GROUP

ARE MEMBERS OF A LOCAL PHOTOGRAPHIC SOCIETY

53%

66%

WOULD CONSIDER TAKING A COURSE OR A PHOTOGRAPHY HOLIDAY

RATE THE OVERALL VALUE OF MEMBERSHIP AS GOOD OR ABOVE

7%

60% 59%

Books

Yes

Photo magazines

64%

Magazine-cover CDs

1% 11% 24% 28%

7%

82%

42% 50% 48%

Friends

39%

Meet people with similar interests

If you would like to see a fuller set of results, please email michael@rps.org

The Society

62%

Improve photography skills

Most members (71%) go to the Society website to find out more information about Distinctions, with the Journal the second most popular destination at 50%, followed by advisory days at 40%.

WHERE DO YOU GO TO LEARN NEW TECHNIQUES OR TO IMPROVE YOUR PHOTOGRAPHY?

70%

Distinctions and qualifications

Other

survey, more than half describe themselves as amateurs, with 11% being semi-professional and 10% professional.

When asked about Distinctions, 64% intend to apply for a Distinction in 2016-2017, with ARPS being the most popular at 28%, followed by LRPS with 24%, and FRPS with 11%.

50% 19% 16% 14% 12% 9% 1%

Other FRPS LRPS ARPS

Online course

8% 14% 52%

Search online e.g.YouTube I don’t need to improve Other

2%

19%

Other NVQ/vocational qualification A Level Undergraduate degree Professional qualification Master’s degree PhD

VOL 156 / AUGUST 2016 / THE RPS JOURNAL / 573

574 | IN FOCUS |

NURSING PHOTO COMPETITION WINNERS

REGIONAL SPOTLIGHT

Society-supported contest attracts 800 entries

The winners of the Royal College of Nursing’s photography competition, held in conjunction with the Society, have been announced. The gold award went to Anthony Baines for his image of a community nurse dressing the wound of an elderly patient in his flat.

‘All the entries highlighted to me the different people

who are nurses and the range of roles they undertake,’ said Society director-general Michael Pritchard, a member of the judging panel. ‘The competition also emphasised to me the range of skills, technical and emotional, that they bring to their role, usually with a smile.’

See bit.ly/nursingwinners

AZ-in-yard

by Robert Albright FRPS

AUDIO VISUAL

The gold awardwinning image

CLIVE ARROWSMITH GAINS FELLOWSHIP Last month’s Journal cover artist achieves Society Distinction Clive Arrowsmith has become a Society Fellow. He is well known for shooting the cover of Band on The Run for Paul McCartney and Wings, photographing the Dalai Lama, and numerous fashion and celebrity shoots.

In this issue we speak to Audio Visual Group chair Howard Bagshaw ARPS

‘I hope I can be some help to the Society in the future,’ said Arrowsmith.

‘I’d like to extend my thanks to all who made this possible, and especially to Jeff Vickers, who introduced me to the Society.’

IN A NUTSHELL Three-quarters of our 200 members hold Distinctions – many in Audio Visual and Multimedia – and 34 have achieved Fellowship.

We produce a quarterly magazine for members and enthusiasts, which helps

See more of Clive Arrowsmith’s work at clivearrowsmith.com

keep the community connected. Audio Visual is all about presenting photographs in a structured way, enhanced by an audio track of music and words, to tell a compelling story.

For many members, the medium’s facility to convey

NOTICE OF THE ANNUAL GENERAL MEETING OF THE ROYAL PHOTOGRAPHIC SOCIETY OF GREAT BRITAIN

REGISTERED CHARITY NO. 1107831 Notice is hereby given that the annual general meeting will be held at the Society’s registered office, Fenton House, 122 Wells Road, Bath BA2 3AH on Saturday 24 September 2016 at 10:15am.

The business of the meeting will be: To receive the minutes of the 2015 annual general meeting as previously circulated.

To approve the trustees’ report and accounts for the year ended 31 December 2015 as previously circulated.

574 / THE RPS JOURNAL / AUGUST 2016 / VOL 156

To authorise the council of The Royal Photographic Society of Great Britain to appoint and to agree a fee for The Society auditors in 2016.

By order of the trustees.

Dr Michael Pritchard Director-General

Note: the minutes of the 2015 annual general meeting, together with the trustees’ report and accounts, are available as a download from the Society’s website. Any member wishing to obtain a printed copy of the above documents should contact: Dr Michael Pritchard, Director-General, The Royal Photographic Society, Fenton House, 122 Wells Road, Bath BA2 3AH. Tel: +44 (0)1225 325730 (direct line) or email: director@rps.org

ANTHONY BAINES; ROBERT ALBRIGHT FRPS; GRAHAM SERGEANT FRPS

AGM

| IN FOCUS | 575 NEWS IN BRIEF

IPE SELECTORS ANNOUNCED

Top social documentary photographer Dougie Wallace, Photoworks’ director Celia Davies and Sunday Times Magazine picture editor Russ O’Connell are among the selectors for this year’s Society International Print Exhibition 159.

The selectors will announce 100 prints for the touring exhibition at the end of August.

The exhibition will then tour the UK from this October to August 2017, and the Society will be announcing full dates and venues shortly. See rps-international.org/about

Image by Graham Sergeant FRPS

AZ graffiti street

by Robert Albright FRPS

SOCIETY AWARDS TICKETS

narratives is what attracts them to it the most.

Medal for their contributions to photography and AV.

NOTABLE MEMBERS The vice-president of the Society, Robert Albright FRPS, is an active member of the group and was the winner of last year’s national championships. Group members, including Sir George and Lady Pollock, Ray Brightman, Colin Balls and Peter Coles, have been awarded the RPS Fenton

CHALLENGES Like all aspects of photography, AV is continually evolving, so we provide support and motivation to members across the country via workshops. Through this approach, the group hopes to encourage many more photographers to try making AVs.

The Society’s awards ceremony will be held at the Royal Society, London, on 15 September. Tickets are available to members but are limited and are allocated on a first-come, first-served basis.

Please contact Jo Macdonald, awards manager, for a ticket and further information: jo@rps.org

UPCOMING EVENTS The flagship event in the group’s calendar is the annual RPS National and International AV Championships. Held in Cheltenham between 23-25 September, the event sees more than 80 AVs critiqued by audiences and judges alike. The impact of the medium is best seen at such an event, where cinemasized screens immerse viewers in the work.

Matilda Temperley at the 2015 awards

DISTINCTIONS SUCCESSES Well done to members on their recent achievements 06/16 LRPS Trevor Davies, Hampshire Clive Greenland, Wiltshire Richard Hadfield, Kent Matthew Hicks, Oxfordshire Joanna Kearney, Gloucestershire David Manning, Buckinghamshire Tim Markey, Wiltshire Darren Mcdonald, North Humberside Colin Nash, Worcestershire

Jo Pannifer, Surrey Edward Raybould, Kent Colin Robb, Glasgow James Street, Derbyshire John Michael Thorndike, South Humberside Stuart Tooley, London Philip Walton, Staffordshire Kevin Webb, North Yorkshire Sarang Bhand, India Trevor Bottomley, West Yorkshire Caroline Ludford, New Zealand

Steve Quinton, Oxfordshire Marion Sidebottom, Essex Lesley Taylor, Surrey Ajay Kumar Tharavath, India Biju Varghese, Dubai Matt Walkley, Avon 05/16 ARPS Carl Avery, Bath Gordon Brown, Hampshire Ann Chown, East Sussex Siew Thong Chu, Malaysia Malcolm English, Norfolk

Chris Jennings, West Sussex Geoffrey Squibb, Cornwall Jhy Turley, Kent George Ledger, County Durham Inna Sumra, USA 06/16 ARPS Malcolm Blenkey, Saltburn-by-the-Sea Drew Doggett, South Carolina Tricia Scott, Devon Yung Wong, Hong Kong Fiona Cadger, Berwickshire 05/16 FRPS Andrew Marker, Bristol Mike Rowe, Farnham Jo Teasdale, East Sussex

VOL 156 / AUGUST 2016 / THE RPS JOURNAL / 575

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BOOK REVIEWS

| IN FOCUS | 577

WORLD’S BEST WILDLIFE DIVE SITES Nick & Caroline Robertson-Brown New Holland Publishers (£19.99) Still in time for late summer holidays comes this sumptuous collection of top dive sites from noted underwater photographer Nick Robertson-Brown FRPS and his partner Caroline.

They select more than 30 of the best sites for underwater wildlife experiences and, as you’d expect, the photography is second to none. The duo are very conservation-driven too, so you can enjoy the dives in good conscience.

GERRY BARNETT

The red forest amusement park, Chernobyl

OUT OF SIGHT

© EDWARD THOMPSON

An intriguing collection of documentarist’s infrared analogue work

THE UNSEEN EDWARD THOMPSON Schilt Publishing (£30) Interest in infrared photography has grown in recent years, with a big spike in 2014 when Irish photographer Richard Mosse won the Deutsche Börse prize for his images of a war-ravaged Congo, taken on military surveillance film.

While it’s possible to recreate the effects digitally, there’s something nonetheless very intriguing and haunting about the look of infrared film.

In The Unseen, documentary photographer Edward Thompson presents a diverse archive of his infrared plates, taken with some of the last deadstock rolls of Kodak Aerochrome Infrared film ever made. As many Society members who are into analogue photography will testify, infrared had myriad uses in the last century, from military reconnaissance to medical photography and even ghost hunting.

Thompson calls his collection The Unseen, as infrared is about capturing things beyond the visual spectrum of the human eye. A wide range of work is presented over 12 chapters, and the emphasis is on the uncanny and

HERE TODAY Paul V Kelly CreateSpace Independent Publishing (£17.50) This is a valedictory collection of public phone boxes/booths, taken on 35mm film and developed using traditional darkroom techniques – as befits the 20th-century subject matter.

As a study of global phone facilities, Here Today works well enough, but even hardcore payphone spotters might be ready to hang up by page 140. It proves you can find subjects everywhere, however.

unsettling: subjects range from the ‘most haunted’ village in England, astrophotography, and families affected

by Indian floods to nudes, medical specimens, military paintings and more.

While this eclectic approach is to be applauded, some of the projects are more memorable than others.

The infrared portraits taken after the floods in India really jump off the page, as do the radioactive trees near Chernobyl and the dystopian images of London.

Thompson also does a wonderful job of revealing the superficial veins beneath the skin using old medical photography techniques. The images of the haunted village of Pluckley, however, are rather less interesting than their supposedly supernatural backstory.

Despite its disjointed introduction, and sometimes puzzling layout, this is a fascinating collection of work from a very talented young British photographer. Let’s hope that further stocks of infrared film are discovered, or some enterprising company decides to start making it in bulk again.

ROBERT MAPPLETHORPE: THE PHOTOGRAPHS Exhibition catalogue LACMA (£40) I was lucky indeed to see this summer’s major Mapplethorpe exhibition in Los Angeles, and this is the essential companion volume, if you missed it.

This perfectly captures the contradictions of Mapplethorpe: lascivious, unruly and subversive, but also a superb technician, strongly influenced by a Catholic childhood and surrealism.

GEOFF HARRIS LRPS

GEOFF HARRIS LRPS

JANE NORTON

VOL 156 / AUGUST 2016 / THE RPS JOURNAL / 577

578 | AUGUST WHAT ARE DISTINCTIONS?

Distinctions are standards of achievement recognised throughout the world

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

Yellow calla lily

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

Purple calla lilies

Flower power Ray Spence FRPS takes a look at floral-themed Associate Distinctions in the Creative category

A

s a former biology teacher, I have a deep respect and understanding of the incredible variety and ingenuity contained in plants and, in particular, their reproduction. Flowers are designed to seduce birds, bees and other insects to help carry their pollen to other plants.

However, there is also great beauty in this functionality. This was made apparent to me when I first saw the wonderful exhibition Flora Photographica, curated by William Ewing, at Mead Gallery, Coventry in 1993.

The greatest names in photography have tackled the subject – Robert Mapplethorpe, Karl Blossfeldt, Imogen Cunningham and André Kertész, to name but a few. It is no wonder, then, that flowers and plant forms are a popular choice for photographers and

578 / THE RPS JOURNAL / AUGUST 2016 / VOL 156

that we see many images of flowers presented at the Distinctions panels.

The work of Sally Sallett ARPS and Catherine Jones ARPS are good examples of the use of subtle colour, composition and textures to create a painterly effect in their images of flowers.

The stunning work of Robert Gibbons ARPS, his expert use of powerful colour and multiple focus techniques have to be seen in the flesh for one to fully appreciate the quality of his work.

As one of the selectors of the International Garden Photographer of the Year, I see many images and portfolios of plants and flowers and am astounded by the variety of work and approaches taken by photographers worldwide.

It is a subject matter worth returning to time and again.

Ray Spence FRPS

FEATURE SPONSORED BY

Robert Gibbons ARPS CREATIVE

PANEL

My portfolio is made up of a series of flower portraits that feature the entire bloom rather than a part of it, presenting subjects that are sharp all over so that the viewer can enjoy the detail, texture, colour and tone throughout. All these photographs were taken on a Hasselblad H3D camera tethered to a computer using studio flash. Each image is a composite of an average of 15

separate shots set at graduating focus points so that when merged result in a fully sharp photograph.

INSPIRATION

My inspiration was twofold.

Firstly, the love my wife and I have for flowers. Flowers are an important part of our life and we always have some in our home. Secondly, the wonderful work of watercolour botanical artists past and present who have

inspired me to take up flower photography.

TIME TAKEN

When I decided to submit for my ARPS Distinction I thought it wise to create a completely new set of images rather than use photographs taken over time that I thought might fit.

It took me about 18 months to complete the project, in part because most flowers are seasonal.

FACT FILE

Robert Gibbons ARPS took up photography in the mid-1980s. Over time, he built up his knowledge to help him achieve his Distinctions

LEFT

Red open tulip ABOVE

Magenta anemone

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580 | DISTINCTIONS |

580 / THE RPS JOURNAL / AUGUST 2016 / VOL 156

FEATURE SPONSORED BY

LEFT

Pink protea RIGHT

White epiphyllum BELOW

Fritillaria imperialis BOTTOM

White hippeastrum

HANGING PLAN

‘His expert use of powerful colour and multiple focus techniques have to be seen in the flesh’

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582 | DISTINCTIONS |

FACT FILE

Nancy Laurie ARPS remembers first being inspired by her father’s well-stocked garden

Nancy Laurie ARPS CREATIVE

PANEL

My desire was to capture beauty. I tried with several cameras but never achieved what I wanted. And then, aged 64, I took up a one-year photography course at Lauder College in Fife. I had by then bought a Canon D60 and learned so much to help me achieve my goal.

INSPIRATION

The inspiration for the panel came after seeing leeks sprouting in my back garden.

As the seeds grew bigger, the covering of the seedpod was being pushed upwards until it looked like a pixie’s hat.

I cut two of the seed heads and photographed them using my macro lens. They looked so weird, and after cutting it out in Photoshop and pasting them on to a photo of the moon they looked even weirder.

TIME TAKEN

I started working on this panel in June 2015 but doubted what I was doing so didn’t progress very quickly – I didn’t know which backgrounds to use.

I took some of my prints to an advisory day in Bridge of Allan and was advised to get busy and try to complete the panel so it could be included in a coming portfolio day.

I took the advice of the panel members and returned the panel for further comment. They liked it and advised me to finish it completely and send it down to Bath as soon as possible.

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ABOVE

Freak Out RIGHT

Growing Up

FEATURE SPONSORED BY

HANGING PLAN

‘I started working on this panel in June 2015 but doubted what I was doing … ‘

ABOVE

The Aliens Have Landed RIGHT

Sea Monster VOL 156 / AUGUST 2016 / THE RPS JOURNAL / 583

584 | DISTINCTIONS |

584 / THE RPS JOURNAL / AUGUST 2016 / VOL 156

FEATURE SPONSORED BY

LEFT

BOTTOM

BELOW

Buddleia

Campanula

Posy vase 1

HANGING PLAN

‘The idea behind this panel was to “bottle summer” to lift our spirits’

FACT FILE

Catherine Jones ARPS took up photography in earnest six years ago after the death of her husband

Catherine Jones ARPS CREATIVE

PANEL

The idea behind this panel was to ‘bottle summer’. It is supposed to represent three shelves of bottles in a kitchen, like preserves, to lift our spirits and see us through the long dark winter.

Beside each bottle are some flowers that either didn't get into the bottle or that fell out. They are starting to deteriorate. Running through the panel you can see a posy of cut flowers slowly dying; a reminder that beauty cannot last forever.

INSPIRATION

I love flower photography of all styles, from super macro abstract to more general

floral images. In Scotland we are not blessed with a long flowering period, which I grew up with on the Sussex coast, and so I like to have warm, colourful images to help me through the winter.

A panel of work seemed like a good way to fulfil this.

TIME TAKEN

The panel took two weeks to complete; the bottle images just two days – but I made an error with the posy images.

I put too much water in the vase so they took two weeks to die. Two weeks with a room, camera and tripod out of action for anything else.

I couldn't afford to move anything. Very frustrating.

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586 | DISTINCTIONS |

Sally Sallett ARPS CREATIVE

PANEL

FACT FILE

Photography became a serious hobby for Sally Sallett ARPS in 2010. She enjoys photographing everything that keeps still, especially architecture and flowers

I call my panel Trash to Treasure as all the elements were cast-offs.

The flowers are from my florist neighbour, who kindly gives me the tired-looking or damaged blooms on a Friday, and the containers are all gleaned from car boot sales and junk shops.

The panel originally started out as single blooms with differing treatments or textures. However, when I took it along to a Creative

Rosy Posy 586 / THE RPS JOURNAL / AUGUST 2016 / VOL 156

advisory day, the advisors thought it was not cohesive enough and so I went away for a rethink.

INSPIRATION

In this ‘throwaway society’ it is easy to miss beauty in unwanted items, so I set out to create something beautiful from other people’s rubbish.

TIME TAKEN

The process probably took about

nine months altogether. Once I settled on the ‘flowers in small pots’ theme, it was a case of setting up the materials and getting a number of shots from varying angles and with differing light, taking into account the shapes so as to balance the panel.

I already had a considerable number of textures, collected over the years, so selecting those appropriate to each image was the next job.

FEATURE SPONSORED BY

ABOBE

BELOW

Vintage Pink

Standing Tall

Just Peachy

HANGING PLAN

‘I set out to create something beautiful from other people’s rubbish’

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588 | DISTINCTIONS |

How to submit an LRPS panel for screen Susan Brown FRPS discusses the best way of compiling a panel for online submission – a boon for overseas members – and speaks to Dubai Distinction recipient Saravanan Selvarajan LRPS

W

e see successful print panels in the Journal every month. Looking at the images, and hanging plans, it is easy to understand the process of arranging these panels for print submissions, and the Society always explains how best to configure a successful hanging plan.

However, producing work that will be viewed on screen – rather than in print – is altogether different, as the images are intended to be seen individually rather than side by side.

Imagine looking at a set of 10 images one after the other. The author has to consider that the viewer will have to adjust her eyes when the image changes

from a vertical format to a landscape orientation, and from light images to dark. It is therefore important to make that transition as seamless as possible.

The eye accommodates gradual change, so maybe keep all the portrait images together, and likewise the landscape images.

Perhaps start with the lighter images and progress gradually darker so the pictures flow better.

It goes without saying that camera techniques, correct exposure and use of a creative viewpoint are just as important whether printed or viewed on screen. Care must be taken to avoid blown highlights, digital artefacts (such as unwanted noise), oversharpening and other

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PANEL IMAGE SEVEN

‘The car in the sand dunes is much stronger and technically better than its proposed alternative image’

common problems, as these will be very obvious at full size.

Due to the difficulty of posting prints, many overseas members send their applications as images for screen. Now, with the Society’s online advice service,

FEATURE SPONSORED BY

these applicants are able to get constructive assistance direct from panel members.

In August last year, a new overseas chapter was formed in Dubai. The chapter is very enthusiastic and some members have already achieved or started working towards a Distinction.

The Society is delighted that one of the first Licentiate Distinctions from the Dubai Chapter, using the images for screen submission process, has been awarded to Saravanan Selvarajan. He sought advice on which images to include and how to sequence them. He uploaded 10 images, including four spare, for online advice.

I caught up with Selvarajan (see overleaf) to find out what the Society means to him and why becoming a Licentiate is important.

Images removed from panel

DENSE SHADOW This was removed because it has too much dense shadow area in comparison to the alternatives provided, which were compositionally simpler, with fewer overlapping shapes

WHITE LINE There is a white line across the shadow area in this image which may have been caused by oversharpening or inaccurate selection of the sky area while reducing the light there

POORER ALTERNATIVE The alternative of the car in the sand dunes is simply a much stronger image and technically better. The composition in particular works better, and it’s a much more dynamic subject

HD HIGHLIGHTS This macro image was to show knowledge of depth of field. The petals’ highlights would have been emphasised when seen on the HD monitor and it was felt he had enough variety without it

PANEL IMAGE TWO

The panel’s second portrait, preceding a run of landscapes

XXXXXXXXXXXXXX

Illes mos viducitis esto te qui ius et inimilias et volecae laute sitiusc itaspel laborendam harum laute sitiusc itaspel laborendam harum

An eye on the next level

Mohammed Arfan Asif ARPS on his goals as Dubai Chapter organiser As mentor of Shutter Bugs Creative Forum and organiser of the Society’s Dubai Chapter, I have always recommended my members apply for the Society’s Distinctions, helping push their photography to the next level.

Saravanan is an active member and works hard at his photography. It was very nice to hear about the success

of yet another member from the chapter.

I am confident Saravanan will find the chapter’s future activities motivating, encouraging him to pursue higher goals in his photography.

Congratulations to Saravanan.

We look forward to seeing more successes from the Dubai Chapter, which has an ever-growing membership.

PANEL

‘While selecting images for my panel, I learned how to sequence them so they were harmonious’

VOL 156 / AUGUST 2016 / THE RPS JOURNAL / 589

Image: Fiona Alison

CASE STUDY

Saravanan Selvarajan

LRPS

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PROCESS OF SELECTION

While selecting images for my panel, I learned how to sequence them so they were harmonious. I also came to understand the variety of skills I have achieved since I first became a photographer. I now better understand my strengths and weaknesses.

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590 / THE RPS JOURNAL / AUGUST 2016 / VOL 156

The Society is one of the oldest and greatest photographic societies, and the LRPS is a most prestigious Distinction.

These factors encouraged me to apply for a Distinction. I want to be part of the Society and the Dubai Chapter.

when I learned the news of my LRPS success. The very thought that my panel was judged by a distinguished jury and awarded the Distinction was very satisfying and motivating.

The success encouraged me to pursue photography more seriously and spend a greater amount of time making images. I’m planning on producing a lot more interesting images.

This Distinction has given me a new identity among the photographic fraternity here in Dubai.

FUTURE PERSPECTIVE

I aim to work hard on my photography and aspire to achieve an ARPS. I will continue my regular involvement with Shutter Bugs Creative Forum (a group of serious amateur photographers based in Dubai, led by mentor Mohammed Arfan Asif) and the Society’s Dubai Chapter.

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592 | IAN WRIGHT |

THE KID ON A BIKE

CREDIT SITS IN BOX 4MM DEEP

Ian Wright was just 16 when he landed unprecedented access to some of the pop world’s biggest names, and captured the rise of 1960s youth culture, hears David Clark

592 / THE RPS JOURNAL / AUGUST 2016 / VOL 156

LEFT

Ian Wright, 1964 BELOW

The Beatles, 1963

I

n the early 1960s, the baby boomer generation was finding its voice in an explosion of youth culture, especially pop music. One of the first newspaper editors to cater to this audience was Harold Evans, later an influential and long-standing editor of the Sunday Times. He was then based in Darlington in his first editor’s post, on The Northern Echo.

In October 1962, the 34-year-old Evans chose to launch an innovative four-page supplement, The Teenage Special. It included stories on subjects of interest to teens, but focused on the emerging generation of pop stars. Evans wanted the supplement to have a strong emphasis on pictures and knew he had the ideal person on

staff to produce them: 16-year-old Ian Wright.

Wright had been working for the newspaper for more than a year.

His father and grandfather had been steam engine drivers and his family expected him to take up a similar trade. Instead, he was fascinated by photography. His schoolteacher, Arthur Soakell, went out of his way to encourage his early talent and persuaded his Quaker parents to allow him to apply for the post of junior darkroom boy at the Echo.

By the end of 1962 he had been promoted to junior photographer.

He was not only the youngest photographer on staff, he was the only one with any interest in pop.

Evans, sensing Wright’s enthusiasm, gave him the chance to photograph the numerous

VOL 156 / AUGUST 2016 / THE RPS JOURNAL / 593

594 | IAN WRIGHT |

CREDIT SITS IN BOX 4MM DEEP

Mick Jagger 1965

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| IAN WRIGHT | 595

‘I’D TURN UP AT ALL THESE EVENTS ON MY BIKE IN MY SUIT, WITH A BUTTON!DOWN COLLAR, KNITTED TIE AND A PAIR OF CHELSEA BOOTS’

TOP

ABOVE

The Rolling Stones, 1964

‘Blood from a Stone’ – Mick Jagger after being hit with a coin while performing

performers in the burgeoning north-east music scene. ‘I have been following your progress,’ Evans formally wrote to Wright.

‘I am considering launching a pull-out supplement every Monday … would you consider being the photographer?’

It was just the invitation Wright needed.

‘The Teenage Special was a new concept, testing the waters for everybody,’ recalls Wright, talking by phone from his Las Vegas home. ‘Harry gave me that opportunity and I was determined to grasp it and show what I could produce.’

The only catch was that he had to work in his own time, with no overtime pay or expenses budget. For trips as far afield as Newcastle City Hall, he would take the train and walk to the venue carrying his heavy MPP plate camera equipment and a flash unit ‘as big as a Bentley headlight’. For more local venues, he would take the bus, or his bicycle. The rest of his working day was spent covering regional stories and staffing the darkroom.

Wright wanted to look the part when VOL 156 / AUGUST 2016 / THE RPS JOURNAL / 595

596 | IAN WRIGHT |

Harold Evans, 1962, who gave Wright his big break

he met the performers, so he treated himself to a new outfit. ‘I’d seen all the other guys wearing suits, so I had a hand-made silk and mohair suit made by a tailor in Darlington,’ he says. ‘I got it on the knock [by paying in instalments].

I’d turn up at all these events on my bike in my suit, with a button-down collar, knitted tie and a pair of Chelsea boots. I was really a mod on a pedal bike.’

His first celebrity subject was jazz singer Ella Fitzgerald, who was performing at Newcastle’s City Hall. After Wright had waited for an hour, her manager told him he could take just one shot. Fitzgerald posed briefly, Wright’s flashbulb fired and the shoot was over. ‘I pedalled back, wondering if she had blinked,’ he says. ‘I didn’t go home, I went straight to the darkroom and developed the plate. Eureka! Her eyes were open.’

Realising how easily he could have come away with nothing, Wright decided he couldn’t let himself be intimidated by his subjects. ‘I learned a lesson: you must not be in awe of them. You have to be courteous to everyone from the dustbinman to the Queen, but the thing that will engage you with them is what I now call the “three Ps” – patience, politeness and perseverance.’

Many performers Wright met were just starting out and it was impossible to know who was going to be famous. No backstage passes were needed, so he covered all the options by diligently photographing everyone on the bill.

As a result, he captured most of the

‘THERE MIGHT HAVE BEEN A JOURNALIST WRITING A REVIEW, BUT NEVER ANY PHOTOGRAPHERS. I HAD NO COMPETITION’ 596 / THE RPS JOURNAL / AUGUST 2016 / VOL 156

| IAN WRIGHT | 597

LEFT

CLIFF RICHARD Stockton, April 1964 TOP, LEFT

ROY ORBISON AND ROY CREWSDON TOP, RIGHT

ELLA FITZGERALD 1962 ABOVE

JOHNNY CASH 1966

major music acts of the era, either performing or in their often very basic dressing rooms, including the Rolling Stones, Roy Orbison, The Kinks, Adam Faith, Johnny Cash, Freddie and the Dreamers, and the Dave Clark Five.

Because of Harold Evans’ prescience, other newspapers were left behind, and Wright had the performers all to himself.

‘When I went to shows at the Sunderland Empire or Newcastle City Hall, the papers in those cities never covered them,’ he says. ‘There might have been a journalist writing a review, but there were never any photographers. I had no competition.’ Within a year of its launch, The Teenage Special had added 30,000 readers to the Echo’s circulation.

One band he photographed in February 1963 was fifth on the bill of a

Helen Shapiro show at the Sunderland Empire. Wright took pictures of them on stage, along with the other acts. This particular band was The Beatles, a month before Please Please Me became their first number one record.

Wright photographed the Beatles’ four UK tours later in 1963, capturing them and their often hysterical fans. He was soon on first-name terms with the band and, at John Lennon’s request, sent prints of his Beatles photos to Lennon’s Aunt Mimi. Most were informal backstage shots, but one was set up by Wright with a headline in mind: the ‘Fab Four’ posed in a lift to signify they were ‘On the Way Up’.

Wright’s many notable pictures include one of Mick Jagger after he was hit above the eye by a sharpened coin while on stage (‘Blood from a Stone’ was Evans’ VOL 156 / AUGUST 2016 / THE RPS JOURNAL / 597

598 | IAN WRIGHT | MAIN IMAGE

BEATLEMANIA LEFT

THE BEATLES Scarborough, August 1964 BELOW, LEFT

THE TEDDY BOYS

Ian Wright has kindly offered to respond to readers who have any questions about his camera equipment, or press photographers’ darkroom ‘tricks of the trade’. He can be reached at ian.wright. photographer@gmail.com 598 / THE RPS JOURNAL / AUGUST 2016 / VOL 156

| IAN WRIGHT | 599

witty headline). He also captured Tom Jones’s debut performance and, as the psychedelic era dawned, new bands such as The Jimi Hendrix Experience.

However, when Evans was appointed editor of the Sunday Times in 1967, his successor at the Echo scrapped The Teenage Special, even though the music scene was in one of its most popular and creative periods. Other music-centred publications, from Rolling Stone to Smash Hits, took up where it left off.

Wright worked at the newspaper until 1971, when he was reunited with Evans and joined the staff at the Sunday Times.

He covered international stories for the paper during the 1970s and 80s, based in Japan, India and the USA. Later he was

‘HARRY CHRONICLED, AND I ILLUSTRATED, THOSE FIRST FIVE YEARS OF POP MUSIC IN A WAY NOBODY ELSE DID’ commissioned to shoot celebrity portraits for the Radio Times, including Frank Sinatra, Danny Kaye and Liberace.

He combined this work with his appointment as professor of journalism and mass communications at Baylor University in Waco, Texas.

Now aged 70, Wright still works with a 5x4 camera and a wet darkroom, and cheerfully refers to himself as ‘a dinosaur’ in the digital age. He remains

firm friends with Sir Harold Evans and has good relationships with many of the rock and pop pioneers who fondly remember the ‘kid on a bike’.

‘Harry chronicled, and I illustrated, those first five years of pop music in a substantial way nobody else did,’ he says.

‘Like the artists themselves, we were climbing the greasy pole, not knowing where it was leading. In a way, I think it was partly that naivety that brought such rich pickings.’

Ian Wright’s 2008 book, On the Brink of Fame: Pop Stars in the Swinging ’60s, is available in a new Kindle edition and, in limited numbers, as a hardback book from online retailers VOL 156 / AUGUST 2016 / THE RPS JOURNAL / 599

Natural wonder

Pioneering photographer Stephen Dalton HonFRPS reveals how he came to capture some of his favourite pictures. By David Clark

JUMPING FROG 1982

‘I did a multi-flash modification to my equipment, which allowed three consecutive flashes with a predetermined time delay between each one.

Before I take a picture I often do a little drawing first, to get a good idea of the composition.

In this picture I photographed a European tree frog jumping from one leaf to the next, against a black background.

You can see how it arches its back as it comes in to land.’

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VOL 156 / AUGUST 2016 / THE RPS JOURNAL / 601

P

hone if you get lost,’ Stephen Dalton emailed after giving directions to his house, deep in the Sussex countryside.

After driving down numerous similar-looking tree-lined roads, taking a wrong turn and ending up in a dead end on a muddy farm track, I admit defeat and ring him.

When I finally arrive at his 19th-century farmhouse, he’s cheerfully waving from the window in greeting.

Since the mid-1970s Dalton and his 602 / THE RPS JOURNAL / AUGUST 2016 / VOL 156

wife Liz have lived in this quiet location, where much of his groundbreaking work has been done. Few people are true photographic pioneers, but he was the first person ever to record pinsharp images of insects in flight.

This achievement is only part of a body of work that is stunning in its quality and variety – from amphibians and birds to mammals and invertebrates, shot in locations from his studio in a converted barn to the rainforests of South America. All have been captured with great attention to

detail and at the highest possible quality – a testament to Dalton’s creativity, determination and love of his subjects.

‘I’ve always been fascinated by bugs, beetles and birds,’ he says. ‘On one occasion, I had a massive house spider in my hand and it bit me. There was a pinprick of blood, and I was terrified of spiders afterwards – until many years later I wrote a book about them and got used to them again.’

Dalton’s father, a keen amateur bird photographer, would occasionally set him up in a hide, with the duty of firing

| STEPHEN DALTON | 603 HONEY BEE 2013

‘We had a lot of bees around the allium in our garden and I decided to simulate the scene inside, where my equipment was set up.

I brought in a few of the flowers and some bees. I often make backgrounds to suit the subjects and here used a print of an out-of-focus outdoor scene as the far background. It was taken using a Phase One 40-megapixel medium-format camera and I modified my flash units to a speed of around 1/60,000sec.

Although the camera was heavy and clumsy, the image quality was outstanding.’

JESUS LIZARD

BARN OWL

1988

1971

‘One of my favourites, it shows the brown basilisk or Jesus lizard. A friend bred them and lent me one. I wanted to make it look like it was in its natural rainforest habitat so made a pond in my studio and simulated the reflection of the sky.

However, it was difficult to encourage it to skim across the surface and it only really got going when we heated up the studio.’

‘This took three weeks to plan. A barn owl had built a nest in the base of an ornamental church tower with eight entrances. We had to block up seven of them. The beam was hidden behind the tower and when the bird intercepted it, four flash heads were set off. When I knew it was coming, I would open the camera’s shutter, then close it after the flashes fired.’

VOL 156 / AUGUST 2016 / THE RPS JOURNAL / 603

604 | STEPHEN DALTON | the shutter when a bird appeared.

However, Dalton junior’s passion for image taking didn’t ignite until he started a diploma in photography at Regent Street Polytechnic.

‘It was the first time I’d really enjoyed studying anything,’ he says. ‘I hadn’t been very academic at school … it was all Latin and rugby. It’s a great pity they didn’t do biology because I’d have loved that. But at Regent Street I had some of the happiest days of my life studying something I became fascinated by.’

After the course he started combining photography with his love of nature and had his first article in Geographical magazine. Then one day, while out in the countryside chasing a dragonfly with his camera, he met Hugh Newman, a well-known naturalist who also ran a natural history photographic library.

Dalton went on to make a living by supplying images to Newman’s library and publishing 15 photography books including Borne on the Wind and The Miracle of Flight. When Newman retired, Dalton bought the business, with the Natural History Photographic Agency becoming the UK’s finest nature photography library, representing about 200 photographers. Dalton sold the business in 2006.

GREEN CAT SNAKE 2004

‘The green cat snake, although rear-fanged, is only mildly venomous to humans. This was shot in my studio. It was a very ratty snake and you only had to wave something and it would strike.

However, it was difficult to get it to intercept the beam. When it struck it was extremely rapid, defeating my high-speed shutter, so it was tricky to work out how far to focus in front of the beam.’

BROWN RAT 1983

‘This was Ratty, a tame brown rat who lived in the house and was a great character. When we were watching TV she’d wander about or sit on my shoulder and nibble my ear. She was delightful.

I thought I’d get some photographs of her sitting in the dustbin, but she just wanted to jump down to her cage. I realised it would make a good high-speed flash subject.

So that turned out to be a very easy subject to do.’

‘RATTY WAS A TAME BROWN RAT WHO LIVED IN THE HOUSE WITH US AND WAS A GREAT CHARACTER’

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MAY BUG 1973

‘The maybug or cockchafer is one of my first insect-flight photographs, showing a nocturnal beetle flying around oak leaves.

The insect is attracted towards light so frequently flies into houses. I shot it in the studio and to get it to fly in the right area I used a flight tunnel. I put the insect at one end and a light at the other, which it flew towards. In theory, at least. There’s a lot of hit-and-miss involved.

This picture caught the attention of the media and was shown on the cover of the Telegraph magazine. It also won a Nikon Wildlife Picture of the Year award.’

VOL 156 / JULY 2016 / THE RPS JOURNAL / 605

Despite his polished results, Dalton’s work has often involved a lot of inspired improvisation and photographic DIY. He began his insect photography in the 1970s – before infrared beams or lasers – using a home-made arrangement of lenses and mirrors to create a bright, narrow beam of light. Then, when focal plane shutters of SLRs could only open at 1/10sec, far too slow to capture the insect at the right point, he made his own shutter that opened in 1/250sec.

High-voltage flash units were neither fast nor powerful enough to expose Kodachrome (then with a speed of 10 ASA) at f/16 and high magnification. So Dalton, working with RAF electronics expert Ron Perkins, designed a combination of flash tube and capacitor 606 / THE RPS JOURNAL / AUGUST 2016 / VOL 156

‘I WAS FASCINATED TO SEE WHAT INSECTS LOOKED LIKE ON THE WING AND COULD HARDLY BELIEVE THE RESULTS’ which charged to several thousand volts. After two years of experimenting, Dalton was finally able to obtain sharp, clear photographs of flying insects.

‘It was just a question of isolating one problem at a time, then going on to the next,’ he says. ‘I was fascinated to see what insects looked like on the wing and could hardly believe the pictures.

It was very exciting, and I used to rush into the darkroom to process results.’

Although he uses digital cameras (his current preference is the mirrorless Sony a7R II), the rest of his ’70s equipment is still in use. His homemade shutter, is, however, ‘on its last legs, held together with Blu-tack and elastic bands’.

At 78, Dalton spends much of his time in a nine-acre wood he bought some years ago. He has built a lake and is encouraging plants that attract wildlife and insects. It’s also where he now does much of his photography.

A delightful, peaceful location, you only hear birdsong, bees and the wind stirring high leaves in the trees. After a lifetime of observing, recording and celebrating the natural world, it’s a place where Dalton looks perfectly at home.

| STEPHEN DALTON | 607

How he captured the swallow in flight

Stephen Dalton explains the homemade kit used to freeze a bird on the wing The 3,000-volt flash unit was insulated from the weather but would unlikely pass any health and safety checks today

Flash head

Sensor beam that sets off camera and flashes when broken

SWALLOW DRINKING

ARCHER FISH

1977

1994

‘This picture came about after we were sitting in a deck chair in my garden one summer evening. It wasn’t long after we had put a pond in the garden and we noticed a swallow swooping down to the water surface and flying off. We didn’t know whether it was drinking or catching insects, it all happened so quickly. The following year, when I had time, I decided to find out. I set up a Hasselblad next to the pond, with four flashes and a sensor beam going across the pond’s surface which triggered the shutter.’

‘The archer fish comes from Indonesia and feeds by shooting a fine jet of water at an insect, knocking it down on to the surface where it can be eaten. I bought one at a garden centre and kept it for a while to watch how it worked. It was a lovely fish and I got quite fond of it. I had an aquarium built and filled it with brackish water, then trained the fish by regularly getting crickets to walk down a stem. I had to arrange it so the jet of water would intersect the beam. The picture took two or three weeks, on and off.’

Hasselblad 500 EL/M with soundproofing, which also protected it from the rain

VOL 156 / AUGUST 2016 / THE RPS JOURNAL / 607

608 | NATURE GROUP |

WILD AT HEART

With the Nature Group celebrating its 40th anniversary this year, some leading members discuss their work with Geoff Harris LRPS

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hotography has changed in myriad ways since 1976, but the Society's Nature Group, which celebrates its 40th birthday this year, has been one constant during these turbulent times. The group was founded by enthusiasts, under the chairmanship of prominent nature photographer Heather Angel FRPS, with a simple aim – to bring together people with a common interest in natural history 608 / THE RPS JOURNAL / AUGUST 2016 / VOL 156

photography, in whatever aspect, and at whatever level of ability, in order to display their work.

Membership now stands at more than 1,000 worldwide, and members enjoy an annual residential weekend and field trips, a biennial convention with other groups of natural history photographers, and an annual exhibition of prints and projected images.

‘We're also having a special one-day event to celebrate the 40th anniversary on Sunday 16 October,’ explains the

group's chairman Richard Revels FRPS. ‘Heather Angel will open the day with a talk about getting the group up and running, and director-general Michael Pritchard and president Walter Benzie will also be attending.’

Here, we find out more about the work of some of the leading Nature Group members.

For further details about the Nature Group, including contact details, visit the group’s website at bit.ly/rpsnaturegroup

| NATURE GROUP | 609

RICHARD REVELS FRPS

‘I started photographing wildlife in the mid-60s’ Richard Revels FRPS is the current chairman of the Nature Group. Having joined the group in 1983, he gained his Associate Distinction later that year with a submission of mixed natural history prints and went on to get his Fellowship with a submission of butterfly transparencies.

‘I first started photographing wildlife in the mid-1960s, when my main interest was butterflies and moths,’ he explains. ‘Over the years my interest has widened to include birds, mammals, reptiles and

amphibians, as well as other insects and invertebrates.

‘The post of chairman mostly involves overseeing the workings of the group, coordinating with committee members, and sharing suggestions and ideas with other committee members. The goal is always to keep the group progressing.

Directives from the Fenton House also need to be dealt with, so there is far more to being chairman than just chairing the AGM and committee meetings.’

BARBARA E LAWTON FRPS

‘It’s an important part of my photographic journey’ Interested in the natural world from a very early age, Barbara E Lawton FRPS cites the influence of a primary school where nature study was an integral part of the curriculum.

‘In later life, photography became the means by which I could record the subjects I found,’ she says. ‘I joined the Society and the Nature Group in the mid-1980s and gained my ARPS and FRPS in Nature in the early 1990s.

‘I was elected to the group’s committee

where I served as programme coordinator for a number of years, and eventually became its chairman.’

After a break, Barbara is once again serving on the group’s committee, and organising a range of programmes.

‘The group has been an important part of my photographic journey as it has enabled me to meet other nature photographers, and share ideas and techniques to broaden my approach,’ she adds.

VOL 156 / AUGUST 2016 / THE RPS JOURNAL / 609

610 | NATURE GROUP |

DAWN OSBORN FRPS

‘A part of my life for more than 20 years’ A stalwart member of the Nature Group since 1992, Dawn Osborn FRPS served as its chairman from 2001 to 2003.

For the last 13 years she’s been the editor of The Iris, the group’s magazine, published three times a year.

‘My main interests are natural history subjects, particularly birds and flora, and I’m a regular visitor to the Falkland Islands,’ Dawn explains.

‘In 2006 I was awarded my Fellowship with a panel of wildlife prints from the islands. Being a member of the Nature

610 / THE RPS JOURNAL / AUGUST 2016 / VOL 156

Group and its committee has been an integral part of my life for over 20 years.

‘During that time I have had the opportunity to meet a wealth of interesting

nature photographers, many of whom are now good friends. I really believe that my participation in the group has helped me to become a better photographer.’

| NATURE GROUP | 611

TONY WHARTON FRPS

‘Honoured to have twice received a silver medal’ Tony Wharton FRPS joined the group soon after its inception and quickly became involved – serving on the committee for many years, and ultimately becoming chairman.

Tony is actively involved with Distinctions. In 1971 he gained his ARPS in Pictorial followed by his FRPS in Nature in 1978, and in 1989 he became a member of the Nature Distinctions panel, again becoming chairman.

‘While serving on the Distinctions panel, I was pleased to help or advise a number of applicants, and had the opportunity to become a member of the Distinctions Advisory Board,’ he explains. ‘I’m honoured to have received a silver medal on two occasions for services given to the group. Another honour came in 2007 when I was awarded the Fenton Medal, becoming a life member of the Society.’

JOHN BEBBINGTON FRPS

‘One of my big influences was Michael Proctor’ After an inspirational meeting with photographer Andy Callow at Slapton Ley field centre, John bought his first serious camera – a Pentax Spotmatic – in 1967.

‘I taught myself the basics of close-up photography, and after leaving university became a tutor with the Field Studies Council (FSC).

‘Another big influence was Michael Proctor FRPS, who gave me a great deal of help and

support in developing my close-up and macro skills. He persuaded me to join the group and to apply for my Associate, gained in 1978, and my Fellowship, gained in 1991.

‘I am now serving my third term on the A&F (Natural History) panel.’

John and his wife continue to give talks on a wide variety of natural history subjects, and also teach close-up and macro photography skills.

VOL 156 / AUGUST 2016 / THE RPS JOURNAL / 611

612 | NATURE GROUP |

ROGER HANCE FRPS

‘In 1991, I needed a new challenge …’

After taking up photography in the mid1980s, Roger Hance FRPS joined the Society in 1988. He gained no fewer than three Fellowships in 1990 with monochrome images in the Portrait, Applied and Pictorial sections.

‘In 1991, I decided I needed a new challenge, so I took up Natural History,’ he says. ‘I gained my fourth Fellowship in 1997 with a panel of prints of British fungi.’

A member of the group for more than 20 years, Roger has also won the gold medal at the Nature Group exhibition twice.

He sat for eight years on the Licentiate panel, before moving on to the Nature panel, where he is now vice-chairman.

‘I don’t limit my subject matter to one particular area of natural history photography, and consider myself a complete all-rounder,’ he adds.

‘I DON’T LIMIT MY SUBJECT MATTER TO ONE PARTICULAR AREA OF NATURAL HISTORY’

DAVID OSBORN FRPS

‘I still love being out in the field and the challenge of capturing the image’ David Osborn FRPS is a professional wildlife and aviation photographer who has led more than 40 wildlife photo tours.

‘I joined the Society

after seeing an offer in a photographic magazine.

It didn’t take long to start on the Distinctions trail.

‘I’ve served on the group’s committee,

612 / THE RPS JOURNAL / AUGUST 2016 / VOL 156

becoming the chairman, and subsequently chair of the Natural History Distinctions panel.

‘I still love being out in the field and the

challenge of capturing the image. If I’ve learned one thing it’s that the welfare of the subject is far more important than the photograph.’

| FUJIFILM | 217

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IMAGING GROUP 614 | SHOWCASE | DIGITAL

Xxxxxxxxxx (Name of winner)

Clockwise, from above: A distance from now by Lorna Brown LRPS; Mislaid or abandoned by Fiona Senior FRPS; Life is like a corridor by David Thomas ARPS; Storm over the Cuillin by Brian Cooke ARPS

614 / THE RPS JOURNAL / AUGUST 2016 / VOL 156

DIGITAL IMAGING GROUP

| SHOWCASE | 615

DIGITAL DEXTERITY

Marilyn Taylor ARPS discusses the evolution of the Digital Imaging Group’s print competition, the high quality of the entries and the opportunities it offers to photographers

T

his month at Fenton House, the spotlight will be placed firmly on photographs from the Digital Imaging Group’s annual print competition.

Group members were invited to submit up to three entries, with one photograph guaranteed to go on display in

the group’s touring members’ exhibition. The strongest prints were selected at the group’s AGM by a panel of eminent Society photographers, which this year included Iain McGowan FRPS, Joy Whiting ARPS and David Cooke FRPS. The judges then decided on the medal and trophy recipients and

awarded six Society ribbons to other highly commended entrants. This year, Roger Hinton LRPS clinched the gold medal with his striking and evocative image Solitude.

Overleaf we chat to exhibition secretary Marilyn Taylor ARPS, to discover how the competition has evolved over the years.

VOL 156 / AUGUST 2016 / THE RPS JOURNAL / 615

IMAGING GROUP 616 | SHOWCASE | DIGITAL What can visitors expect at Fenton House this month?

The exhibition boasts a wide variety of photographic genres ranging from natural history to landscapes. The submissions we received are filled with lots of imaginative and thought-provoking ideas.

Viewed collectively, it’s an impressive body of work.

Why is the DIG’s annual print competition great for photographers?

The exhibition gives their work more exposure and I think it will really encourage audiences to engage more closely with photography.

Having entered the competition a few times myself over the years, I know first-hand how much of a thrill it is to be able to walk into the exhibition and see your print hanging.

How has the competition developed over the years?

Without a doubt, the quality of the photography has increased year on year, which is brilliant – although it does make our judges’ jobs that bit harder.

The number of entrants has also continued to rise.

Three years ago we had a total of 90 entries, which grew to 120 last year, and this year we had 141, which included 29 overseas submissions from entrants in Australia, India and America.

We’ve had really positive feedback from audiences and we hope it encourages more individuals to join the DI Group and begin their own photographic journeys.

The gold medal-winning Solitude by Roger Hinton LRPS

View the entire DIG exhibition collection at bit.ly/DIGexhibition

‘WITHOUT A DOUBT, THE QUALITY OF THE PHOTOGRAPHY HAS INCREASED YEAR ON YEAR’

Walk on by by Janet Haines ARPS

Is this is our train Dad? by Carl Mason, an IAAP bronze medal winner

Digital Imaging Group’s print competition is on show at Fenton House this month. | VISIT | The See the Society website for more details: rps.org/exhibitions-and-competitions 616 / THE RPS JOURNAL / AUGUST 2016 / VOL 156

MUST TRY

AUGUST 2016

THE LATEST TECHNOLOGY, TECHNIQUES AND SKILLS

Hasselblad X1D

Gavin Stoker asks if this mirrorless medium-format camera is Hasselblad for the masses?

T

he Swedish pro camera manufacturer unveiled what it is pitching as the world’s first mirrorless digital medium-format camera: the X1D. The brand’s boast is photography that captures true and natural colour via its 50-megapixel CMOS sensor.

Fitting in the palm of the hand and weighing just 725g, it features HD video at 35 frames per second, wi-fi connectivity and built-in GPS, making it an able travel camera. The screen even offers touch functionality.

At £5,990 SRP Hasselblad hopes to attract a new generation of users. Two SD card slots are provided for storage, with up to 240 images fitting on 16GB removable media.

As this is a medium format for venturing into the great outdoors – or at least shooting on location – its body is durably weather and dust-sealed. The X1D offers compatibility with 12 lenses and lens accessories from the Hasselblad professional H system, with the aid of an adapter. There is also a new line

Price: £5,990 Sensor: 50MP CMOS, 43.8x32.9mm Lens: XCD lenses or H system lenses via adapter LCD screen: 3-inch, 920K dots Weight: 725g More: hasselblad.com Summary: Arguably the most approachable medium-format camera yet, temptingly in reach of the wealthy enthusiast

of XCD lenses, with a 45mm and 90mm available on launch.

For shooting in available light, sensitivity stretches from ISO 100 to 25,600, while shutter speeds between 60 minutes to 1/2,000sec cover the gamut of possible creative options.

The electronic viewfinder provides a respectably clear 2.36 million-dot resolution.

In every respect this looks and feels like an evolution of the brand and an attempt to reach a wider audience while supplementing an existing one.

VOL 156 / AUGUST 2016 / THE RPS JOURNAL / 619

620 | THE CRAFT | LATEST KIT

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2

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Olympus LS Pocket From £109.99

Fujifilm Teleconverter XF2X TC WR £349

olympus.co.uk

fujifilm.co.uk

Nothing shouts ‘amateur’ more than bad audio in a video created on a DSLR or CSC. An external microphone and recorder can help massively, and Olympus is offering both via its LS Pocket digital audio recorder – the 4GB LS-P1 model with stereo microphones, or an 8GB LS-P2 device at £169.99.

The latter features three microphones – the third just capturing the bass and aiming to deliver sound closer to what the human ear hears. With the device portable enough to sit in a palm, or affix to a vacant hotshoe, internal memory can be expanded via insertion of a microSD card.

Power comes courtesy of a single rechargeable cell, with an extendable USB port provided in the base of the LS Pocket.

Own a weather and dustresistant Fuji X series mirrorless camera body and lens? Want an equally resistant teleconverter to match?

The XF2X TC WR is an ideal match for Fuji’s X-T1 and X-Pro2 camera bodies, plus XF50140mm f/2.8 R LM OIS WR and XF100-400mm f/4.5-5.6 R LM OIS WR lenses in that respect, while its construction of nine elements in five groups maintains the optical performance of the original lens.

Its build suggests full operation in temperatures down to -10°C, while the metal exterior helps ensure a seamless visual ‘blend’ with the lens to which it is attached.

Compatibility with certain existing lenses may, however, necessitate a firmware upgrade.

Capture professional audio with this all-in-one digital recorder

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GEAR SPY

Double the range of mirrorless X mount lenses

2

620 / THE RPS JOURNAL / AUGUST 2016 / VOL 156

Olympus Tough TG-Tracker £279.99 Toughened action camera features 4K video

Europe’s biggest biennial photography show, Photokina is on the way – taking place in Cologne, Germany, from 20 to 25 September. Many manufacturers have therefore put their new product releases on hold, so as to save the big reveals for the show. Canon traditionally weighs in by the Rhine with a comprehensive range of new equipment covering DSLRs, compacts, lenses and printers and we’d be surprised if that wasn’t the case for 2016.

If the sensor factory affected by April’s earthquakes in Japan has dried out, also expect to see new Sony and Nikon gear finally surfacing, while the newly announced Fujifilm X-T2 will also be showcased.

olympus.co.uk If you want a camera to throw about, consider investigating the TG-Tracker: 4K video capture plus a detachable grip, wide-angle lens offering 204° point of view, five-axis image stabilisation and flip-out LCD monitor for shot composition and review. Again, this device sits comfortably in the palm of the hand or pocket.

It is shockproof to a height of 2.1m, crushproof to a weight of 100kg, dustproof, freezeproof down to -10°C and waterproof down to 30m.

The free Olympus Image Track 2.0 app allows users to review outdoor adventures with info including altitude or depth, air or water temperature, geolocation and direction and speed of movement. The camera even logs changes in G-force.

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| THE CRAFT | 621 MEMBER TEST

4

5

Fujifilm X-Pro2 An impressive mirrorless compact

3

F Canon EF-M 28mm Instax Share Smartphone f/3.5 Macro IS STM lens Printer SP-2 £164.99 This Instax printer is capable of £294.99 interacting with smartphones Get closer with this compact lens for mirrorless Canons canon.co.uk 4 The manufacturer’s EOS M series of mirrorless cameras, although capable, has yet to set the photographic world alight. So in the meantime there is this well-fashioned, compact close-up lens with integral ‘macro lite’.

The EF-M 28mm f/3.5 Macro IS STM offers the equivalent of a 45mm focal length in 35mm terms, is able to focus down to 13mm from the subject matter, and is claimed to be the world’s lightest macro lens for mirrorless interchangeablelens cameras.

It also has the world’s first built-in macro lite for illuminating little beasties.

Weight is a mere 130g too, so it shouldn’t weigh down that pocket-friendly EOS M.

fujifilm.co.uk Fuji hopes this new device will finally get smartphone users printing.

It is also compatible with certain Fuji cameras.

The Instax Share Smartphone Printer SP-2 (trading on the popular Polaroid-aping Instax instant print cameras) follows on from 2014’s SP-1, and is said to boast improved image quality, as well as a sophisticated new exposure system.

The free Instax Share app has also been updated to coincide with new filters and templates.

The printer is capable of producing 100 prints before recharging is required. UK availability is promised for the end of August, and anyone buying the device will be able to produce 10 shots on Instax mini film straight out of the box.

5

ocusing was fast and accurate with the rangefinder-style X-Pro2, and it sat comfortably in one hand due to its highquality design.

Coupled with the lightweight 35mm f/2 prime lens, the X-Pro 2 produced sharp images, with smooth bokeh at wide apertures.

The camera boasts an optical and electronic viewfinder, as well as a rear fixed screen.

I prefer tilting screens when taking lowgrounded photos so I was disappointed it wasn’t equipped with one. The battery life was also quite short.

The X-Pro2 offers a variety of film-emulation settings and grain to jpeg

files. I normally shoot raw, but when travelling I could see myself shooting jpegs with a film emulation applied to quicken post-production.

Other useful features included the dual SD card slots, the electronic viewfinder’s manual focusing assist function, and ease of altering frequently used settings via buttons on the body.

I enjoyed carrying the X-Pro2 with me on a daily basis – it was a welcome alternative when my Nikon D750 became too cumbersome.

It wouldn’t replace my current work camera, but as I’m going travelling for a year and hunting for something lightweight, the X-Pro2 is sitting high on the list of contenders.

One of Leigh Eros’s low-grounded landscape photographs AUTHOR PROFILE LEIGH EROS A fine art and conceptual photographer based in Edinburgh, Eros trained and worked as a veterinarian for many years before finding her passion in conceptual and surreal photography.

Her work can be viewed at leighbishopphotography.com

VOL 156 / AUGUST 2016 / THE RPS JOURNAL / 621

An Arctic Adventure Spitsbergen Final places available for a truly breathtaking photographic adventure.

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MASTER CLASS

| THE CRAFT | 623

Wagon in the water, Paignton, Devon: 160sec exposure, minus 10 stops ND filter

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xtended exposure times are typically used for removing unwanted details of disturbance in water, or adding the appearance of movement in clouds and star trails.

Preparation is key to success.

ESSENTIAL KIT

It is crucial that your camera has ‘bulb’ mode, that you have a cable release, and a sturdy tripod to avoid any unwanted movement.

You’ll need a cover for your viewfinder too, as light leaks could otherwise spoil your shot – I use black tape.

1

BALANCING LIGHT

Dreaming on the edge: 110sec exposure, minus 10 stops filter

Long-exposure landscapes Susan Brown FRPS offers advice on taking more time over a shot

2 Neutral density (ND) filters are great for shots such as these, letting less light through to the sensor so that a longer exposure time can be used. There are apps available that can help calculate the strength of filter or shutter speed needed, which is certainly quicker than taking a trial-and-error approach.

FIND WHAT WORKS

3 After you take a shot, remember to look at the histogram and make sure there is a ‘tail’ to the right, as underexposure causes unpleasant noise. Look too at details and see whether you’ve achieved what you hoped. With sea, the rougher it is the longer

an exposure is required to get a smooth effect. You may need to adjust ISO to achieve this.

BE AWARE OF CHANGING CONDITIONS

If you are shooting close to sunset or sunrise, which can offer some of the most beautiful light to shoot in, 4

remember that the level of light will change during the exposure, and compensate accordingly. If you are hoping to capture movement, think about the aesthetics – with clouds, it is preferable to have wind blowing towards or away from you, as a horizontal trail of clouds can be unattractive.

AUTHOR PROFILE SUSAN BROWN FRPS A landscape photographer with strong involvement in the Society, Brown sits on the Licentiate and Multimedia panels and is deputy chair of Pictorial and Creative. She also sits on the Distinctions advisory board

Teignmouth, misty murky evening: 144sec exposure, minus 10 stops filter

| SIGN UP |

Learn how to photograph the landscape, whatever the weather, with Tony Worobiec FRPS on 3 September at the Society’s Bath HQ (see page 632). Can’t wait? Then just turn the page for some of Worobiec’s top tips VOL 156 / AUGUST 2016 / THE RPS JOURNAL / 623

IN DEPTH 624 | THE CRAFT | TECHNIQUE

Whatever the weather

Tony Worobiec FRPS explains how to find the silver lining in every cloud and take great landscape shots no matter what the conditions IN DEPTH

S

uccessful landscape photography is dependent on a variety of factors: clearly the location is important, but so indeed are lighting and weather. While we can choose our locations, there is nothing we can do about weather; the secret is to embrace it.

I am often saddened when I hear fellow photographers complain that the weather wasn’t kind to them; there is no such thing as bad weather, providing that you approach the subject with an open mind. Wherever you find yourself, there will be a variety of options regarding locations, so select the ones

‘A GREY SKY EVOKES A CERTAIN PATHOS ... WITH AN EQUALLY POIGNANT LOCATION THE RESULTS CAN BE STUNNING’

that best suit the conditions – whether rain, snow, fog or a plain white sky.

LET IT RAIN Rain is possibly the single most dreaded weather condition and yet it offers some of the most fabulous photographic opportunities.

Once you have overcome certain technical issues, it is no more difficult than shooting in full sunshine.

What we mean by landscape need not necessarily be a bucolic wilderness; the urban landscape can often offer particularly stunning photographic opportunities in wet weather.

The main task is to keep droplets of water off the front element of the lens. First, consider using a long lens.

This allows you to focus on an area from a sheltered vantage point, and they tend to have a much deeper lens hood.

Unless the rain is blowing

624 / THE RPS JOURNAL / AUGUST 2016 / VOL 156

directly towards you, the front element should remain dry.

It is of course important that the camera body remains dry; the top plate and the back of the camera are especially vulnerable. It is possible to buy quite sophisticated rain covers for cameras, but in my experience they are fiddly to use. I prefer to use one of those cheap, clear plastic shower caps you get for free from hotels. It is something you can keep in your pocket and just pull out and cover the camera body in an instant.

Finally, if it is pouring with rain while driving in the car, you may convince yourself that a photograph isn’t worth taking. My advice is to keep your waterproofs on, even in the car, so you will be more inclined to step outside.

SHADES OF GREY Another aspect of weather many find discouraging is

dull, impenetrable cloud.

A grey sky evokes a certain pathos, and if matched with an equally poignant location, the results can be stunning.

There are obvious technical issues you need to consider: 1) Shooting without the sun means that the strength of the light is reduced.

This can be overcome by increasing the ISO rating, using a larger aperture or, if possible, using a tripod.

2) The emphasis of your image should be tonal; whether you decide to retain your images in colour, or convert them to black and white, the tonal values will be important.

3) There is one very simple post-camera technique I would like to draw your attention to here – the ‘clarity’ slider. By using clarity, contrast is increased, but only in the mid-tones, which adds drama to an otherwise flat and uninteresting sky.

TECHNIQUE IN DEPTH

ABOVE, LEFT

WRECKED HOTEL, CENTRAL MONTANA Weather conveys a sense of mood, and as landscape photographers our task is to identify a subject or location that best reflects that mood ABOVE

EASTBOURNE PIER Rain has a magnificent capacity to transform an otherwise uninteresting location, particularly within an urban setting LEFT

CANAL DU MIDI, FRANCE By photographing this location when the sky was blank and featureless, the splendid tracery of the trees becomes much more evident

(Clarity is available in Photoshop, Lightroom or in ACR.)

BLANK CANVAS Possibly the lighting condition photographers most hate is a blank, white sky. Typically it is a thin stratus cloud which is dense enough to block out the sun and tends to occur during the summer months. Who wants a blank, white sky you might ask, but even these conditions have value.

Think of it in terms of a white canvas – it can be filled with whatever you want.

For example, we often find the delicate tracery of trees is lost when set against a dark blue sky but, when viewed against a pale sky, their simple beauty immediately becomes more apparent. Also, be prepared to expand your definition of landscape. The countryside is full of delicate, man-made structures such as

| THE CRAFT | 625

powerlines, pylons and wind turbines that are similarly best photographed when set against a pale, featureless sky.

In conclusion, adopting the right attitude is so important.

When you look out in the morning and see that it is raining, that’s a real cause for celebration. When you arrive at a location and it is shrouded in mist, ponder on your good fortune. While travelling to a landscape you had long planned to photograph and you notice the sky is beginning to fill in, just think of the wonderful opportunities this changing weather presents.

AUTHOR PROFILE TONY WOROBIEC FRPS Avid traveller, author and award-winning photographer, Worobiec’s latest release, Photographing Landscape Whatever The Weather, was published in April

VOL 156 / AUGUST 2016 / THE RPS JOURNAL / 625

WHY I LOVE IT

iPHONE 6 SPECIFICATION Introduced: 2014 Lens: Fixed Dimensions: 138.1mm x 67mm x 6.9mm Weight: 129g Focus: Autofocus with focus pixels

BEFORE THE IPHONE

MY FAVOURITE CAMERA

iPhone 6

WHY THIS CAMERA?

Viveca Koh FRPS relishes the freedom and sense of fun that the smartphone offers

V

iveca Koh was awarded her Fellowship in June 2014, having become an Associate in June 2011 and Licentiate in 2010.

She is the current honorary secretary of the Audio Visual Group, of which she is a highly active member.

A self-taught fine art photographer with a penchant for using layering and texturising techniques, Koh aims to create images that make viewers question the world around them.

Come and Get It – one of Viveca Koh’s smartphone captures 626 / THE RPS JOURNAL / AUGUST 2016 / VOL 156

I started using manual film cameras, both SLR and compact, followed by a DSLR Nikon D700 and Panasonic Lumix LX3. While I have greatly enjoyed using all of them, my favourite of all is my iPhone.

This may appear somewhat philistine when comparing it to my ‘real cameras’, but for ease of use, processing on the go and sheer fun, my iPhone 6 cannot be beaten.

Koh’s work can be seen at instagram.com/vivecakohphotog

There’s something incredibly refreshing about carrying around this lightweight camera rather than a bag bulging with lenses.

I enjoy the discipline of having a single, fixed focallength lens because it encourages me to think more creatively.

I absolutely love square format.

Previously I cropped many of my photos to this aspect ratio in post-production but the iPhone allows me to ‘shoot square’ and

compose my image within the frame.

EDIT ON THE GO

As a fine art photographer, I use double exposures and texture overlays when processing many of the photographs taken with my Nikon.

The huge selection of apps for smartphones allow me to process my photos in the same way I would using Photoshop.

Effectively, the iPhone offers a much more streamlined approach to my work.

KEEP CONNECTED

I constantly have my phone with me, so I’m able to photograph anything that catches my eye, including various textures to add to my database for use as overlays on other photographs.

As a keen user of social media, I love that while I’m out and about I can process and share photographs to Instagram for immediate response and comments.

Kate Bush © Clive Arrowsmith

9.6 out of 10

Use “rps10” on checkout for 10% off your 1st order + ask us about permanent discounts for RPS members

www.point101.com

020 7241 1113

Photo © Yiannis Roussakis

Your images, printed.

MEMBER South Downs view from The Trundle, Chichester, West Sussex

by Paul Gilmour LRPS

| GUIDE | 629

GUIDE

YOUR RPS EVENTS ! COURSES PROGRAMME

AUG!SEP!OCT

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

Cssss

Through the looking glass

Get an insight into the wonders of filters at two Southern Region events

I

t’s no secret that filters can transform photographic work, so Southern Region and Lee Filters have joined forces to offer two events in which photographers can extend their knowledge of filters, as well as gain insights into the firm from its managing director, Eddie Ruffell.

At the talk and demonstration workshop in Romsey, Hampshire, on 16 October attendees can get hands on with a range of filters, learn about the science behind the technology, and gain training in how to use filters for landscapes and other applications.

Ruffell will explain the various effects that can be achieved, while giving an insight into the

Behind the scenes at the Lee Filters factory

history of the company and revealing some of its plans, including for new products.

There will be a question-andanswer session to finish.

Then, on 26 November, Ruffell and his team will open the doors to Lee Filters’ factory headquarters in Andover.

After an introduction to the site, visitors will be guided through the manufacturing process of some of the company’s most popular products, while seeing first hand the processes put in place to ensure quality control.

They can also try out some of the firm’s range.

For more details turn to page 633 or see the Society website VOL 156 / AUGUST 2016 / THE RPS JOURNAL / 629

630 | GUIDE |

REGIONS

Meet photographers and view work in your area

Birmingham B69 2AS

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

CENTRAL

An evening with Jan and Ed – presented by Jan Cawley

shoots, live photo editing and some live photography `` Smethwick Photographic Society, The Old Schoolhouse, Churchbridge, Oldbury B69 2AS `` Ian Bailey, 07980 376301, digmidlands@rps.org

Thursday 4 August / 19:30-22:00

`` £3 Society members `` Smethwick Photographic

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

‘Miles and miles of fresh air’ presented by Nick Jenkins ARPS

Contemporary Midlands kick-off meeting at QUAD Saturday 13 August / 13:30-16:30

`` Please bring prints for

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

as above

Rollright Visual Art Group summer meeting

‘Confessions of a competition addict’ presented by Robert Millin LRPS

Saturday 20 August / 10:00-16:30

`` See website for details `` The Village Hall, Main Street, Long Compton CV36 5JS `` Andreas Klatt ARPS, rpsva@klatt.co.uk

Society, Churchbridge, Oldbury,

Thursday 15 September / 19:30-22:00

`` £3 Society members `` Smethwick Photographic

Join the Central Region on a field trip to Ynys Llanddwyn, Anglesey

Thursday 6 October / 19:30-20:00

`` £3 Society members `` Smethwick Photographic

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

‘A Creative Mind’ presented by Diane Owen FRPS Thursday 13 October / 19:30-22:00

`` £3 Society members `` Smethwick Photographic

Thursday 18 August / 19:30-22:00

‘Travels towards the edge’ presented by Sue O’Connell ARPS and Peter Brisley ARPS

`` £3 Society members `` Smethwick Photographic

Thursday 8 September / 19:30-22:00

`` £3 Society members `` Smethwick PS Club House `` Mike Sharples ARPS,

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

Thursday 1 September/ 19:30-22:00

‘Me and my eye’ presented by Andy Beel FRPS

‘Portfolio’ presented by Christine Widdall

`` £3 Society members `` Smethwick Photographic

`` £3 Society members `` Smethwick Photographic

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

discussion `` QUAD Arts Centre, Market Place, Derby DE1 3AS `` David Edge, 07947 849643, davidjedge@me.com

`` £20/£15/£5 spectators `` Smethwick Photographic

Gavin Hoey – Photoshop training and live demonstration `` £12/£10 group members `` A mix of prerecorded photo

MIKES.SHARPLES(VIRGIN.NET

Sunday 21 August / 10:00-16:00

as above

Sunday 28 August / 10:00-16:00

MIKE SHARPLES ARPS, 07884 657535

Distinctions advisory day (Creative/Pictorial) LRPS or ARPS

`` Mike Sharples ARPS,

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

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

Field trip to Ynys Llanddwyn, Anglesey Sunday 16 October / 8:30-14:00

`` Nearest town: Newborough,

Llanfairpwllgwyngyll LL61 6SH

`` Mike Sharples ARPS, as above

Central Region ‘Divine Light’ presented by Clive Tanner FRPS Thursday 20 October / 19:30-22:00

`` £3 Society members `` Smethwick Photographic

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

Central Region in association with PermaJet Sat 22 – Sun 23 October / 10:00-16:30

‘An evening with …’ presented by Des Clinton Thursday 22 September / 19:30-22:00

`` Black Country Living

Museum, Tipton Road, West Midlands, Dudley DY1 4SQ

17 Mangate Street, Swaffham, Norfolk PE37 7QW `` 01225 325733, lrps@rps.org

Regional sponsored lecture – Susan Brown FRPS Sunday 2 October / 11:00-16:30

`` Free `` By the well-known

landscape photographer Susan Brown FRPS `` Foxton Village Hall, Hardman Road, Foxton CB22 6RN `` Ian Wilson ARPS, as above EAST MIDLANDS STEWART WALL ARPS, 07955 124000 STEWARTWALL(ICLOUD.COM

Natural history workshop at The University of Nottingham Sunday 4 September / 10:00-16:00

`` £10 `` A fantastic opportunity to

photograph a whole range of examples of natural history `` School of Life Sciences, Room 89, University of Nottingham, Nottingham NG7 2RD `` Stewart Wall ARPS, as above

Distinctions advisory day (LRPS/ARPS in Conceptual & Contemporary and Natural History) Sunday 18 September / 10:00-16:00

`` £20/£15/£10/£5 students `` Whatton Jubilee Hall, Church

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

Macro workshop with Alex Hyde (fully booked – waiting list taken) Saturday 8 October / 10:00-16:30

`` £115/£85 Society members `` Whatton Jubilee Hall, Church Street, Whatton in the Vale NG13 9EL `` Ralph Bennett, 07752 870422, ralph.emrps@gmail.com

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

An introduction to Distinctions Saturday 17 September / 10:30-16:30

`` £15/£10 Society members `` The Barn, Sacred Heart School, Norfolk, Swaffham PE37 7QW `` Ian Wilson ARPS, as above

LRPS assessment day Sunday 18 September / 10:30-17:30

`` Society members £60,

non-members £70, free for observers `` For print submissions only `` Sacred Heart School, 630 / THE RPS JOURNAL / AUGUST 2016 / VOL 156

EIRE MICHAEL O’SULLIVAN INFO(MOSULLIVANPHOTO.COM LONDON DEL BARRETT ARPS LONDONEVENTS(RPS.ORG

Regular meeting of the SW London Group Monday 8 August / 19:00-21:00

`` The Prince of Wales, 138

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

The art of product photography at the

| GUIDE | 631 Nikon School Thursday 11 August / 10:30-16:30

`` £99/89 Society members `` This one-day workshop will show you how to capture inspiring and eye-catching product images `` London Events, londonevents@rps.org

London Region street walk Saturday 13 August

`` Free `` A regular meeting of the

London Region street group: details to be confirmed `` Londoncave@rps.org

Himmelstrasse by Brian Griffin HonFRPS – artist’s talk and book signing Saturday 3 September / 15:00-16:30

`` The Magic Gallery, Charing Cross Underground Arcade, Strand, London WC2N 4HZ `` London Events, londonevents@rps.org

LRPS one-to-one Distinctions review Saturday 10 September / 10:00-16:30

`` The judges for the day will be Marie-Ange FRPS and Roger Force FRPS `` The Nikon Centre for Excellence, 63-64 Margaret Street, London W1W 8SW `` London Distinctions, londondist@rps.org

Portfolio reviews Tuesday 13 September / 11:00-19:00

`` £80/£75 Society members `` Have you been working on a

project? Do you have a body of work and are looking for feedback? Do you want to know whether your work is publishable? Find out by booking one of our exclusive sessions at our portfolio review day `` The Magic Gallery, Charing Cross Underground Arcade, Strand WC2N 4HZ `` London Events, londonevents@rps.org

63-64 Margaret Street, London, W1W 8SW `` London events, londonevents@rps.org

London Region street walk Saturday 17 September

`` Free `` A regular meeting of the

London Region street group: details to be confirmed `` Londoncave@rps.org

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

`` For the first Bookworm Club

meeting after the summer break, the theme is past and present approaches to manipulation in photography. `` The Crusting Pipe, 27 The Market, Covent Garden, London WC2E 8RD `` London Bookworms, LondonBookworms@rps.org

London Naturally walk Sunday 25 September

`` Free `` A regular meeting of the

London Naturally group: details to be confirmed `` London-naturally@rps.org

Breathing London project Until Friday 30 September / 9:00-18:00

`` After the success of

Bleeding London, our new project aims to capture the diversity of London’s open spaces – the lungs of the capital `` Londonwide `` Judy & Jen, greenlondon@rps.org

The Magic Gallery is proud to present Himmelstrasse by Brian Griffin HonFRPS Until Friday 30 September / 16:00-17:00

`` For the first time, all the

Saturday 15 October

`` Free `` A regular meeting of the

London Region street group: details to be confirmed `` Londoncave@rps.org

RPS Open International Photobook Exhibition 2016 `` Winners and shortlisted

`` Free `` Please note the date, details

Regular meeting of the SW London Group

`` The Prince of Wales, 138

`` Free `` Please note the date, details

An outdoor workshop with Robert Canis to capture autumn colour

entries for the 2016 open exhibition, plus an associated print exhibition.

Books can be browsed by visitors `` Espacio Gallery, 159 Bethnal Green Road, London E2 7DG

Tuesday 13 September / 19:00-21:00

to follow

Upper Richmond Road, Putney SW7 2RL `` London Web, Londonweb@rps.org

Nikon digital darkroom – Photoshop

Tuesday 11 October

to follow

`` The Prince of Wales, 138

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

Thursday 15 September / 10:30-16:30

`` £129/£99 Society members `` Nikon Centre of Excellence,

London Region street walk

to be confirmed

`` London-naturally@rps.org NORTH WALES MARTIN BROWN LRPS, 01691 773316 NORTHWALES(RPS.ORG NORTH WEST DR AFZAL ANSARY ASIS FRPS, 07970 403672 AFZALANSARY(AOL.COM

Tue 18 – Sun 23 October / 13:00-19:00

images from this hauntingly powerful collection will be exhibited `` The Magic Gallery, Charing Cross Underground Arcade, Strand, London WC2N 4HZ `` London Events, londonevents@rps.org

Regular meeting of the SW London Group

Capture the beauty of autumn with the London Group Image by Robert Canis, Kew, 2015

Festejar Spanish Festival Sunday 4 September / 10:30-17:00

`` Photograph Manchester’s

Spanish Festival in Albert Square

`` Meet at Starbucks, 9-11 St

Ann’s Square, The Royal Exchange, Manchester M2 7EF `` Robert Helliwell ARPS, 01904 500231, bobhelliwell@clara.co.uk

Distinctions advisory day

Sunday 23 October / 11:00-13:00

Sunday 25 September / 10:30-16:30

`` £25/£20 Society members `` London, TBC `` Breathing London Team,

`` £20/£15/£10 spectators `` Hough End Centre, Mauldeth

greenlondon@rps.org

London Naturally walk

Road West, Heswall M21 7SX

Liverpool and Crosby field trip

Sunday 30 October

Saturday 15 October / 10:00-18:30

`` Free `` A regular meeting of the

`` £5 non-Society members `` A Landscape Group field trip

London Naturally group: details

to photograph the fascinating

VOL 156 / AUGUST 2016 / THE RPS JOURNAL / 631

632 | GUIDE |

WORKSHOPS

Cinematic Hollywood beauty lighting made simple

Saturday 27 August / 10:00-17:00

`` £120/£95 Society members

`` Surrey

Photographing landscape, whatever the weather, with Tony Worobiec FRPS Sat 3 September / 10:30-16:30

`` £45/£33 Society members

`` Bath HQ Movement photography Sunday 4 September / 10:00-16:30

`` £95/£71 Society members `` Bath HQ

Macro and art photography Wed 7 September / 10:00-16:30

`` £55/£41 Society members

`` The course is for anyone who is looking for new directions for their photography and to enhance their technical and creative skills `` Amersham, Buckinghamshire

Hear from the experts and hone your skills

members

`` Nottingham Creative dance photography lighting

members `` Surrey

Introduction to your digital camera Sat 17 September / 10:00-17:00

`` £85/£63 Society members

`` Bath HQ Two-day wedding workshop members

`` Lacock, Wiltshire Introduction to Photoshop Sun 18 September / 10:00-17:00

`` £95/£71 Society members `` Bath HQ

Art nude photography Sat 24 September / 10:00-17:00

`` £120/£95 Society members

`` Lacock, Wiltshire

Wed 7 September / 10:00-17:00

Sat 24 September / 10:00-17:00

`` £145/£120 Society

`` £115/£90 Society

Friday 9 September / 10:00-16:30

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

`` £45/£33 Society members `` Bath HQ

How to photograph children and babies

members `` Surrey

Learn to photograph children and babies

Introduction to Lightroom Sat 10 September / 10:00-16:30

`` £95/£71 Society members `` Bath HQ

Printing with Lightroom Sun 11 September / 10:00-16:00

`` £95/£71 Society members

`` Bath HQ Shooting modern architecture Mon 12 September / 10:00-16:30

`` £99/£75 Society 632 / THE RPS JOURNAL / AUGUST 2016 / VOL 156

Two-day Photoshop workshop Sat 1 – Sun 2 October / 10:00-17:00

`` £165/£140 Society members `` Bath HQ

`` £120/£95 Society

Architectural and travel photography in and around Exeter

`` Lacock, Wiltshire

`` £95/£71 Society

Running your own photographic business

`` Exeter

Sun 25 September / 10:00-17:00

members

Saturday 1 October / 12:00-19:00

members

`` £190/£165 Society

Portrait photography and getting the most from your subject

`` Bath HQ

`` £95/£71 Society

A beginners’ guide to product photography

`` Amersham,

Mon 26 – Tue 27 Sep / 10:00-16:00

members

Sat 17 – Sun 18 Sep / 10:00-17:00

`` £165/£140 Society

Art figure painting with light

Creative techniques in Photoshop

Sun 25 September / 10:00-16:30

Sat 17 September / 10:00-17:00

`` Fully booked `` £120/£95 Society

Wedding photography members `` Nottinghamshire

Wildlife photography

Friday 7 October / 10:00-17:00

Buckinghamshire

Introduction to mindfulness, meditation and how these link to photography Fri 30 September / 10:00-16:30

`` The workshop will explore procedures and techniques that can be used to help every photographer connect more fully with the present moment, the goal being to help restore peace and balance in our bodies and minds `` Amersham, Buckinghamshire

Capture the Lake District in autumnal colours Saturday 22 October / 10:00-16:00

`` Join this field trip to the

magnificent Langdale valley for some autumnal Lake District photography `` National Trust car park NY 328047, Elterwater car park, Great Langdale street, Elterwater LA22 9HP `` Robert Metcalf, 01524 761297, r.metcalf534@ btinternet.com NORTHERN GERRY ADCOCK ARPS, 01661 830882

members

GERRY(GERRYADCOCK.CO.UK

Buckinghamshire

Advisory day

Better digital printing

`` £20/£15/£10 observers `` Booking is now open for our

Thu 29 September / 10:00-16:30

`` Amersham,

city of Liverpool and sculptor Anthony Gormley’s Another Place `` Lime Street Station, Liverpool L1 1JD `` Mark Reeves, 07968 616551, markreeves59@gmail.com

Sunday 9 October / 10:00 –17:00 Saturday 8 October / 10:00-16:30

`` £175/£150 Society

members `` Are you frustrated by inconsistent print quality?

This course will show you a simple and effective way to get the results you want `` Bath HQ

Shooting for stock Monday 10 October / 10:30-16:30

`` £65/£48 Society members `` Bath HQ

Product photography Friday 21 October / 10:00-17:00

`` £155/£130 Society

next advisory day

`` Backworth Hall,

Backworth NE27 0AH

`` Sandra Taylor, 0191 488

6900, staylorr@hotmail.com

Lake District weekend Fri 11 – Sun 13 November, 18:00-13:00

`` Single room £250, shared room £230

`` Burnside Hotel, Bowness, Windermere LA23 3HH

`` Gerry Adcote, as above, or

Sandra Taylor, 0191 488 6900, staylorr@hotmail.com NORTHERN IRELAND RICHARD CORBETT 07805 381429

members

RICHARD(RICHARDCORBETTPHOTOGRAPHY.COM

Coastal landscapes – Lyme Regis

JAMES FROST FRPS 01578 730466/07881 856294

`` Colerne

SCOTLAND JAMES.FROST11(BTINTERNET.COM

Saturday 22 October / 10:00-17:00

`` £95/£71 Society members `` Lyme Regis, Dorset

Scottish Region Members’ Print Exhibition 2016/17 – Falkirk

Studio portraiture

`` Falkirk Town Hall, Westbridge

Sat 6 – Sat 27 August / 10:00-17:00 Saturday 22 October / 10:00-17:00

`` £165/£140 Society members

`` Taking great images in a

Street, Falkirk FK1 5RS

`` Bob Black,

blackbr@btinternet.com

studio environment

Photo Forum North East

Wiltshire

`` £10/£8 Society members `` Aberdeen Arts Centre,

`` Lacock,

Architecture photography – Holme Pierrepont Hall

Sunday 14 August / 10:30-16:00

33 King Street, Aberdeen AB24 5AA `` James Frost FRPS, as above

Monday 31 October / 10:00-16:30

`` £99/£75 Society members `` Nottingham

Scotland Region members’ print exhibition 2016/17 – Glasgow

| GUIDE | 633 Sat 3 – Fri 20 September / 10:00-20:00

`` Hillhead Library, 348 Byres Road, Glasgow G12 8AP

`` Ian Robertson LRPS,

j.robertson15@ntlworld.com

Distinctions advisory day Saturday 3 September / 10:30-16:00

`` £20/£15/£10 spectators `` Bridge of Allan Parish Church, Keir Street, Bridge of Allan FK9 4NW `` James Frost FRPS, as above

DIG Scotland Centre – September meeting Sunday 18 September / 13:30-16:15

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

Scottish Region Members’ Print Exhibition 2016/17 – Stow

TQ11 0DZ

`` Chelin Miller, 01892 670056,

`` The Cloud House, 3 Townfoot,

West Cornwall Group meeting

Distinctions advisory day (LRPS/ARPS)

Tuesday 20 September / 19.30-21.30

Saturday 10 September / 10:00-16:00

`` Ian Oliver LRPS,

`` The Village Hall, Church Hill,

`` £20/£15/£10 spectators `` For LRPS and ARPS in

Fri 7 – Wed 26 October / 10:30-16:00

Stow TD1 2NQ

ian@ianoliverphoto.co.uk

Photo Forum Dingwall Sunday 30 October / 10:30–16:00

`` £10/£8 Society members `` Dingwall Camera Club, Eagle House, Dingwall IV15 9RY `` James Frost FRPS, as above

`` Mick Medley, as above

Chacewater, Truro TR4 8PZ

`` Vivien Howse ARPS,

01326 221939, vivien939@btinternet.com

`` South West Region Contemporary Group meeting Sunday 2 October / 10:30-16:00

SOUTH EAST DAVID POWELL, 01273 251485 SOUTHEAST(RPS.ORG

LRPS advisory day Sunday 4 September / 10:30-17:00

`` £20/£15/£10 spectators `` Cobham Village Hall, Lushington Drive, Cobham, Surrey KT11 2LU `` David Powell, as above

Joint visit to WWT Arundel Wetland Centre Southern and South East Regions Sunday 2 October / 14:00-20:00

`` £15/£10/£7.50 students `` WWT Arundel, Arundel, West Sussex BN18 9PB `` David Powell, as above SOUTH WALES MIKE LEWIS, 07855 309667, 01446 710770 MIKEGLEWIS101(BTINTERNET.COM SOUTH WEST

`` Carol & Graham’s house,

42 Hunters Moon, Dartington TQ9 6JT `` Rod Fry ARPS, 01803 844721, rod@rodfry.eclipse.co.uk

South West Visual Art Group members’ day Saturday 8 October / 10:30-16:00

`` £8/£5/£3 `` Dolphin Hotel, Station Road,

Bovey Tracey, Devon TQ13 9NG

Road, Romsey SO51 8GL

`` rps.org/events/2016/

november/26/lee-filtersfactory-hq-tour `` Paul Gilmour LRPS, as above

On my doorstep Saturday 22 October / 9:00-16:30

`` £35 group members `` See travel guide listing for details

`` Chichester Cathedral, The

members `` An excursion through the gamut of photography genres `` Winchester Discovery Centre, Jewry Street, Winchester SO23 8SB `` Mo Connelly, doc@rps.org

`` £15/£10 Society members `` Little Duck Forge, Eastney

Royal Chantry, Cathedral Cloisters, Chichester, West Sussex PO19 1PX `` Tony RS Ashford, 020 8767 1911, tonyashford@live.co.uk

Southern Region AGM Sunday 13 November, 10:30-11:00

`` Millennium Memorial Hall,

Littleton, The Hall Way, Winchester SO22 6QL `` Paul Gilmour LRPS, as above

Thursday 15 September / 10:00-12:00

Sunday 23 October / 10:30-16:00

`` £15/£10 Society members `` Two lectures by landscape photographer Jeremy Walker

`` The Dolphin Hotel, Station

Road, Bovey Tracey TQ13 9NG

`` Mick Medley, as above SOUTHERN

PAUL GILMOUR LRPS, 07899 042372 SOUTHERN(RPS.ORG

Day out at South Devon Railway

Corfe Castle with A&H Group in the Southern Region

Railway Station, Buckfastleigh,

Sunday 16 October / 11:00–15:00

Saturday 10 September / 10:15-17:00

A day with Jeremy Walker

Friday 5 August / 11:00-15:00

`` Corfe Castle, The Square,

Dorset, Wareham BH20 5EZ

01425 471489, digsouthern@rps.org

`` £25/£15 Society members `` Crosfield Hall, Broadwater

`` £60/£55/£50 group

linda.wevill@btinternet.com

Ringwood BH24 1DW

`` Barry Senior HonFRPS,

Talk and demonstration with Lee Filters

What makes great photography?

Photograph a blacksmith at work

MICHAEL.MEDLEY(BTINTERNET.COM

`` £20/£15 Society members `` South Devon Railway, The

Visit Corfe Castle with the A&H Group in the Southern Region

the category of Conceptual and Contemporary `` King’s Community Church, Hedge End, Upper Northam Rd, Southampton SO30 4BZ `` Martin Silman, 07703 598303, southernevents@rps.org

`` Linda Wevill FRPS,

MICK MEDLEY, 01626 824865/07980 073808

Sunday 11 September / 6:45-16:00

heritageweb@rps.org

Beam Engine House, Henderson Road, Portsmouth PO4 9JF `` Martin Silman, 07703 598303, southernevents@rps.org

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

DIG Thames Valley: Andy Beel FRPS and Prof Bob Ryan ARPS, ‘Me and my eye’ and ‘Rewiring the photographers’ brain’

DIG Southern Centre: ‘Portraiture as art’ lecture by Vicki-Lea Boulter ARPS Sunday 25 September / 10:30-16:00

Sunday 18 September / 10:00-15:30

`` £10/£7 group members `` Including a Photoshop

`` £12/£8 group members `` Woosehill Community Hall,

demonstration of how the images are created `` Greyfriars Community Centre, 44 Christchurch Road,

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

Emmview Close, Wokingham, Berkshire RG41 3DA `` Laurie Pate, digthamesvalley@rps.org

VOL 156 / AUGUST 2016 / THE RPS JOURNAL / 633

634 | GUIDE |

COUNCIL REPORT ! MAY 2016 MINUTES OF COUNCIL

Grimsby Institute which was interested in the Society’s affiliation scheme.

It had facilities which it was prepared to make available to the Society.

`` Vanessa Slawson, who

was absent, had provided comment on the draft minutes and subject to this, the minutes of 19 April 2016 were approved.

RPS JOURNAL

`` Council thanked Andrew

MATTERS ARISING `` Robert Albright asked that plans of activity be requested from new regional organisers. The director-general reported on feedback from a recent staff managers’ meeting.

SOCIETY FINANCE `` Geoff Blackwell advised that the final payment from the Anthony Troman estate had been received and had been added to the new building fund. Draft accounts for 2015 would be ready for the auditors.

They were in line with expectations, with a small surplus once legacies had been excluded. The stock of Portfolio books had been written off.

SOCIETY PREMISES

`` Geoff Blackwell and

Vanessa Slawson had visited a possible property, but there were concerns over the fabric of the building and the amount of space it offered. Robert Albright reported on a visit he and Walter Benzie had made to a university which was interested in a partnership and the director-general and treasurer were asked to progress this. A list of Society requirements would be compiled to support the meeting. `` Geoff Blackwell advised that he was meeting a representative of the Arts Council to discuss possible future grant opportunities.

Cattanach on the two most recent issues, which continued the Journal’s high standard.

WEBSITE

`` The director-general

‘The review of MP005 (chapters) suggests that the procedural documents need a rewrite’

general at the previous meeting. She fully supported the position but felt that it should report directly to the directorgeneral. Council approved the appointment of a fulltime volunteer coordinator on a one-year contract. It asked that the appointee report to council within three months on the Society’s wider volunteer and regional strategy.

STRATEGIC REVIEW AND DEVELOPMENT PLAN `` Del Barrett asked that the draft strategy objectives one and two be reworded to emphasise the Society’s role. The strategy document would be sent to the advisory board for comment.

AWARDS

`` Council agreed that the

offer of a Society award could be withdrawn in the absence of any response.

DOCUMENTATION

`` Walter Benzie stated the

`` Membership stood at

11,714. The results from the previous quarter’s lapsed and new member surveys had not been received.

review of MP005 dealing with the chapters suggested that all the procedural documents needed a fundamental rewrite and not simply a revision. Richard Tucker offered to rewrite MP005 in the interim.

GROUPS/REGIONS/ OVERSEAS CHAPTERS `` Del Barrett commented on the proposed new volunteer coordinator role proposed by the director-

STAFF AND HEADQUARTERS MANAGEMENT `` Robert Albright asked about the National Photography Symposium

MEMBERSHIP

634 / THE RPS JOURNAL / AUGUST 2016 / VOL 156

meeting in Derby at which the director-general had spoken. He reported on the proceedings and a number of outcomes, including the photography specialist subject network where the Society could play an important role. A funding bid for the SSN had gone to the Arts Council and was likely to be favourably received. Walter Benzie thanked the directorgeneral for his help in drafting responses on his behalf to various correspondents.

DISTINCTIONS AND QUALIFICATIONS `` David Cooke asked for clarification on the approvals process for changes affecting Distinctions. Robert Albright provided an update on the Distinctions review. The review group had been trying to analyse the passrate trend but changes in how the Society compiled its statistics was making a direct comparison difficult.

The group would report to council and then arrange a meeting of the DAB to report and discuss its findings before any changes were made. `` Richard Tucker complimented the Distinctions team over the recent video feedback session for overseas members. It had been a very effective and valuable experience. `` Robert Albright

would attend the next DAB meeting.

EXHIBITIONS

`` Del Barrett reported that

she was seeking a replacement exhibitor for the Magic Gallery due to a last-minute withdrawal.

Council agreed that the region could use the space for evening events.

Richard Tucker would be representing the Society at Dow Chemicals, where the Swiss Chapter was holding an exhibition.

EDUCATION

`` David Cooke reported that

the DAB meeting on 26 May would be considering the Open University (OU) course and Distinctions exemptions. He and Robert Gates had prepared a report on their review of the work from the first two OU course presentations. `` Council reviewed the 2015 workshop feedback.

The total number of attendees appeared static and were split 30 per cent non-members/70 per cent members, with 64 per cent travelling a short distance to attend. The numbers suggested that the Society needed to increase the number of workshops across the UK and look at other courses it could recommend. Richard Tucker noted the high level of satisfaction with the Society’s courses. `` Geoff Blackwell had attended a meeting at

reported on the technical review of the website which had been undertaken. Some of the proposals arising from this were now being costed and he hoped to come back with a roadmap for the future. Walter Benzie had attended the recent science committee, where the online forum was discussed.

NATIONAL MEDIA MUSEUM `` Geoff Blackwell reported on behalf of the Historical Group concerns over the Collection move, and the potential impact on the objects within the Collection. Council agreed that the group be kept updated as information about the move from the V&A became available.

ADVISORY BOARD, COUNCIL AND GOVERNANCE `` The next meeting of the governance review group would take place on 25 May. EXTERNAL ORGANISATIONS `` Robert Albright noted that the DAB has indicated that they would respond favourably to a proposal from the Society for the PAGB and Society to work together on AV Distinctions applications. The Copyright Highway Code which Andy Finney had been involved in realising had been issued with the May RPS Journal and had been published by the British Copyright Council.

ANY OTHER BUSINESS

`` There was no other business.

| GUIDE | 635 Wallingford wanderings

Distinctions and The Society

Friday 7 October / 17:00-18:00

Thursday 27 October / 20:00-22:00

`` £25/£15/£5 spectators `` A fun, social and instructional

`` Park Street Camera Club,

weekend in this historic Oxfordshire market town `` Wallingford Town Hall, Market Place, Wallingford OX10 0EG `` Andrew Barrow, arb@andys-scribblings.co.uk

Members’ print exhibition

St Stephen Parish Centre, Station Road, Bricket Wood, St Albans AL2 3PJ `` johnwoodworth@mac.com

WESTERN(RPS.ORG

Ilton group field trip

Sunday 9 October / 10:00-16:00

Sunday 21 August / 11:00-17:00

`` £12 `` Ilton field trip to Mapperton

AGM

House and Gardens `` Mapperton, Beaminster, Dorset DT8 3NR `` Mick Humphreys, mick@somersite.co.uk

Sunday 9 October / 16:00-16:30

`` No booking is required.

Reports will be published in the November newsletter, which will be available online at the beginning of October. Copies will be available at the meeting `` Drake Hall, Chiltern Avenue, Amersham HP6 5AH `` Mark Buckley-Sharp, 020 890 75874, mark.buckleysharp@tiscali.co.uk

DIG Thames Valley: attendee presentations plus Millennium Cup competition for prints Sunday 16 October / 10:00-15:30

`` £12/£8 group members `` We are looking for attendees

who are prepared to make a five to 20-minute presentation on an imaging subject that they would like to share the group `` Woosehill Community Hall, Emmview Close, Wokingham, Berkshire RG41 3DA `` Laurie Pate, digthamesvalley@rps.org

Sunday 30 October / 10:00-16:00

`` £8/£7/£5 group members `` Lightroom and On1 techniques plus some texture work

`` Merryfield Village Hall, Ilton,

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

Nr Taunton TA19 9HG `` Paula Fernley, paula.fernley@iCloud.com

WESTERN DAVID NORFOLK,

`` Drake Hall, Chiltern Avenue, Amersham HP6 5AH `` Kathy Chantler, 01296 483469, kathychantler@gmail.com

On1 and textures

The 22nd Royal Photographic Society International Audio Visual Festival 2016

YORKSHIRE MARY CROWTHER ARPS, 07921 237962 PHOTOBOX50(GMAIL.COM

Sunday 4 September / 10:30-17:00

`` Photograph Manchester’s

Spanish Festival in Albert Square `` Starbucks, 9-11 St Ann’s Square, The Royal Exchange, Manchester M2 7EF `` Robert Helliwell ARPS, 01904 500231, bobhelliwell@clara.co.uk Saturday 15 October / 10:30-12:30

`` £7/£3 Society members `` Informal social gatherings,

is held every two years, and is a digitally projected competition for audiovisual sequences. `` 1914 Centenary Hall, Dean Close Preparatory School, Lansdown Road, Cheltenham GL51 6QS `` Edgar Gibbs, 029 2056 4850, edgar.gibbs@ntlworld.com

Western Region LRPS and ARPS advisory day Sunday 16 October / 10:00-16:30

`` £20/£15/£10 spectators `` Fenton House, 122 Wells Road, Bath BA2 3AH

`` Michelle Whitmore,

michelle@michellewhitmore. co.uk

Alan Bastin and Di Wilkins – Lightroom,

‘four years of blood, sweat and tears’, documenting the full 6,211km of the Yangtze River `` York Medical Society, 23 Stonegate, York YO1 8AW `` Robert Helliwell ARPS, 01904 500231, bobhelliwell@clara.co.uk

Explore more aspects of photography and digital imaging

Self-help group

`` The International AV Festival

Saturday 29 October / 18:30-20:30

`` £10/£7 Society members `` Yan Wang Preston describes

SPECIAL INTEREST GROUPS

Festejar Spanish Festival

Sat 24 Sep – Sun 25 Sep / 9:45-17:00

A photography journey along the Yangtze

ANALOGUE RICHARD BRADFORD ARPS ANALOGUE(RPS.ORG

a great way of meeting likeminded photographers `` VJs Art Bar, Finkle Street, York YO1 8RW `` Robert Helliwell, 01904 500231, bobhelliwell@clara.co.uk

Corfe Castle with Southern Region

Distinctions advisory day

`` Meet at the castle’s ticket

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

Friday 5 August / 11:00-15:00

office. This event is free, but an entry fee to the castle applies for non-National Trust members `` Chelin Miller, 01892 670056, heritageweb@rps.org

Saturday 22 October / 10:30-16:30

`` £20/£15/£10 spectators `` Advice for Licentiate

Distinctions, plus Associate Distinctions in Creative/ Pictorial `` New Brookhouse Club, 221 Barnsley Road, Wakefield WF1 5NU `` Robert Helliwell, 01904 500231, bobhelliwell@clara.co.uk

Heritage Open Days Thu 8 Sep – Sun 11 Sep

`` We’ve teamed up with

Heritage Open Days: England’s biggest heritage festival involving 40,000 volunteers. It celebrates our fantastic history, architecture and culture; offering people the chance to see hidden places and try out new experiences for free `` Various locations around England `` Chelin Miller, 01892 670056, heritageweb@rps.org

A&H members’ showcase Saturday 8 October / 10:00-17:00

`` Leatherhead Institute, 67

High Street, Leatherhead, Surrey KT22 8AH `` Mike Sasse, 01892 531 179, mike.sasse@btinternet.com Hear from Yan Wang Preston, who documented life along the Yangtze River Image by Yan Wang Preston

AUDIO VISUAL HOWARD BAGSHAW ARPS, 01889 881503 HOWARD.BAGSHAW(NTLWORLD.COM

The 22nd Royal Photographic Society International Audio

VOL 156 / AUGUST 2016 / THE RPS JOURNAL / 635

636 | GUIDE | Visual Festival

IMAGING SCIENCE

Sat 24 Sep – Sun 25 Sep / 9:45-17:00

KEN MACLENNAN,BROWN

`` 1914 Centenary Hall, Dean

KEN.MACLENNAN(BTINTERNET.COM

Close Preparatory School, Lansdown Road, Cheltenham GL51 6QS `` Edgar Gibbs, 029 2056 4850, edgar.gibbs@ntlworld.com

LANDSCAPE TIM PARISH LRPS LANDSCAPE(RPS.ORG

Liverpool and Crosby field trip Saturday 15 October / 10:00-18:30

CONTEMPORARY

`` A Landscape Group field

PETER ELLIS LRPS, 07770 837977

trip to photograph the fascinating city of Liverpool and sculptor Anthony Gormley’s Another Place `` Lime Street Station, Liverpool L1 1JD `` Mark Reeves, 07968 616551, markreeves59@gmail.com

WORDSNPICSLTD(GMAIL.COM

Contemporary Midlands kick-off meeting at QUAD Saturday 13 August / 13:30-16:30

`` The meeting will gather views about how people would like the group to develop `` QUAD Arts Centre, Market Place, Derby DE1 3AS `` David Edge, 07947 849643, davidjedge@me.com

South West Region Contemporary Group meeting Sunday 2 October / 10:30-16:00

`` Carol & Graham’s house,

42 Hunters Moon, Dartington TQ9 6JT `` Rod Fry ARPS, 01803 844721, rod@rodfry.eclipse.co.uk

RPS Open International Photobook Exhibition 2016 Tue 18 – Sun 23 October / 13:00-19:00

`` Winners and shortlisted

entries for the 2016 open exhibition, plus with an associated print exhibition.

Books can be browsed by visitors `` Espacio Gallery, 159 Bethnal Green Road, London E2 7DG CREATIVE BARRY COLLIN LRPS CREATIVECHAIR(RPS.ORG

Capture the Lake District in autumnal colours Saturday 22 October / 10:00-16:00

`` Join this field trip to the Andy Beel FRPS and Prof Bob Ryan ARPS, ‘Me and my eye’ and ‘Rewiring the photographers’ brain’ Sunday 18 September / 10:00-15:30

`` £12/£8 group members `` Woosehill Community Hall,

Emmview Close, Wokingham, Berkshire RG41 3DA `` Laurie Pate, digthamesvalley@rps.org

DIG Scotland Centre – September meeting Sunday 18 September / 13:30-16:15

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

DIG Southern Centre: ‘Portraiture as art’ lecture by Vicki-Lea Boulter ARPS Sunday 25 September / 10:30-16:00

DIGITAL IMAGING JANET HAINES DIGCHAIR(RPS.ORG

Gavin Hoey – Photoshop training and live demonstration Sunday 28 August / 10:00-16:00

`` £12/£10 group members `` The day is a mix of

prerecorded photo shoots, live photo editing in Photoshop, Elements and Lightroom, plus some live photography with a little help from members `` Smethwick Photographic Society, The Old Schoolhouse, Churchbridge, Oldbury B69 2AS `` Ian Bailey, 07980 376301, digmidlands@rps.org

DIG Thames Valley:

`` £10/£7 group members `` A different style of creative

portraiture will be illustrated and discussed with a Photoshop demonstration of how the images are created `` Greyfriars Community Centre, 44 Christchurch Road, Ringwood BH24 1DW `` Barry Senior HonFRPS, 01425 471489, digsouthern@rps.org.

DIG Thames Valley: attendee presentations plus Millennium Cup competition for prints Sunday 16 October / 10:00-15:30

`` We are looking for attendees

who are prepared to make a five to 20-minute presentation on an imaging subject that they

636 / THE RPS JOURNAL / AUGUST 2016 / VOL 156

Join the Landscape Group in the Lake District

would like to share the group `` Woosehill Community Hall, Emmview Close, Wokingham, Berkshire RG41 3DA `` Laurie Pate, digthamesvalley@rps.org

Alan Bastin and Di Wilkins – Lightroom, On1 and textures Sunday 30 October / 10:00-16:00

`` Lightroom & On1 techniques plus some texture work

`` Merryfield Village Hall, Ilton, Nr Taunton TA19 9HG

`` Paula Fernley,

paula.fernley@iCloud.com DOCUMENTARY MO CONNELLY LRPS, 01590 641849 DVJ(RPS.ORG

magnificent Langdale valley to for some autumnal Lake District photography `` National Trust car park NY 328047, Elterwater Car Park, Great Langdale Street, Elterwater LA22 9HP `` Robert Metcalf, 01524 761297, r.metcalf534@btinternet.com MEDICAL DR AFZAL ANSARY ASIS FRPS, 07970 403672 AFZALANSARY(AOL.COM NATURE RICHARD REVELS FRPS, 01767 313065 RICHARD.REVELS(TALKTALK.NET

Macro workshop with Alex Hyde (fully booked – waiting list taken) Saturday 8 October / 10:00-16:30

RPS Documentary Photographer of the Year 2016 Until Wednesday 31 August

`` Now open to all Society

members. This competition is organised by the Society’s Documentary Group `` RPS, Fenton House, 122 Wells Road, Bath BA2 3AH `` Organiser, dpoty@rps.org

What makes great photography?

Saturday 10 September / 10:15-17:00

`` £60/£55/£50 group

members `` What makes great photography? An excursion through the gamut of photography genres `` Winchester Discovery Centre, Jewry Street, Winchester SO23 8SB `` Mo Connelly, doc@rps.org

`` £115/£85 Society members `` Whatton Jubilee Hall, Church Street, Whatton in the Vale NG13 9EL `` Ralph Bennett, 07752 870422, ralph.emrps@gmail.com

Nature Group 40th anniversary meeting Sunday 16 October / 9:30-16:00

`` £10 `` Celebration of the 40th

anniversary of the Nature Group

`` Smethwick Photographic

Society Clubrooms, The Old Schoolhouse, Churchbridge, Oldbury B69 2AS TRAVEL KEITH POINTON LRPS, 01588 640592 BAGPOINT(AOL.COM

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

HISTORICAL JENNIFER FORD ARPS, 01234 881459 JENNYFORD2000(YAHOO.CO.UK

`` £1,875 group members `` Hotel Las Nieves, Salduero del Duero, Soria

| GUIDE | 637 `` 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

Cambodia overland photo tours – November Saturday 12 – Thursday 24 November

`` £950 group members `` Highlights include Phnom

Penh, the temples of Angkor and Tonle Sap lake `` Keith Pointon, as above VISUAL ARTS VIVECA KOH FRPS, 07956 517524 VIVECA.KAOH(GMAIL.COM

Rollright Visual Art Group summer meeting Saturday 20 August / 10:00-16:30

`` See website for details `` The Village Hall, Main Street, Long Compton CV36 5JS

`` Andreas Klatt ARPS, rpsva@

klatt.co.uk or Mike Sharples ARPS, mikes.sharples@virgin. net, 07884 657535

South West Visual Art Group members’ day Saturday 8 October / 10:30-16:00

`` £8/£5/£3 group members `` Dolphin Hotel, Station Road,

Bovey Tracey, Devon TQ13 9NG

`` Linda Wevill FRPS,

linda.wevill@btinternet.com.

EXHIBITIONS

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

RPS International Print Exhibition 158 – Derby Until Friday 19 August

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

PATRONAGE

The following salons/ exhibitions have Societyapproved patronage:

36th Northern Counties International Salon Closing date: 21 August `` `` northerncountiessalon.org.uk `` RPS 2016/53 17th International Photographic Salon, Sibiu Closing date: 28 August `` `` orizontfoto.ro `` RPS 2016/60 Sydney International Exhibition 2016 Closing date: 29 August `` `` siep.org.au `` RPS 2016/68 `` 8th Rainbow Challenge Rijen Closing date: 1 September `` `` hollandcircuit.nl/ `` RPS 2016/03

The 4th Danubius International Photo Art Salon ‘Best of CF’ Closing date: 5 September `` `` photoclub.voltin.ro `` RPS 2016/59 The 49th E.A. International Salon of Photography Closing date: 7 September `` `` psea-photo.org.hk `` RPS 2016/54 The 13th Shanghai International Photographic Art Exhibition Closing date: 9 September `` `` www.shphoto.com.cn `` RPS 2016/63

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

3rd International Salon Shadow 2016 Closing date: 14 September `` `` srbijafoto.rs `` RPS 2016/56

6th Tribute to Colour Closing date: 1 September `` `` hollandcircuit.nl/ `` RPS 2016/04

com

Grace Salon 2016 Closing date: 17 September `` `` gpcsalon.com `` RPS 2016/69

1st Epic Photo Salon Closing date: 1 September `` `` hollandcircuit.nl/ `` RPS 2016/07

3rd PhotoVivo International Photography Award 2016 Closing date: 1 October `` `` pipa.sg `` RPS 2016/62

1st China Shangbang International Photography

1st International Salon Brezovica Closing date: 1 October ``

19° Salon Inter. de Bagnols M. – 11 French Digital Tour Closing date: 9 October `` `` frenchdigitaltour.fr `` RPS 2016/48 5° Salon Inter. de Legé – 11° French Digital Tour Closing date: 9 October `` `` frenchdigitaltour.fr `` RPS 2016/49 10° Salon Inter. de St. Aignan de C. – 11° French Digital Tour Closing date: 9 October `` `` frenchdigitaltour.fr `` RPS 2016/50 3° Salon Inter. de St. Martin de C. - 11° French Digital Tour Closing date: 9 October `` `` frenchdigitaltour.fr `` RPS 2016/51

PSSL 61st Annual International Competition and Exhibition Closing date: 18 October `` `` pssl.lk `` RPS 2016/71

`` RPS 2016/58

10th Image Salon Delft Closing date: 1 September `` `` hollandcircuit.nl/ `` RPS 2016/06

`` simonidaphoto.com `` RPS 2016/67

PAC International Salon Closing date: 16 October `` `` photoassochin.org `` RPS 2016/55

15th PSI International Salon 2016 Closing date: 17 September `` `` photographicsocietyofindia.

10th Image Contest Wageningen Closing date: 1 September `` `` hollandcircuit.nl/ `` RPS 2016/05

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

Award 2016 Closing date: 1 September `` `` shangbangsalon.com `` RPS 2016/61

The 71st Hong Kong Int’l Salon of Photography 2016 Closing date: 24 October `` `` pshk-photo.org.hk `` RPS 2016/64

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

4th International Ozone Zone Photo Salon Closing date: 31 October `` `` internationalphotocompetition. com

`` RPS2016/65

Royal Photographic Society members around the world

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

`` HONG KONG Shan Sang Wan FRPS, shansangwan@ yahoo.com.hk `` INDIA Rajen Nandwana, rajennandwana@gmail.com `` INDONESIA Agatha Bunanta ARPS, agathabunanta@gmail.com `` ITALY Olivio Argenti FRPS, info@rps-italy.org `` JAPAN TOKYO Yoshio Miyake,

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

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

VOL 156 / AUGUST 2016 / THE RPS JOURNAL / 637

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Canon EOS 5Ds R

56mm F1.2 R APD .........£1078 56mm F1.2 XF ...................£768 60mm F2.4 XF ...................£459 90 F2 R LM WR ..................£688 100-400 F4/5.6 OIS WR ..£1448 1.4x XF TC WR ....................£328 2x XF TC WR .......................£349 11mm Ext tube ................... £64 16mm Ext tube ................... £64 EF-20 flash ............................ £98 EF-X20 flash .......................£168 EF-42 flash ..........................£168 EF-X500 flash .....................£449

11-24 F4 L USM . . . . . . . . . . . .£2647 16-35 F4 L IS USM. . . . . . . . . . . £698 17-40 F4 L USM . . . . . . . . . . . . . £498 20 F2.8 USM . . . . . . . . . . . . . . . . £389 24 F1.4 L II USM. . . . . . . . . . . .£1098 24 F2.8 IS USM . . . . . . . . . . . . . . £449 24-70 F2.8 L II USM. . . . . . . . .£1458 24-70 F4 L IS USM. . . . . . . . . . . £674 24-105 F3.5/5.6 IS STM . . . . . . £369 24-105 F4 L IS USM no box . . £699 28 F2.8 IS USM . . . . . . . . . . . . . . £388 35 F1.4 USM LII . . . . . . . . . . . .£1798 35 F2 IS USM. . . . . . . . . . . . . . . . £377 40 F2.8 STM . . . . . . . . . . . . . . . . £148 50 F1.2 L USM . . . . . . . . . . . . .£1097 50 F1.4 USM . . . . . . . . . . . . . . . . £268 50 F1.8 STM . . . . . . . . . . . . . . . . . £96 70-200 F2.8 IS LII USM. . . . . .£1598 NIKON DX NON FULL FRAME LENSES 10.5 F2.8 DX Fisheye . . . . . . . .£548 10-24 F3.5/4.5 AFS G . . . . . . . .£638 16-80 F2.8/4 AFS ED VR. . . . . .£766 16-85 F3.5/5.6 AFS VR . . . . . . .£498 18-55 F3.5/5.6 AFS VR . . . . . . . .£99 18-105 F3.5/5.6 AFS G no box £199 18-140 F3.5/5.6 AFS VR . . . . . .£399 18-300 F3.5/6.3 AFS VR . . . . . .£548 35 F1.8 AFS G . . . . . . . . . . . . . . .£169 40 F2.8 AFS G macro . . . . . . . .£209 55-300 F4.5/5.6 AFS VR . . . . . .£268 NIKON FX FULL FRAME LENSES 14-24 F2.8 AFS G ED. . . . . . . £1459 16 F2.8 AFD Fisheye . . . . . . . . . £624 16-35 F4 AFS VR . . . . . . . . . . . .£899 18-35 F3.5/4.5 AFS G . . . . . . . .£549 20 F1.8 AFS G ED. . . . . . . . . . . .£579 24 F1.4 AFS . . . . . . . . . . . . . . . £1599 24 F1.8 AFS G ED. . . . . . . . . . . .£629 24 F3.5 PCE . . . . . . . . . . . . . . . £1464 24-70 F2.8 AFS G ED VR. . . . £1747 24-70 F2.8 AFS G ED. . . . . . . £1189 24-85 F3.5/4.5 AFS VR . . . . . . .£399 24-120 F4 AFS G ED VR . . . . . .£849 28 F1.8 AFS . . . . . . . . . . . . . . . . .£494

16-300 f3.5/6.3 Di II VC PZD £398 150-600 f5/6.3 SP VC USD £737 18-200 f3.5/6.3 Di II VC......... £169 Kenko Converters 1.4x Pro 300 converter ......... £149 2x Pro 300 converter ............ £149 Auto ext tube set ..................... .£99

70-200 F2.8 non IS L USM. . . . £944 70-200 F4 L IS USM. . . . . . . . . . £898 70-200 F4 L USM . . . . . . . . . . . . £498 70-300 F4/5.6 L IS USM . . . . .£1029 85 F1.2 USM L II. . . . . . . . . . . .£1498 85 F1.8 USM . . . . . . . . . . . . . . . . £249 100 F2.8 IS L USM macro . . . . £698 100 F2.8 Macro USM . . . . . . . . £399 100-400 F4.5/5.6 IS LII U . . . .£1798 200-400 F4 IS L USM . . . . . . .£8597 200 F2.8 II L USM . . . . . . . . . . . £578 300 F2.8 IS L USM II . . . . . . . .£4797 300 F4 L IS USM. . . . . . . . . . . . . £998 400 F2.8 IS L USM II . . . . . . . .£7697 400 F4 DO II IS USM . . . . . . . £6997 400 F5.6 L USM . . . . . . . . . . . . . £958 500 F4 IS L U II . . . . . . . . . . . . £6697 500mm F4 IS L UII

600 F4 IS L USM II . . . . . . . . . £8894 1.4x III converter . . . . . . . . . . . . £313 2x III converter. . . . . . . . . . . . . . £313 12mm EF MKII ext tube. . . . . . . £64 25mm EF MKII ext tube. . . . . . £119 MR-14EX MKII Ringflash . . . . .£449 430EX III RT Speedlight . . . . . . £217 600EX-RT Speedlight . . . . . . . . £428 28-300 F3.5/5.6 AFS VR . . . . . .£729 35 F1.4 AFS G . . . . . . . . . . . . . £1399 35 F1.8 AFS G . . . . . . . . . . . . . . .£154 35 F2 AF-D. . . . . . . . . . . . . . . . . .£254 50 F1.4 AFS G . . . . . . . . . . . . . . .£349 50 F1.8 AFS G . . . . . . . . . . . . . . .£179 58 F1.4 AFS G . . . . . . . . . . . . . £1299 60 F2.8 AFS . . . . . . . . . . . . . . . . .£439 70-200 F2.8 AFS VRII . . . . . . £1798 70-200 F4 AFS G ED VR . . . . £1079 70-300 F4.5/5.6 AFS VR . . . . . .£439 80-400 F4.5/5.6 AFS G VR . . £1798 85 F1.4 AFS G . . . . . . . . . . . . . £1198 85 F1.8 AFS G . . . . . . . . . . . . . . .£399 105 F2.8 AFS VR macro . . . . . .£659 200 F2 AFS ED VRII . . . . . . . . £4199 200-500 F5.6 AFS E ED VR. . £1097 300 F2.8 AFS ED VRII . . . . . . £3998 300 F4 AFS E PF ED VR. . . . . £1497 400 F2.8 G E FL ED VR . . . . . £8888 500 F4 E AFS FL ED VR . . . . . £8099 600 F4 E AFS FL ED VR . . . . . £9494 TC14EIII converter. . . . . . . . . . .£428 TC17EII converter . . . . . . . . . . .£307 TC20EIII converter. . . . . . . . . . .£349 SB500 flash . . . . . . . . . . . . . . . . .£189 SB700 flash . . . . . . . . . . . . . . . . .£228 SB5000 flash. . . . . . . . . . . . . . . .£428

An excellent range of new books dealing with all aspects of equipment and photography are available either in-store or via our website

Family Run Pro Dealership With Friendly, Knowledgeable Staff. Open 7 Days Per Week. Prices Inc VAT - Correct 15/07/2016. P&P Extra. E&OE. FREE COURIER DELIVERY FOR NEW ITEMS ORDERED ON-LINE (U.K. Mainland only)

Although we are the best stocked dealer in the West Country, we cannot always have every item listed in stock at all times, so we are happy to reserve new & used items for customers planning to visit. Prices correct 15/07/2016 but subject to change without notice. See website for up to date prices. E&OE.

Website altered daily inc. manufacturers cashback & promotions

www.mifsuds.com Subscribe to our newsletter - send your email address to info@mifsuds.com.

QUALITY USED EQUIPMENT. See website for full list. Call us to check condition. 6 Month warranty on most secondhand.

Used Canon

EOS 1DX body box

£3399

£1699

Used Canon

11-24mm f4 L U M- box

£2299

Used Canon 16-35 f2.8 USM LII

£849

Used Canon 24-70mm f2.8 L USM box

£599

Used Canon 24-70mm f2.8 L USM box

£599

Used Canon 35mm f1.4 L USM

£799

Used Canon

100-400mm f4.5/5.6 L IS USM

£799

Used Canon

300mm f2.8 L IS USM

£2799

Used Canon 300mm f4 L IS USM box

£649

Used Canon 400mm f2.8 IS USM LII box

£6499

Used Canon 500mm f4 LI IS USM

£4499

Used Fuji X

X-T1 body Graphite box

£699

Used Canon

1D MKIV body box

Used Canon EOS 5D MKIII body

£1399/1599

Used Canon

Used Nikon D4s body box

EOS 7D MKII body

£899

Used Nikon D4 body box

£3399

£2499

BRONICA ETRS 645 USED ETRSi + 75 F2.8 PE + RFH £399 40 F4 MC ..............................£149 50 F2.8 E...............................£149 105 F3.5..................................£99 135 F4 PE M- box ..............£249 150 F3.5 E ..............................£99 150 F3.5 PE M- Box...........£149 200 F4.5 PE..........................£199 E14 ext tube .........................£49 120 RFH ..................................£69 Polaroid Back .......................£39 Plain prism ............................£59 Rotary prism .........................£99 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 SQAi complete...................£499 SQA + 80 + back + prism .£249 SQB complete ....................£399 40 F4 S ..................................£299 50 F3.5 PS ............................£299 50 F3.5 S...............................£149 110 F4.5 PS macro ............£399 135 F4 PS M-.......................£229 150 F3.5 S ..............................£79 150 F4 PS ................... £149/199 180 F4.5 PS..........................£399 200 F4.5 PS M- box ..........£199 2x PS converter M- ...........£179 S18 ext tube .........................£79 S36 ext tube .........................£79 135N back ...........................£119 SQA Polaroid back..............£59 SQAi 120 RFH .......................£79 SQA 120 RFH ........................£49 SQAi prism late ..................£299 45° Prism box .....................£129 Plain Prism S Boxed ...........£69 AE Prism Early ......................£79 ME Prism Finder ..................£69 Metz SCA 386 .......................£49 Pro shade S ...........................£59 Lens Hood 65-80.................£20 SQAi Motorwinder ...........£149 Speed grip S .........................£69 CANON DIGITAL AF USED 1DX body box .................£3399 1D MKIV body box ........£1699 1D MKIII body box............£499 1Ds MKIII body box.......£1199 1Ds MKII body box ...........£699 7D MKII body .....................£899 7D body ...............................£399 6D body box.......................£949 5D MKIII b/o box £1399/1599 5D MKII body ..............£599/899 5D MKI body box ......£399/499 700D body M- box..............£349 550D body .............................£199 450D body box ....................£149 400D body ...............................£99 350D body ...............................£99 300D body ...............................£79 70D body box .......................£549 60D body ................................£399 50D body ................................£299 40D body ................................£169 20D body ..................................£99 1200D body...........................£199 1100D body...........................£149 BG-E2 ..........................................£39 BG-ED3.......................................£39 BG-E4 box .................................£79 BG-E6 ..........................................£89 BG-E7 ..........................................£89 BG-E8 ..........................................£69 BG-E13 .....................................£119 BG-E16 .....................................£159 EOS M + 22 F2 + 18-55 .....£199 CANON AF USED EOS 650/600 body each...£39 EOS 50E/300V body each £29 EOS 500N/1000 b/o each £29 10-22 F3.5/4.5 U ................£299 11-24 F4 L USM M- box£2299 16-35 F2.8 USM LII............£849 17 F4 TSE box ..................£1299 17-40 F4 L ............................£399 17-55 F2.8 EFS IS USM ....£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 18-135 F3.5/5.6 IS..................£219 20-35 F3.5/4.5 USM..............£179 24 F2.8 IS USM........................£369 24 F3.5 TSE box ...................£1199 24-70 F2.8 L USM box .........£599 24-85 F3.5/4.5 USM..............£149 24-105 F4 L...............................£549 28 F1.8 USM box ...............£259 28-90 F3.5/5.6 ......................£79 28-135 F3.5/5.6 IS USM ..£219 28-200 F3.5/5.6 USM .......£169 35 F1.4 L USM ....................£799

35 F2 USM ...........................£329 35-135 F3.5/4.5....................£99 50 F1.4 USM........................£219 50 F1.8 MKII ..........................£49 70-200 F2.8 IS USM LI......£899 70-200 F4 IS U L ................£499 70-200 F4 U L .....................£299 70-300 F4.5/5.6 IS USM ..£279 75-300 F4/5.6 MKII .............£99 85 F1.8 M-............................£199 100 F2.8 USM box.............£319 100-400 F4.5/5.6 L IS U... £799 135 F2 M- box ....................£549 200 F2.8 LII U ........................£399 300 F2.8 LI IS U..................£2799 300 F4 L IS USM box ......... £649 400 F2.8 IS USM LII box .£6499 400 F5.6 L box ..................... £699 500 F4 LI IS USM...............£4499 1.4x extender MKII ............ £199 2x extender MKII ................ £199 2x extender MKI ................£169 Teleplus 2x DG conv ..........£89 Kenko ext tube set DG ......... £89 LC-5 wireless kit box........£149 LC-4 wireless kit ..................£89 PB-E2 drive fits EOS1/3 ...£149 SIGMA CAF USED 10-20 F4/5.6 HSM box .£199 12-24 F4.5/5.6 EX DG ..........£399 17-70 F2.8/4 DC .....................£129 24-35 F2 DG Art M- box...£599 24-70 F2.8 HSM....................£469 24-70 F2.8 EX.........................£249 50 F1.4 EX DC........................£249 70-200 F2.8 EX DG HSM...£429 70-200 F2.8 EX DG mac....£349 70-300 F4/5.6 DG................£79 105 F2.8 EX DG OS ...........£269 105 F2.8 EX DG ..................£199 120-300 F2.8 EX DG .........£699 120-400 F4/5.6 DG ...........£399 150 F2.8 EX DG HSM mao .£399 180 F3.5 EX DG HSM mac.£399 1.4x EX conv .............................. £99 2x EX conv .................................. £99 Kenko Pro 300 1.4x conv..... £99 OTHER CAF USED TAM 18-200 F3.5/6.3 XR .£119 TAM 28-300 box ................£149 TAM 45 F1.8 Di VC...............£379 TAM 70-300 F4/5.6 ............... £99 TAM 90 F2.8 Di VC...............£279 TAM 90 F2.8 Di............£179/249 CANON FLASH USED CP-E3 batt pack ...................£49 ST-E2 transmitter ................£79 430EXII..................................£149 430EZ non digital ...............£39 580EX box ...........................£179 600EX RT box .....................£279 CANON FD USED A-1 body ................................£99 28 F2.8 ....................................£49 35-70 F3.5/4.5 ......................£49 35-105 F3.5 .........................£129 50 F1.4 ...................................£99 70-200 F4 ...............................£79 100-300 F5.6 .........................£79 135 F2 ...................................£399 500 F8 ...................................£199 2x extender B .......................£49 299T or 300TL flash ea......£25 CONTAX AF USED G1 body ...............................£149 45 F2......................................£399 90 F2.8 ..................................£299 CONTAX MF USED 28-70 F3.5/4.5 MM ...........£199 40-80 F3.5 AE .....................£149 FUJI DIGITAL USED S5 Pro body box................£229 X-T1 body graphite box .£699 X-T1 body black.................£599 X-T10 body ..........................£299 X-E1 body silver ................£179 X-M1 body blk box...........£149 16-50 F3.5/5.6 XC M- .........£139 Samyang 8 F2.8 .................£149 X100s silver box ................£399 X100 silver box ..................£349 X-T1 vertical grip...............£129 FUJI MED FORMAT USED GSW690 III ...........................£599 HASSELBLAD XPAN USED Centre filter 49mm.................£129 HASSELBLAD 6x6 USED 503CW chr + 80 F2.8 CF +A12 ...................................£1699 501C + 80 F2.8 CB + A12..................................£1199 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 Sports viewfinder ...............£69

Chimney.................................£89 A12 chrome latest ............£299 A12 late blk/chr .................£129 Polaroid back .......................£79 Winder Cw...........................£229 40 F4 CF FLE .......................£899 50 F4 CF FLE .......................£849 50 F4 CF ...............................£599 50 F4 blk T* .........................£349 60 chrome ...........................£349 80 F2.8 CF ............................£479 100 F3.5 CF .........................£549 100 F3.5 Black T* ...............£399 120 F4 macro CF ...............£799 140-280 F5.6 CF.................£899 150 F4 chrome...................£199 250 F5.6 CF .........................£399 250 F5.6 chrome ...............£199 Vivitar 2x conv .....................£49 Pro shade 6093....................£99 Lens hoods various ..... £20/50 LEICA M COMPACT USED IIIg body chrome ..............£849 5cm F3.5 ..............................£299 35 F2 M- box (M39) .......£1499 50 F1.4 6 bit .....................£1199 CF flash ...................................£49 LEICA SLR USED R7 body black ....................£399 R5 body black ....................£199 LEICA BINOCULARS USED Trinovid 10x42 ...................£799 Ultravid 8x32 HD ............ £POA Ultravid 10x50 HD ............£999 LIGHTMETERS USED Minolta Flashmeter V ......£199 Minolta Spotmeter M......£199 MAMIYA 645 MF USED Plain prism (645 Super) ....£39 Polariod Back HP401 .........£29 Polaroid back .......................£29 120 Insert...............................£20 HA401 120 RFH Box...........£49 120 Back.................................£39 Winder ....................................£79 50 F4 shift ............................£299 55-110 F4.5 box.................£299 120 F4 macro .....................£269 150 F2.8 A............................£199 150 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 Porrofinder ............................£59 MAMIYA 7 RF 6x7 USED 50 F4.5 L + VF .....................£699 80 F4.5 L M- box................£699 150 F4.5 M- .........................£399 Panoramic kit .......................£49 MAMIYA RB 6x7 USED Pro S + 90 + RFH + WLF .£449 Pro SD comp M- ................£649 Pro S body ...........................£149 Pro S body scruffy ..............£99 WLF ..........................................£79 Chimney...............................£179 120 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 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 A7R body ................... £749 Sony A700 body................. £199 Sony A350 body................. £149 Sony VGB30AM .....................£79 Sony VGC70AM .................. £139 Sony HVL-F58AM ............... £169 Sony HV56AM ..................... £169 Sony F42AM......................... £129 SONY NEX USED NEX 5 body ..............................£129 FE 50 F1.8 OSS E ....................£169 FE 70-200 F4 GSS ..................£749 Samyang 85 F1.4...................£189

Samyang 100 F2.8 macro .£229 Sigma 60 F2.8 box .................. £99 MINOLTA/SONY AF USED 9000 body .............................£79 800Si body ............................£69 600Si body ............................£69 7xi body .................................£49 7000i body ............................£39 Dynax 5 body.......................£39 300Si body ............................£19 SPXi body ..............................£19 20 F2.8 ..................................£199 20-35 F3.5/4.5 M- box .....£249 24-50 F4 .................................£99 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 F2.8 macro .........................£149 75-300 F4.5/5.6 ........................ £99 100-300 F4.5/5.6 APO .........£149 500 F8 mirror...........................£349 VC700 grip.................................. £39 RC1000S/L cord ....................... £15 AW90............................................. £49 MD90 + BP90-M ...................... £79 Angle finder VN........................ £79 SONY LENSES USED 16-50 F2.8 DT SSM................£279 18-55 F3.5/5.6 SAM ................ £59 18-200 F3.5/6.3 DT ...............£199 55-200 F4/5.6 DT SSM .......... £69 70-400 F4/5.6 G SSMII box ...............................£1299 85 F1.4 ZA .................................£799 SIGMA MIN/SONY AF USED 28-135 F3.8/5.6 ......................£79 28-300 F3.5/6.3 macro..... £149 50 F1.4 .................................... £149 50 F2.8 EX DG macro ....... £169 55-200 F4/5.6 .........................£69 70-300 F4/5.6 DG OS ......£169 70-300 F4/5.6 APO DG ......£99 150-500 F5./6.3 DG ..........£499 170-500 F5/6.3...................£299 1.4x EX conv .........................£99 TAM 10-24 F3.5/4.5 DiII ..£239 TAM 70-300 F4.5/5.6 Di box......................................£79 TAM 90 F2.8 .............. £179/249 Teleplus 1.4x conv ..............£69 Teleplus 2x conv .................£79 Kenko 1.4x Pro 300DG ....£149 Min 5200i...............................£29 Min 3600HSD .......................£39 Min 5400HS ..........................£39 Min 5600HSD M-.................£99 NIKON DIGITAL AF USED D4s body box ..................£3399 D4 body box....................£2499 D3X body box .................£1999 D3 body box...........£999/1199 D2Xs body box ..................£349 D750 body box...............£1199 D700 body box..................£599 D610 body ..........................£799 D600 body box..................£699 D300 body box..................£299 D200 body box..................£199 D7100 body ........................£449 D7000 body .............. £299/349 D5100 body ........................£249 D5000 body ........................£169 D3200 body black box ...£199 D90 body .............................£169 D80 body .............................£149 MBD-15 grip .......................£149 MBD-14 grip box ..............£149 MBD-12 grip .......................£229 MBD-10 grip M- box ........£149 MBD-10 grip .........................£89 MBD-200 box .......................£69 MBD-100 ................................£39 NIKON AF USED F4 body ................................£349 F4E body ..............................£299 F801 body ...................... £29/59 F100 body + MB-15 .........£199 F601 body .............................£29 F55 body ................................£25 10.5 F2.8 AFS DX ...............£419 10-24 F3.5/4.5 AFS DX ....£529 12-24 F4 DX ........................£399 14-24 F2.8 AFS ................£999 16-85 F3.5/5.6 AFS VR ...£299 17-35 F2.8 AFS ......................£699 17-55 F2.8 AFS ......................£499 18-35 F3.5/4.5 AFS ..............£449 18-35 F3.5/4.5 AFD .............£269 18-55 F3.5/5.6 VRII..................£99 18-70 F3.5/4.5 AFS ..............£119 18-135 F3.5/5.6 DX..............£149 18-140 F3.5/5.6 VR DX M- £229 18-200 F3.5/5.6 AFS VRII...£399 18-200 F3.5/5.6 AFS VRI ....£199 20 F2.8 AF................................£279

24 F2.8 AFD ............................£299 24-70 F2.8 AFS box .............£849 24-120 f4 AFS VR ...................£699 28 F1.8 AFS G ..........................£399 28 F2.8 AFD..............................£129 28-80 F3.3/5.6 G....................... £69 28-100 F3.5/5.6 AF G ............. £69 28-300 F3.5/5.6 AFS VR ......£649 35 F1.4 AFS...............................£899 35 F1.8 AFS DX box.............£129 35-70 F3.3/4.5 AF .................... £59 40 F2.8 AFS DX M- box.......£149 50 F1.8 AFD...........................£99 50 F1.8 AF ..............................£79 55-200 F4/5.6 AFS VR ........£99 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 .....£1299 70-300 F4/5.6 AFD ...........£129 70-300 F4 G...........................£79 80-200 F2.8 AFD................£299 85 F1.4 AFS M- box ..........£949 85 F1.4 AFD.........................£499 85 F1.8 AFD.........................£249 85 F3.5 DX M- box ............£269 105 F2.8 AFS VR.................£549 105 F2.8 AFD ......................£369 180 F2.8 AFD M- box .......£449 200-400 F4 AFS VRII ......£3799 300 F2.8 AFS VRII M- .....£3299 300 F2.8 AFS VRI ............£2699 300 F2.8 AFS ....................£1699 300 F4 AFS E PF ED VR box .........................£1249 300 F4 AFS M- box ...........£699 300 F4 AFS box..................£599 600 F4 AFS VR .................£5999 600 F4 AFS II non VR.....£3999 TC17EII ..................................£249 TC20EIII M- box .................£249 TC20EII ..................................£199 TC20E ....................................£149 SIGMA NAF USED 12-24 F4.5/5.6 EX DG ..........£379 18-50 F2.8 EX DC Mac.........£199 18-200 F3.5/6.3 DC OS ......£199 28-300 F3.5/6.3 early..........£129 50 F1.4 DG Mint ......... £199/239 50-500 F4/6.3 DG..............£399 70-300 F4/5.6 APO DG......£99 105 F2.8 EX OS...................£269 120-300 F2.8 OS Sport .£1799 135-400 F4.5/5.6....................£299 150-500 F5/6.3 DG OS ........£499 150-600 F5/6.3 OS Sport ...£999 500 F4 EX DG .......................£1999 1.4x EX DG M- .........................£119 2x EX DG box ..........................£149 TAMRON NAF USED 10-24 F3.5/4.5 DiII .................£239 11-18 F4.5/5.6 .........................£219 16-300 F3.5/6.3 VC PZD .....£319 17-50 F2.8 XR Di.....................£199 18-250 F3.5/6.3 ......................£149 70-300 F4/5.6 ............................ £79 OTHER NAF USED TOK 10-17 F3.5/4.5 ATX ..£249 TOK 11-18 F2.8 ATX Pro..£329 TOK 12-24 F4 ATX pro .....£299 TOK 12-28 F4 ATX DX ......£399 Kenko Pro 300 1.4x ..........£119 FLASH / ACCESSORIES USED SB-24 ...............................................£49 SB-25 ...............................................£49 SB-26 ............................................. £69 SB-28 ............................................. £69 SB-80DX....................................... £79 SB-500 box ...............................£149 SB-610.........................................£269 SB-900.........................................£269 SD-8 batt pack.......................... £49 DR-3 angle finder.................... £59 MB-10 (fits F90) ........................ £29 MB-16 M- box ........................... £89 MB-23 (fits F4)........................... £69 MC-36A remote ....................... £89 MC-30 remote .......................... £39 MF-23 (date back F4) ............ £79 Coolscan LS-50 box .............£349 NIKON MF USED F3 body ................................£199 FM2n body chr box..........£349 FM2n body chr ..................£249 15 F3.5 AIS...........................£799 28 F3.5 AIS.............................£99 28 F2.8 E box ........................£69 28-85 F3.5/4.5 AIS.............£199 35-70 F3.3/4.5 AIS.............£129 35-70 F3.5 AIS ......................£99 35-105 F3.5/4.5 AIS ............£79 50 F1.8 AIS pancake.........£139 50 F1.8 E.................................£59 105 F2.8 AIS macro ..........£249 180 F2.8 AIS ED scruffy ...£179 200 F4 AI ..............................£149 500 F4 AIS.........................£1499 500 F8 early ........................£279 TC200 ......................................£49 TC301 ....................................£149

Used Sony

Used Sony

Used Hasselblad

Used Hasselblad

Used Leica

A7R body

£749

70-400 F4/5.6 G SSMII box

£1299

40mm f4 CF FLE

£899

50mm f4 CF FLE

£849

Ultravid 10x50 HD Binoculars

£999

Used Nikon

Used Nikon

D3X body box

D3 body box

£1999

£999/1199

SC-17 TTL lead .....................£25 DW-3 WLF find fit F3 .........£99 DW-4 6x mag find fit F3 ...£99 DW-21 fits F4 ......................£149 Nikon bellows II box ..........£89 OLYMPUS DIGITAL USED E3 body box........................£329 11-22 F2.8/3.5 M-..............£379 12-60 F2.8/4 SWD .............£379 14-42 F3.5/5.6 ......................£49 14-45 F3.5/5.6 ......................£79 14-50 F3.8/5.6 ....................£199 14-54 F2.8/3.5 ....................£149 35 F3.5 ....................................£99 40-150 F4/5.6 .......................£49 50 F2 macro ........................£279 25mm ext tube....................£79 OLYMPUS PEN USED OMD-EM1 body M- box .£499 OMD E-M5 body box.......£299 OMD-EM10 body ..............£299 Pen E-PM1 + 14-42 M- ....£129 Pen E-PM1 body..................£99 12-40 F2.8 Pro ....................£549 40-150 F2.8 Pro .................£799 40-150 F4/5.6 .....................£119 300 F4 IS Pro ....................£1799 1.4x converter ....................£249 HLD-7 grip box ..................£119 OLYMPUS OM USED OM-4Ti body ......................£249 OM-1n body chr................£169 OM-2SP body .....................£149 OM-2n body .......................£149 OM-1n body .......................£149 24 F2.8 ..................................£169 28 F3.5 ....................................£49 35-70 F3.5/4.5 ......................£79 35-105 F3.5/4.5....................£79 50 F3.5 macro ......................£79 200 F4 .....................................£79 300 F4 ...................................£169 PANASONIC DIGITAL USED G6 body black....................£199 G3 body box .......................£129 G1 body box .........................£99 GX1 body box ....................£149 GF3 body black ...................£99 GF1 body ................................. £79 14 F2.5 ..................................£199 14-42 F3.5/5.6 ......................£79 14-45 F3.5/5.6 ....................£149 14-140 F4.5/5.8..................£299 25 F1.4 ..................................£329 45-200 F4/5.6 box ............£199 LVF2 box ..............................£149 LVF1 .........................................£89 BG-GH3 grip .........................£99 PENTAX 35mm AF USED MZ5N body ...........................£69 10-17 F3.5/4.5 ED .............£239 16-45 F4 ...............................£199 16-50 F2.8 ............................£379 17-70 F4 SDM M- box .....£299 18-55 F3.5/5.6 ......................£29 28-80 F3.5/5.6 ......................£49 50-135 F2.8 SDM...............£379 50-200 F4/5.6 .......................£99 55 F1.4 SDM M- .................£469 55-300 F4/5.8 ED box......£229 70 F2.8 Limited ..................£349 70-300 F4/5.6 .......................£79 100-300 F4.5/5.6 .................£89 SIGMA PKAF USED 24-70 F2.8 EX DG mac ....£249 28-300 F3.5/6.3 DG ............£99 PENTAX 645AF USED 645N body ..........................£399 45 F2.8 FA ............................£399 75 F2.8 ..................................£169 AF500FTZ flash ....................£99 PENTAX 645MF USED 645 + 75 F2.8 ......................£249 645 body + insert .............£199 35 F3.5 ..................................£299 55 F2.8 ..................................£249 150 F3.5 EX++ ....................£149 200 F4 ..................................£149 120 Insert M- box................£49 PENTAX 67 USED 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 SAMSUNG USED 50-200 F4/5.6 III M- box ....£99 TAMRON ADII USED 90 F2.5 SP ............................£149 500 F8 ...................................£169 VOIGTLANDER USED 15 F4.5 + VF M- box .........£269 ZEISS USED Victory Diascope 85 T* FL + 20x60 box .....................£1799

MORE ON WEBSITE

www.mifsuds.com Used Leica IIIg body chrome

£849

Used Nikon 14-24mm f2.8 AFS

£999

Used Nikon

85mm f1.4 AFS M- box

£949

Used Nikon

200-400mm f4 AFS VRII

£3799

Used Nikon

300mm f2.8 AFS VRII M-

£3299

Used Nikon

300mm f2.8 AFS VRI

£2699

Used Nikon 300mm f2.8 AFS

£1699

Used Nikon 300mm f4 AFS E PF ED VR box

£1249

Used Nikon 300mm f4 AFS

£599/699

Used Nikon 600mm f4 AFS VR

£5999

Used Nikon

600mm f4 AFSII non VR

£3999

Used Leica

35mm f2 M39 M- box

£1499

ITEM YOU REQUIRE NOT LISTED? PLEASE GIVE US DETAILS OF WHAT YOU ARE LOOKING FOR AND WE WILL CONTACT YOU WHEN THAT ITEM BECOMES AVAILABLE. 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.

640 | TIMES PAST |

FROM THE RPS COLLECTION

Tricolour treat

A 1934 image by early colour exponent Violet K Blaiklock FRPS

T

he principle of a subtractive assembly colour photographic process dates back to 1869, when Louis Arthur Ducos du Hauron filed a patent in France for such a process. This complex and

time-consuming technique involves the registered superimposition of pigmented (carmine, blue and yellow, more familiar to us as CMY) separation images.

The advent of photomechanical processes allowed Du Hauron to set up

640 / THE RPS JOURNAL / AUGUST 2016 / VOL 156

a printing plant in Toulouse in 1886, which produced distributable collotype prints.

A number of other people worked on similar methods, and in 1905 the Ozobrome process was patented by Thomas Manley FRPS using appropriately pigmented

silver-bromide images which, when combined with carbon printing techniques (first patented in 1864), could produce tricolour images.

The Ozobrome process was taken over in 1913 by Samuel Manners and rebranded as Raydex. After Manners’ emigration to the USA in the 1920s, the Autotype company (based in London) was responsible for what became known as Trichrome Printing by the Autotype Carbro Process.

‘Carbro’ derives from the shortening of the two critical components of the process – carbon and bromide.

When the Society held an exhibition of colour photography in 1931, some 90 per cent of the images were produced using this process. It enjoyed considerable use in the advertising industry until the 1950s when other simpler and cheaper processes (such as dye transfer) became available.

Violet K Blaiklock FRPS (who died in 1961) was, along with Agnes B Warburg, the co-founder of the Society’s Colour Group in 1927 and was an arch exponent of the tricolour carbro process of which this is an outstanding example.

Taken in 1934 and entitled Autumn, its colour rendition is subtle and the image quality would be more than acceptable today, which in turn illustrates one of the key elements of the process – its stability.

PETER HARVEY ARPS

ROYAL PHOTOGRAPHIC SOCIETY COLLECTION

‘IN A 1931 SOCIETY EXHIBITION, SOME 90 PER CENT OF THE IMAGES WERE MADE USING THIS PROCESS’

Unseen London Paris New York Neil Libbert, Wall Street, 1968

Photographs by

Wolfgang Suschitzky, Dorothy Bohm, Neil Libbert Until 28 August 2016 Ben Uri Gallery & Museum Open daily, free entry

108a Boundary Road, off Abbey Road, London, NW8 0RH www.benuri.org @BenUriGallery