The RPS Journal August 2015 by Think Publishing

LANDSCAPE SPECIAL

THE GREAT OUTDOORS

TRADITIONAL PERSPECTIVES TO URBAN VISTAS

EXPERT ADVICE

ART THERAPY

SIMPLE TIPS TO IMPROVE YOUR SCENIC SHOTS

PHOTOGRAPHY… AND HOW IT SAVED MY LIFE

JOURNAL

THE

AUGUST 2015 / VOLUME 155 / NUMBER 8 / WWW.RPS.ORG

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| AUGUST 2015 | 561

OPENING SHOT MY WORLD VIEW

I COMING UP

IN FUTURE ISSUES Highlights from the International Images for Science exhibition; the explosive war photgraphy of Lee Miller and tips on how to use your DSLR for video capture

t was an honour to be asked to be the guest editor of the RPS Journal, and most especially to learn that it would be an issue dedicated primarily to landscape photography. It seems to me that the desire for landscape photographers to respond to the world around them is much the same today as it was some 170 years ago. Of course, tools, techniques and media have changed hugely and continue to do so. And yet a photographer who stood in wonder at what was ‘beautiful’ then would in every likelihood relish the landscapes of today. I have long held the belief that there are a number of dimensions to landscape photography. For me, there are three main aspects to capturing a beautiful scene: discovery, interpretation and a wish to respond in the best way I can – to do justice to what lies before me. In this issue, we showcase a host of different approaches. On page 591, I pay homage to five greats who have inspired me, including Ansel Adams and Christopher Burkett. Following that, my friend and ex-Times picture editor Paul Sanders gives a moving account of how landscape photography helped him recover from a life-changing breakdown.

For those of you looking for advice on where to capture images of some of the best spots in Britain, we hear from some of the finest landscape photographers in the business. And for further ideas, turn to page 621 where you can find my five tips to capturing brilliant views. Aside from all the great landscape-related content, we’ve also got a two-page special about advisory days and how they can work for you. And, last but not least, we hear from Joan Wakelin Bursary recipient Manuela Henao Restrepo about dealing with the stresses of a hostile reaction when she received negative press coverage in Colombia this year. I very much hope you enjoy this issue of the Journal and that it will encourage you to explore the rich world of landscape photography in all its many different forms.

CHARLIE WAITE FRPS Guest editor

PATRON AND SPONSORS

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IN THIS ISSUE The Royal Photographic Society Fenton House, 122 Wells Road Bath BA2 3AH, UK www.rps.org reception@rps.org +44 (0)1225 325733 Incorporated by Royal Charter Patron Her Majesty the Queen President Derek Birch ASIS HonFRPS Vice-President Walter Benzie ARPS Treasurer Geoff Blackwell ARPS Director-General Dr Michael Pritchard FRPS

614 We Are Watching You, from Shirley Hollis ARPS's Fenton House exhibition

Published on behalf of The Royal Photographic Society by Think Suite 2.3, Red Tree Business Suites, 33 Dalmarnock Road, Glasgow G40 4LA thinkpublishing.co.uk EDITORIAL ENQUIRIES Acting editor Andrew Cattanach andrew@thinkpublishing.co.uk 0141 375 0481 Contributing editors Gavin Stoker, Geoff Harris LRPS, Fiona McKinlay, Kathleen Morgan, Alec Mackenzie

FEATURES

Design Matthew Ball, Alistair McGown, Katherine Pentney

588 | ADVISORY DAYS Everything you need to know

Sub-editors Sam Bartlett, Kirsty Fortune Advertising Sales Daniel Haynes daniel.haynes@thinkpublishing.co.uk

591 | CHARLIE'S CHOICE The guest editor picks his favourites

020 3771 7200

594 | ROAD TO RECOVERY Paul Sanders discusses photography's curing properties

604 | CHANGE OF SCENE Lucy Davies on current trends in landscape photography 610 | LAYING BARE Bursary winner exposes the truth about Colombian beauty ideal

ISSN: 1468-8670

Cover Valensole II, France © Charlie Waite

578 The highs and lows of a sportsperson in Chris Ryan ARPS's successful panel

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614 | BEST IN SHOW Shirley Hollis ARPS at Fenton House

CHRIS RYAN ARPS; SHIRLEY HOLLIS ARPS

598 | BRITAIN'S BEST The country's top landscapes

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 policy of The RPS or those of the publishers. All material correct at time of going to press.

604

New horizons: landscape's changing role in photography

THE CRAFT

EVERY MONTH

617 | MUST TRY * LATEST KIT Sony a7R II is put to the test, along with other recent releases

564 | BIG PICTURE Award-winning image of Mont Saint-Michel by Jérémie Eloy

621 | MASTERCLASS/IN DEPTH How to take great landscape and cityscape photos, including tips from Charlie Waite

567 | IN FOCUS News from the Society and more

TAMAS DEZSO; MANUELA HENAO RESTREPO

625 | MY FAVOURITE CAMERA Matthew Emmett's mediumformat Pentax

577 | BOOKS Books by Werner Pawlok, Henry Carroll and Peter Mitchell reviewed 578 | DISTINCTIONS High standards from Chris Ryan ARPS and Caroline Keill LRPS 627 | MEMBER GUIDE Events, workshops, talks, meetings and much more

610 From the Beauties series by Manuela Henao Restrepo

640 | TIMES PAST Peter Henry Emerson's seminal book Life and Landscape on the Norfolk Broads VOL 155 / AUGUST 2015 / THE RPS JOURNAL / 563

564 | BIG PICTURE |

Mont Saint-Michel By Jérémie Eloy

THE SHOOT Mont Saint-Michel is a special place for me. However, the bay had been silting up, and it was looking like the island might end up a rock in the middle of a field in a few years’ time. After a lot of work, including the building of a hydraulic dam, the tide returned. The newspaper Ouest France approached me and asked if I would document the water returning. THE APPROACH On this day, I was shooting video and stills. The area is pretty strict about drones, so I could only use a small one, such as a GoPro. Mont Saint-Michel is the perfect place for a drone, as it’s super-flat. WHY LANDSCAPE? I love landscape photography, because you need to wait for the good light and find the perfect angle. Here in Normandy, we get some crazy light when it’s stormy, cloudy weather and then the sun makes an appearance. ADVICE You only have 15 minutes in the air, so you really need to focus on your idea and plan ahead. Check the forecast, don’t fly over people, and try again and again until you get it right.

This stunning image won second prize in the Places category in the Dronestagram Photo Contest 2015 564 / THE RPS JOURNAL / AUGUST 2015 / VOL 155

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567

IN NEWS, VIEWS, EXHIBITIONS AND MEMBER INSIGHT

FREEDOM OF PANORAMA EU proposal update 568

WHAT NOT TO MISS The latest UK exhibitions 572

VISUAL ART WEEKEND Book ahead for four-day event 575

FOCUS

ARTISTS REVEAL WHAT MAKES THEM TICK Anderson & Low to give a lecture at The Photographers’ Gallery in London The Society has arranged for photography duo Anderson & Low to give a lecture about their working methodologies at the The Photographers’ Gallery, London, on 4 November. The talk will cover much of their 25 years of producing a diverse body of work that includes portraiture, abstraction, sport and architecture ‘We will touch on many of the artistic matters that drive us, as well as our approach to each new project, our belief in the importance of print and the connections we perceive between photography and other art forms,’ say Anderson & Low.

NDGT SKY #27 © ANDERSON ' LOW

For more information, contact the Society at reception@ rps.org or to book tickets, go to thephotographersgallery.org.uk

NDGT Sky #27 is one in a series Anderson & Low made in collaboration with the National Danish Gymnastic Team

INSPIRATION

CHARLIE WAITE

FIND OUT WHICH FIVE PHOTOS HAVE MOST INFLUENCED ONE OF BRITAIN’S LEADING LANDSCAPE PHOTOGRAPHERS. TURN TO PAGE 591 VOL 155 / AUGUST 2015 / THE RPS JOURNAL / 567

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EU KEEPS PANORAMA FREEDOM

European Parliament rejects controversial proposal

The European Parliament has seen off a threat to ‘freedom of panorama’, which enables photographers from the UK and several other European countries to shoot iconic buildings and artworks in public places without breaking copyright laws. The European Parliament’s Committee on Legal Affairs produced a draft report with an amendment proposed by French MEP Jean-Marie Cavada, which ‘considers that the commercial use of photographs, video footage or other images of works which are permanently located in physical public places should always be subject to prior authorisation from the authors or any proxy acting for them’. The Society subsequently encouraged members to sign a Europe-wide petition against Cavada’s proposal. When it came to the vote on 9 July, only 40 of 751 MEPs voted to keep it in. Director-General Michael Pritchard said: ‘It’s great news that the threat to freedom of panorama was decisively dismissed by the European Parliament. The Society played a leading role in bringing the UK photographic community together… It was surprising that Cavada’s motion got as far as it did, but it was important to show the strength of feeling against it at an early stage.’

NORTHERN REGION WEEKEND RETURNS

Pool and Mountain Iceland by Pat Broad

Book ahead to hear talented lecturers at Lake District event The Society’s Northern Region is holding its annual weekend of events at the four-star Burnside Hotel in Bowness, Windermere, from 6 to 8 November. Lecturers include Hugh Milsom FRPS and Pat Broad ARPS, who specialise in landscapes; Ronnie Gilbert,

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FIND OUT MORE PAGE 627

noted for his nature and wildlife images; and travel and ornithology specialist, Gordon Follows ARPS. There will also be a print exhibition and time for

attendees to indulge in their own photography in scenic Lake District surroundings.

For booking details, see bit.ly/northernweekend

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NORTHERN EXPOSURE

Tyne and Wear hosts Members’ Exhibition

I PRINT EXHIBITION SHORTLIST ANNOUNCED

Selection process starts for International Print Exhibition 158 The selectors’ shortlisted images for the International Print Exhibition 158 can now be viewed on the competition site. They include works by Tim Rudman FRPS, Harry Borden HonFRPS and Leigh Eros. Successful photographers from the next selection will be notified by 21 August. Clockwise from top: Bright Eye by Reg Pengelly, Black Eyes by Patricia Richards, Wild Fire by Melanie Eclare

To see all shortlisted images, visit rps-international.org

OBITUARY

John celebrates his 100th birthday (left); Forest Fantasy (right)

JOHN STANLEY SUTCLIFFE FRPS John Stanley Sutcliffe FRPS died peacefully on 12 June 2014 after a short illness, four days after his 101st birthday. He joined the Society in 1978, gaining his Fellowship in 1985. An

enthusiastic entrant to exhibitions in the UK, his proudest achievement was a Selector’s Medal for a colour print in the RPS International Print Exhibition in 1986/87. ANNE SUTCLIFFE FRPS

The full obituary is at bit.ly/johnstanleysutcliffe

had the pleasure of attending the opening of the 2015 Members’ Biennial Exhibition in the Northern Region at the Art Centre in Washington, Tyne and Wear, on 25 June. Having been successfully launched in Bristol earlier this year, it has been shown in a number of venues around the country. Members from the Society and local camera clubs attended, having been invited by Regional Organiser Jane Black and her committee colleagues, together with Ken Henderson, life president of the Washington Camera Club. Everyone there enjoyed the exhibition, which included two images from photographers in the Region. If you have the opportunity to see it, the exhibition is open until 8 August, before moving on to Hull in October and Barnsley in November. Another superb exhibition launch was the opening of Bleeding London at London’s City Hall. Del Barrett initiated the project in March 2014, seeking to photograph every street in London. More than 300 photographers took images over 58,000 streets in the capital. Del’s inspiration was Bleeding London, a novel by Geoff Nicholson, published in 1997. Nicholson supported the project he inspired, even taking a number of street photographs himself and attending the opening of the exhibition. Bleeding London features over 1,000 street

images and is free to visit in City Hall, London, until 14 August. A month ago, our UK and European members learned about the threat to ‘freedom of panorama’ that was being raised in the European Parliament. Thanks to all of you who will have signed the petition to register your objection to the proposal – it was a great success. With last month’s Journal, you will have received the Society’s 2015 election candidate statements and ballot paper. All members are entitled to vote, so if you have not yet had the opportunity to send them to the Society’s headquarters, they need to arrive there by 21 September. It will be a real pleasure to learn the results of the election at our annual general meeting and to meet the new President, Council and Advisory Board.

DEREK BIRCH ASIS HonFRPS President of The Royal Photographic Society

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570 | IN FOCUS | NEWS IN BRIEF

THE SOCIETY’S AWARDS This year’s Annual Awards ceremony will take place on Wednesday 16 September in London. Entry is by ticket only. Please contact Jo Macdonald (awards manager) at jo@rps.org for further information.

Ilya Fisher’s image of London Victoria Station

FORUM!BASED COURSE ‘A REVELATION’ We hear from Ilya Fisher, who is five weeks into the digital photography course jointly run by the Society and the Open University What were your first impressions of the course? Before starting the course Digital Photography: Creating and Sharing Better Images, I was a bit wary. It’s an online course that uses forums, which was a format I was unfamiliar with. How does that compare with your experience of the course? It has been a revelation. Lessons are excellent, taught in varied, interesting and

interactive ways. Being taught Lightroom via video is excellent. (Can there be overuse of this word ‘excellent’? If so, I may do it here.) How do the forums work? The forums are a pleasure to use and a great way to interact with other students, both for learning and sociably. The

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‘moderators’ (think unofficial tutors) dip in and out here and there and are very helpful. We upload 10 images each week, made up of assignments and any other photos we want to share and are taught to comment constructively on other students’ images. This is one of the best ways to look at and improve your own images. My verdict on the photography course so far? Excellent. To read Ilya’s weekly blog about the course, go to bit.ly/ilyafisher For the next round of students, registration closes on 2 October, with the next presentation on 17 October. Visit rps.org/online-courses

COMBINED ROYAL COLLEGES LECTURE The recipient of last year’s Combined Royal Colleges medal, Emeritus Professor Adolf Friedrich Fercher, will be giving a lecture at the Royal College of Physicians in London on the evening of Tuesday 17 November. The lecture’s title is Optical Coherence Tomography – Principles, Basic Properties and Recent Developments. COUNCIL ANNOUNCES LANDSCAPE GROUP After a good response from members, the Council has approved a Landscape Group, with an inaugural meeting planned for September. If you are interested in landscape photography and are looking for a new challenge, email landscapegroup@outlook. com by 15 August. Please ensure you include your location so the first meeting can be sited to suit as many as possible.

| IN FOCUS | 571 JOURNEY PHOTOGRAPHY

365 WINNERS

Juneâ&#x20AC;&#x2122;s online competition winners SLOW PROGRESS By Suzanne Trower ARPS I was standing on a clifftop shooting something entirely different when this little boat came into view. I liked the feel and composition, so I took a couple of shots.

I felt the image could be improved if I made the sea calmer, so I waited for the boat to move out of shot and took a slow exposure. After some Lightroom adjustments, I blended the boat into the longexposure shot in Photoshop CC. ABOVE THE BEAUTY By Philip Field ARPS The hike to Col de lâ&#x20AC;&#x2122;Arpette in the Swiss Alps is a steep and precarious trek. However, it boasts some of the most magnificent views of the Trient Glacier, which protrudes dramatically from the mountainside. Around half way up the ascent, my girlfriend Madeleine and I stopped under a tree to take in the views and some water. I noticed how the rocks and tree in the foreground provided a perfect frame for this shot.

SAIL AWAY By Spyridon Gennatas LRPS I went for a short trip to Nice last February and went to the beach to take some pictures. The sky was really moody, which I love, so I ended up walking along the waterfront for hours; the small boat passing was one of a few highlights. I took a number of pictures, and this is my favourite.

ENTER NOW

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

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572 | IN FOCUS | WHAT NOT TO MISS EXTRA!ORDINARY" PHOTOGRAPHS OF BRITAIN BY THE CARAVAN GALLERY Impressions Gallery, Bradford UNTIL 29 AUGUST

A national touring exhibition of over 100 colour photographs, taken over the last 15 years. Astutely observed and sometimes hilarious, it provides an extraordinary record of social change in the UK. impressions-gallery.com

CORNEL LUCAS PHOTOGRAPHS The Gallery at Munro House, Leeds 3 AUGUST#12 SEPTEMBER

Cornel Lucas (1920-2012) was the UK’s leading moviestar photographer in the 1940s and 50s, shooting luminaries from both the UK and US film industries. In 1998, Lucas became the only photographer to win a BAFTA award for his Outstanding Contribution to the British Film Industry. This exhibition features images of Brigitte Bardot, Marlene Dietrich, David Niven, Diana Dors and other famous faces from the golden age of Hollywood. leedsgallery.com

LIGHT AND LAND ON THE MALL Mall Galleries, London 2#10 AUGUST

Charlie Waite FRPS presents some of the best landscape images from students of the Light and Land training company. Amateur and professional landscape photographers from across Britain are represented. mallgalleries.org.uk JULY ONWARDS

WE WANT MORE: IMAGE MAKING AND MUSIC IN THE 21ST CENTURY The Photographers’ Gallery, London UNTIL 20 SEPTEMBER

Photography’s role in defining contemporary music culture, both of which have seen a significant change in ideas about ownership. Artists include Ryan Enn Hughes and Pep Bonet. thephotographersgallery.org.uk

ALBUM 31 The Gallery, Library of Birmingham UNTIL 29 AUGUST

Sophy Rickett and Bettina von Zwehl’s collaboration features 22 new works based on images from the Sir Benjamin Stone Collection, one of the Library’s most extensive archives. ‘Album 31’ refers to a collection of miscellaneous Stone images. libraryofbirmingham.com

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KUMBH MELA 2013: PILGRIMS ' SADHUS Nehru Centre, Embassy of India, London 17#21 AUGUST

Society member Boguslaw Maslak presents an exhibition of large images, taken during the massive Indian religious festival, Kumbh Mela, in 2013. The exhibition will also feature video projections. nehrucentre.org.uk

Takashi Arai: Daily D-Type Stills Centre for Photography, Edinburgh. Until 9 August Masters of Vision Southwell Minster, Southwell. Until 23 August Women, Children and Loitering Men The Photographers’ Gallery, London. Until 20 September Audrey Hepburn: Portraits of an Icon National Portrait Gallery, London. Until 18 October Edgelands Museum of East Anglian Life, Stowmarket. Until 12 March 2016

CORNEL LUCAS; MR BANKRUPT, BOGNOR REGIS 2010 © THE CARAVAN GALLERY; SALTWICK SUNRISE, SALTWICK BAY, WHITBY. AUGUST 2011. © DAVID NEVE; BOGUSLAW MASLAK; SOPHY RICKETT AND BETTINA VON ZWEHL; FROM THE SERIES UKG, 2013, EWEN SPENCER

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you’re a top line photographer that puts the maximum effort into achieving the very highest standards in your work then there’s no way you’re going to be looking to cut corners at the printing and finishing stages. It’s the reason why the likes of Turner Prize nominated artists such as Catherine Yass and Isaac Julien, along with photographers of the calibre of Kevin Westenberg, Dennis Morris, Miles Aldridge, Julia Kennedy and Lottie Davies, have all chosen to use the services of London-based Tapestry, which describes itself as ‘a one-stop-shop production company.’ Established over 40 years ago, and independently owned and run from the outset, Tapestry delivers a rich mixture of creativity and coordination to ensure that everyone who uses their services gets the personal treatment. Nothing is off the shelf and everything from fine art printing through to framed artwork, installations and even bespoke wallpaper is on the agenda, and clients are invited to come along to discuss their personal requirements with the people who are going to fulfil their order. The only issue up to now has been one of logistics: quite simply if you’re not located within striking distance of Tapestry’s Soho base or Clerkenwell print and photography studio then potentially you could miss out. But all of that is set to change with the introduction of an online ordering service. “On the print side we’re very much a servicebased, quality-driven company that focuses on attention to detail,” says Print Manager Brendan McMullan (above). “We ‘walk the journey’ with photographers through to the final print stage to make sure that they get exactly what they want.” “However, by listening to our customers we’ve come to realise that the market has begun to change, and there are potential clients out there

that are looking for less of this deluxe service. Now it’s more than ‘love and cuddles’. “What we refer to here as ‘love and cuddles’ is not for everyone, and for those who are looking for a more economical service we’re looking to provide more flexibility by enabling these customers to manage such things as sizing and colour management for themselves.”

‘Fujifilm Crystal DP is outstanding media’ One thing that’s certain is that the overall quality of the final product won’t be impacted in any way should a photographer or artist opt for the online service: all of Tapestry’s C-type paper prints will continue to be output on Fujifilm Crystal DP, and that’s not set to change anytime soon. “It’s simply outstanding media,” says Brendan, “which is why we’ve been a user of Fujifilm papers for the last fifteen years or so. While the market

might have changed over the past few years there’s still a huge demand for the traditional silver halide materials, and there’s no sign whatsoever that this is ever going to go away.” Those opting to use the new service can expect in-house turnaround times of around 24-48 hours for prints and two to five days for mounting and finishing, and Brendan is anticipating that it will appeal to a mix of new clients and others who are existing users of the business but see the benefit of being more hands-on themselves. “I’ve no doubt that we will still attract a lot of people who appreciate the deluxe service that we offer,” he says, “but there are sure to be many others, such as students who are at ease with technology and appreciate the flexibility of being able to order online, who will love the new service. It’s just a question of making sure we have the widest possible appeal, but those who have come to trust the Tapestry product can rest assured that we’ll never be compromising the standard of our service.” More information: www.tapestry.co.uk

574 | IN FOCUS |

I WISH I’D TAKEN

BRIAN SKERRY’S ENCOUNTER 2 Nigel Hicks has whale envy What’s going on here exactly? The image was shot by Brian Skerry, a National Geographic photographer. It shows a diver standing next to a southern right whale and was taken off Auckland, New Zealand. The diver next to the whale is a friend of mine, another National Geographic photographer by the name of Mauricio Handler. The image was much talked about at a

National Geographic photographers’ meeting in Washington DC. Mauricio jokingly grumbles that, while he gets all the glory for being in the image and standing so close to the whale, Brian gets all the royalties! Why do you like it? The composition is simple, almost monochromatic, and the placement of both of the subjects is perfect. It’s got such a strong message about

how fragile and puny we are against the natural world. I’m not an underwater photographer, but this is the kind of photography that we should all be striving for. What can Society members learn from it? It’s an underwater photograph taken on the other side of the world, which might make some people think, ‘I’m never going to get anywhere near that’. However, the point is

that the strongest images are often the simplest in terms of composition and colour.

PROFILE

Nigel Hicks specialises in commercial, travel, landscape, nature, and architectural and interiors photography. He sells images through National Geographic Creative and also runs popular courses and workshops. See nigelhicks.com

REGISTERED CHARITY NO. 1107831 Notice is hereby given that the Annual General Meeting of the Society will be held at Fenton House, 122 Wells Road, Bath, BA2 3AH on Saturday, 26 September 2015 at 10.15am. The business of the meeting will be as follows:

To receive the minutes of the 2014 Annual General Meeting as previously circulated To approve the Trustees’ Report and Accounts for the year ended 31 December 2014 as previously circulated To authorise the Council of The Royal Photographic Society of Great Britain to

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appoint and to agree a fee for The Society auditors in 2015 To receive the results of the Society Elections for the period 2015-17 By order of the Trustees. Dr Michael Pritchard Director-General. The registered office of The Society is Fenton House, 122 Wells Road, Bath, BA2 3AH.

NOTE: The minutes of the 2014 Annual General Meeting, together with the Trustees’ Report and Accounts will be available as a download from the Society website on or after 27 July 2015. Any member wishing to obtain a hard 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: 01225 325730 (direct line) or email: director@rps.org

BRIAN SKERRY ENCOUNTER 2

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

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DISTINCTIONS SUCCESSES

DG’S DIARY

Well done to all the members on their recent achievements ARPS EXEMPTIONS 07/15 Alberto Alicata, Rome David Campbell, Belfast Alessandra Egidi, Rome Alice Favi, Rome Jeremy Goffin, South Humberside Tim Harborow, Staffordshire Chiara Liotta, Rome Ben Paterson, Gloucestershire Alexander Sandwell Kliszynski, Derbyshire ARPS CREATIVE 06/15 Simon Glynn, London Hilary Jackson, Dunbartonshire Carl Joseph Mason, Staffordshire Salmah Mohd Kassim, Malaysia ARPS PICTORIAL 06/15 Andrew Barrow, Oxfordshire Roger Dixey, Hampshire Robert Helliwell, North Yorkshire

Andrew Barrow ARPS

Lisa Mardell, Surrey Romney Tansley, Surrey

Lincolnshire Viola Tammaro, Rome

LRPS EXEMPTION 07/15 Ludovica Arcero, Rome Harry Beressord, Lincolnshire Annabelle Bristow, Lincolnshire Mara Cervoni, Rome Gabriele Cialdella, Rome Giacomo Fierro, Rome Sabrina Martin, Rome Gareth Riddiford, Mid Glamorgan Alex Ripley, Rome Valeria Sgamma, Rome William Smith, Lincolnshire Federica Spadafora, Rome Reba Stringfellow,

LRPS PASS BY REFERRAL original assessment date 10 June 2015 Elizabeth Akers, King’s Lynn Martin Thomson, Loughborough LRPS PASS BY REFERRAL Original assessment date 11 June 2015 Sarah Bedwell, Oxted LRPS PASS BY REFERRAL Original assessment date 11 June 2015 David Bull, Sutton Coldfield

TICKETS AVAILABLE for four days of talks and events

An image by Visual Art Group Member Roger Cookson ARPS

INTERESTING TIMES The Society is often approached with offers to support or partner with other organisations. We try to accept where it will bring something to the membership or where it will support our charitable aims of promoting photography. Over the next couple of months, look out for some exciting news. FIGHTING FOR FREEDOM On page 568, you can read about the European Parliament’s vote to keep ‘freedom of panorama’. This is a good example of how the Society received information early on and was able to circulate it and work with organisations within the industry. Many members contacted me about the freedom of panorama issue, and I spent a lot of time discussing it over a two-week period. As a result, the threat was thwarted.

VISUAL ART GROUP’S WORCESTER WEEKEND

STAIRWAY FROM HEAVEN Part of my role is to ensure that Fenton House remains safe and a pleasant environment for visitors. We have recently had the stairway redecorated and Lesley and Sally in the Exhibitions department chose and rehung a new series of photographs from recent Society exhibitions. It looks great and has prompted some positive comments.

For further details see bit.ly/visualartsweekend

DR MICHAEL PRITCHARD FRPS Director-General of The Royal Photographic Society

The photogenic city of Worcester is hosting the Visual Art Group Autumn Weekend from 9 to 12 October. There will be visits and photography during the day, with lectures either side of dinner on Saturday and Sunday. Members will also get the chance to show recent prints or projected digital images on Friday. The event takes place at the historic Bank House Hotel in Bransford. The Bank House Hotel

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BOOK REVIEWS

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READ THIS IF YOU WANT TO TAKE GREAT PHOTOGRAPHS OF PEOPLE Henry Carroll Laurence King (£12.95) A skilful combination of technical instruction and calls to creativity make for an outstanding primer on portrait photography. There are lots of great historical examples – so as you read about aperture and shutter speed, you learn from Brandt, Winogrand and Doisneau, as well as more contemporary names. GEOFF HARRIS LRPS

Elio with friends – one of Pawlok’s painterly images

FADE TO GREAT

Werner Pawlok captures the dusty, dilapidated glory of Havana

ELIO WITH FRIENDS © WERNER PAWLOK, WWW.LUMAS.COM

MADE IN CUBA ! CUBA EXPIRED: THE SEQUEL Werner Pawlok AVENSO Publishing (£26) Put ‘photography’ and ‘Cuba’ in the same sentence and one immediately thinks of Walker Evans. But Werner Pawlok’s latest Cuba book is somewhat different in both subject matter and presentation (although one gets the impression that little has changed since Evans was there). Whereas Evans photographed the people, Pawlok photographs their surroundings. He takes us on a journey through dilapidated villas and run-down palaces, where we see glimpses of the former architectural resplendence through the peeling paint and mouldering walls. Pawlok’s style pulls the viewer into the inhabitants’ world; we are always aware of their presence through details such as a vase of flowers or a line of washing, but rarely see the people themselves. Unlike the former residents of these buildings, the occupants are not enjoying an opulent lifestyle. They are often families who have salvaged one or two rooms. In this magnificent volume of ruin and relic,

Pawlok captures Havana’s former decadence. He enthrals the viewer with images of columned hallways, impressive staircases, an abandoned cocktail bar, opulent furniture and (inevitably) old American cars – all of which are showing signs of having seen much better days. Evidence that Pawlok was a painter before becoming a photographer surfaces throughout the pages. His eye for colour and his presentation give his images a painterly feel. He reminds us that these places are still alive through his use of bright hues, but their juxtaposition with dark shadows underlines the overwhelming feeling of abandonment. In the introduction, Dr Axel Burkarth quotes Antonio José Ponte: ‘there is no other capital in the world that has been completely neglected for half a century’. By the end of Pawlok’s book, the viewer begins to feel that this is as relevant to the people as it is to the infrastructure. So if you seek beauty in decay, you need look no further than this volume of ‘morbid charm’. If you’re in central London, why not visit the Lumas gallery and see these stunning images for yourself. DEL BARRETT ARPS, LONDON REGION ORGANISER

RIFUGIO: CHRISTIANS OF THE MIDDLE EAST Linda Dorigo and Andrea Milluzzi Schilt Publishing (£29.95) The rise of militant Islam in parts of the Middle East makes it increasingly dangerous for Christians today. Rifugio documents the lives of these shrinking and persecuted communities in gloriously grainy black and white, with Linda Dorigo using a Nikon FM2 SLR and Rollei film in her old-school documentary approach. IAN HUNWICK

SOME THING MEANS EVERYTHING TO SOMEBODY Peter Mitchell RRB Photobooks (£45) Peter Mitchell’s quirky autobiography has all the characteristics of a good photobook. It is based on the objects he has inherited or kept throughout his life. Objects range from his WWII baby gas mask to a knitted replica of a Hasselblad, all given coherence by photographs of Yorkshire scarecrows taken from 1974-2015. For more, see bit.ly/mitchellbookreview BRIAN STEPTOE FRPS

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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

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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

FEATURE SPONSORED BY

Left: The Blow; above: The Defeated # 2

Chris Ryan ARPS

‘I won’t let anything get between me and the image I want to create’ SPORT is about winning or losing, joy and dejection. I look to show something of the pain and sacrifice that these athletes bear in their muscles and minds. In the closer shots, you get to see the taught muscles, the bruises and the blood. The wider compositions capture the atmosphere, beauty and an impression of a time and a place. Both approaches reveal

something of the power and concentration required in that discipline, combined with a dramatic visual narrative. In my high-speed imagery, the incredible slow-motion broadcast cameras used in covering sporting events, with their 20,000-framesper-second frame rates, inspired me. The detail and balletic movement caught at that speed transforms the

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RYAN ARPS 580 | DISTINCTIONS | CHRIS

subjects, making the scene surreal. They look almost impossibly suspended. With the cycling image, I decided to move the camera with the subjects using a special rig, like they do in horse racing on TV. We had many safety and technical issues to overcome, but finally it became just great fun to get right in among the action. I always start with a strong idea of what I want and then just blindly, and perhaps stubbornly, expect to solve the logistics and the technical aspects along the way. I wonâ&#x20AC;&#x2122;t let anything get between me and the exact image I want to create. This set of images was created over four or five years in at least three countries. I retouch and print everything myself, so it would have taken me several months to prepare this set when post-processing.

FACTFILE

Chris Ryan ARPS studied photography at Colchester School of Art for two years before moving to London to work as an assistant photographer. He set up his own studio in Kensington when he was 25

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CHRIS RYAN ARPS

| DISTINCTIONS | 581 FEATURE SPONSORED BY

Clockwise from left: The Defeated # 4; The Try; The Hurdle; The Boat Race

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RYAN ARPS 582 | DISTINCTIONS | CHRIS

ASSESSOR’S VIEW

VANESSA SLAWSON FRPS, DEPUTY CHAIR, PROFESSIONAL AND APPLIED PANEL This successful application is an excellent set of sports images showing a diverse range of skills and techniques. The important element to note is that Chris has demonstrated his ability for the Associateship level using a wide range of sporting events and disciplines, not just one. There is a distinctive style and consistency across the work, giving the panel a feeling of cohesion and balance overall. It is also evident that Chris understands the various sporting events, as he has captured the decisive moment and has used the optimum viewpoint to achieve the maximum impact. It is this evidence of personal input that the assessors are looking for in an Applied application. The submission also shows the high level of creative ability and technical knowledge we require at this level. Another important factor to remember is that the statement of intent for the Applied category is a crucial part of the assessment. Chris’s statement describes the ‘power and concentration’ athletes require but also the ‘pain and sacrifice’ they endure. In that respect, the images fulfil the brief perfectly. With other images, he has used the ‘atmosphere and beauty’ of the sport to visually engage the viewer.

HANGING PLAN

‘The submission shows the high level of creative ability and technical knowledge we require’

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CHRIS RYAN ARPS

| DISTINCTIONS | 583 FEATURE SPONSORED BY

Above: The Team Pursuit; right: The Serene High Jump

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KEILL LRPS 584 | DISTINCTIONS | CAROLINE

MABON This is all about colour and a celebration of the seasons. Smoke pellets were used to create a misty screen that separated the model from the background. Canon 5D MkII, Canon EF 24-70mm f/2.8L II lens. 1/125 sec, f/5.6, 250 ISO

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CAROLINE KEILL LRPS

| DISTINCTIONS | 585 FEATURE SPONSORED BY

Caroline Keill LRPS

Images that capture stories informed by myths and folklore Twenty years ago I established alternative clothing firm The Dark Angel Design Co. The clothing we produce requires quite specialist imagery to convey the companyâ&#x20AC;&#x2122;s vision, and it was proving difficult to find a competent fashion photographer who could capture the essence of Dark Angel Designs. So, back in 1996, I learned Photoshop and began to retrain for the digital age. It was important that my panel was not just about technique, but also showed my personal approach to creating images. I set about putting together a comprehensive panel that would reflect my style of work and at the same time encompass a diverse range of technical ability. Before I start working on a particular shoot, there is a lot of preparation. Most of the costumes are designed and created by me. The locations, too, are carefully selected: I will visit a particular location at different times on different days to ensure that the natural light is creating the right atmosphere. I am a bit of a perfectionist when it comes to the details, but I feel that this helps the images and their narrative seem more believable. I want my images to tell a story and for that to be successful, and therefore much of the work has to be done before I even pick up the camera. VOL 155 / AUGUST 2015 / THE RPS JOURNAL / 585

KEILL LRPS 586 | DISTINCTIONS | CAROLINE

ASSESOR’S VIEW

TREVOR GELLARD FRPS, CHAIRMAN OF THE LRPS PANEL Caroline Keill’s images are a rather unusual submission for a Licentiate panel as the subject matter consists of portraits and figure studies. The panel members viewed the 10 prints from a reasonable distance to ascertain the cohesive overall feel of the two lines of prints, then a closer examination revealed a well-printed set of images without any technical or post-processing defects. The opinion was that this was an excellent example of a photographer producing a variety of approaches within

a chosen subject, each image having been captured with a creative and imaginative style using interesting backgrounds and studio setups. The strong, saturated colours enhance the mood of the images and the cohesive feel of the panel. The one monochrome print is in the centre of the hanging panel, exactly where it should be. When producing a panel of prints, avoiding repetition is not easy, but Caroline has managed this, showing empathy for the models and a good use of light and design. The panel members considered the submission to be well up to the standard required and were happy to recommend Caroline for a Licentiate Distinction.

LAMMA: Taken in an open field in bright sunlight, this image required a large diffuser to soften the light and eliminate hard shadows. Canon 5D MkII, Canon EF 85mm f/1.2 L II lens. 1/160 sec, f/3.5, 100 ISO. 586 / THE RPS JOURNAL / AUGUST 2015 / VOL 155

FACTFILE

Caroline Keill LRPS is a clothes designer and runs her own company, The Dark Angel Design Co. She has been interested in fairy tales, fantasy stories, folklore and legends since she was a child, all of which continue to inspire her photography

IMBOLC: This one’s inspired by the ancient pagan festival Imbolc. To create the feeling of light in the darkness, this was shot in the depths of a very dark forest. Canon 5DMkII, Canon EF 85mm f/1.2 L II lens. 1/160 sec, f/2.2, 500 ISO.

CAROLINE KEILL LRPS

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Clockwise from top left:

HANGING PLAN

‘The strong, saturated colours enhance the cohesive feel of the panel’

BRENTOR This was taken in the pouring rain. I wanted the rain to create atmosphere but had to work very quickly to avoid too many drops on the lens. Canon 5DMkII, Canon EF 24-70mm f/2.8L II lens. 1/125 sec, f/8, 400 ISO. DESERT DANCER This was taken using an extremely wide-angle lens in Death Valley, California. Canon 5D MkII, Canon 17-40mm f/4L. 1/640 sec, f/9, 200 ISO.

FEATURE SPONSORED BY

THE HUNTER I shot this late on a midsummer evening on a Dartmoor tor. We had to wait for the sun to drop below the horizon, leaving a beautiful orange band against the darkening sky. Canon 5D MkII, Canon EF 24-70mm f/2.8L II lens. 1/200 sec, f/14, 400 ISO. SECRET GARDEN Shooting a model from directly overhead can be difficult as the light hits the face in strange ways. I used a diffuser and black flag to modify the light. Canon 5D MkII, Canon EF 24–105mm f/4 L lens. 1/200 sec, f/5.6, 160 ISO.

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THE SCENES AT AN ADVISORY DAY 588 | DISTINCTIONS | BEHIND

Make a date with an advisory day Anyone aiming for a Distinction should attend a Society event, and one in the London Region gave Geoff Harris LRPS some valuable insights

hotography can be a lonely pursuit, and it can be difficult to gauge what standard you’ve reached without objective feedback from an experienced eye. One of the best ways to get this is to go through the Society’s Distinctions process. The Licentiate (LRPS) is the first Distinction, followed by the Associate and Fellowship. While it may be a first step, the ‘L’, as it is sometimes referred to, is far from a formality and you need to demonstrate solid technical skills and a creative eye. The Society therefore organises regular advisory days where members can present their chosen images, or ‘panels’, for constructive feedback and advice. We

went along to see what happened at a recent London Region event.

Tried-and-tested format

Most advisory days follow a similar format, kicking off with a discussion of a previously successful Licentiate panel. The room at the Nikon Centre of Excellence, near Oxford Circus, soon filled with members either presenting panels or observing. After a short introduction, the guest assessor, or LRPS panel member, took over – in this case, the experienced and affable Richard Walton FRPS.

Variety of approach

Richard and his colleague, Roger Ford FRPS, then scrutinised 10 portfolios,

Roger Ford FRPS discusses a successful L panel with Klara Power, who was keen to learn more about the Distinctions process

which they’d never seen before, with a break for lunch. They gave constructive feedback and advice, chatting with the photographer, if present, and answering questions from the audience. The atmosphere was focused, professional and friendly. Once the day was over,

A PANEL MEMBER’S VIEW

We chat to Richard Walton FRPS, the panel member at the London advisory day How long have you been involved in Licentiate advisory days? ‘Just under 14 years, and I have been on the Licentiate panel for about as long.’ Why is it important for candidates to attend them? ‘The best way to understand the Distinctions process is to speak to members of the

panel, and the best way of doing this is at an advisory day. It makes a big difference, rather than just trying to get through the Licentiateship from the guidelines. Considerably more people pass who have been on advisory days.’ What's the most common advice you give on advisory days?

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‘Forget what you learned in a camera club. To pass the Licentiateship, we demand higher quality than you get in average club photography. Some people say, ‘ah, you don't need to worry about sharpness so much,' but we need to see you can go with the rules before you break them and branch out on your own.’

candidates had time to change or tweak their panels before the Licentiate assessment day. According to Richard, one of the biggest challenges for Licentiate candidates is demonstrating ‘variety in approach and techniques’ – a key requirement. As he explains it, rather than looking for variety of subject matter, assessors want to see variety of approach – the use of different lenses, shutter speeds, apertures, movement and so on. ‘So if you're a football photographer, we don’t just want to see goals. We would also want to see pictures taken behind the goals, or of the crowd.’ One of the panels on the day incorporated two images of the same street, but this wasn’t a problem as the photographer had demonstrated different approaches, showing an appropriate degree of variety

BEHIND THE SCENES AT AN ADVISORY DAY

SOUND ADVICE

Richard and Roger summarised some common issues when it came to assessing individual images

Prints v projections ‘It’s a good idea to submit prints when trying for a Licentiateship, as what you see at home with a print is what the assessor sees,’ counselled Richard. ‘Unless you have a fully calibrated digital projector, you will only see a digital image quite small on your computer screen. Any faults in the image are highlighted once they are blown up by the projector, so be careful.’ Format Richard recommended A4 as a good size for prints. ‘Smaller is asking for trouble as assessors will peer even more closely. Mixed mount sizes are not a good idea either, as the panel looks a bit inconsistent.’ Composition and background ‘Watch out for background distractions – a distraction is still distracting, even if it’s blurred out,’ Richard explained. ‘Some “gardening” with software to get rid of distractions is allowed, and keep your horizons level. – ‘a record versus something happening,’ as Richard put it.

GEOFF HARRIS LRPS

First impressions count

Another key teaching point was the concept of the ‘11th image’. A Licentiate panel comprises 10 images, so the 11th is the hanging plan, showing how the images sit together as a cohesive unit. Richard and Roger gave a lot of attention to the order of images in panels, changing the layout for a more pleasing ‘whole’. ‘First impressions of

Sharpness ‘Images need to be bitingly sharp where they need to be, or there should be creative movement and blur, not something in between,’ said Richard. ‘Don’t leave assessors wondering if you got it right or not. But be careful of over-sharpening.’ Blown highlights and blocks of shadow These common exposure errors are a major reason for failure, said Richard and Roger. ‘It’s important to keep as much detail in highlights and shadows as you can.’ ‘Favourite’ images ‘Just because you really like an image doesn’t mean that it will fulfill the criteria’ advised Richard. ‘That’s why it’s so important to get feedback at advisory days.’ Richard Walton gives

Black and whiteattendees constructive ‘It’s okay to includefeedback one on a panel or more mono images in a colour panel, but these have to be really strong, and the conversion justified and skilfully executed,’ Richard urged. ‘Keeping the cohesion and balance of the panel is crucial.’ the panel matter, as the assessors look at it from a distance and then move in,’ explained Roger. Careful attention needs to be paid to the type of paper used for prints too. Richard said that matte paper can flatten colours, recommending pearl or oyster instead, which most commercial printers can supply. To find your nearest advisory day, go to rps.org/distinctions/ advisory-days

| DISTINCTIONS | 589

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PAUL SANDERS

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LANDSCAPE SPECIAL

Charlie Waite

and the photos that inspire him IN any creative endeavour, it is likely that the work is subject to some degree of influence. I have chosen these five photographers because of the extent to which they have impressed themselves on me. Their images resonate with me now as much as they did when I first saw them and, like a beautiful melody, I often need to revisit them and reacquaint myself with any part that has become unfamiliar. I admire these photographers for a number of different reasons: AndrĂŠ KertĂŠsz because of his eye for pattern, humour and design, and for bringing his photography to so many through his numerous exhibitions; Henri CartierBresson for his body of work looking at different countries; Christopher Burkett for his craftsmanship and dogged 10x8 consistency, and for his ravishing, crystal-clear images, which I would give anything to see as transparencies; Nick Brandt for his wildlife images that reach a part of me that others fail to; and Ansel Adams for teaching me so very much about photography.

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WAITE FRPS 592 | INSPIRATION | CHARLIE forms with subtle nuances of colour. I am always looking for the simple story and this image delivers simplicity so sweetly. The delicacy of the central dogwood is emphasised by the backcloth of the slim, darkish boughs of the trees behind.

NICK BRANDT Gorilla on Rock, Parc des Volcans Brandt is one of a few photographers whose work can fill my eyes with tears. The role of the photograph must be to awaken something in the viewer, and Brandt’s photography tears into the very heart of me. His work, in warmtoned monochrome, emphasises so poignantly that these lives, like all lives, are sacred. Brandt forces me to realise this through meticulous craftsmanship and overwhelming tugs at my emotions. I am fascinated by where the viewer’s eye first lands and keeps returning to. In a landscape photograph, there is often a detail that the viewer will return to, like the gorilla’s eyes here, with their glinting highlights. 592 / THE RPS JOURNAL / AUGUST 2015 / VOL 155

ANDRÉ KERTÉSZ Chez Mondrian, Paris In 1979, I visited the Serpentine Gallery and discovered some 200 images by André Kertész. I was not to know then that he would become such a favourite photographer of mine. That day, I went to a discussion of his work attended by Kertész himself. When asked to comment, he looked around his vast body of work on the gallery walls and merely said: ‘I just took the pictures.’ I will never forget that line. In this photo, the replication of arc and line in the brim of the hat, the vase and the graceful curve of the bannister act as a superb foil to the littering of rectangles found elsewhere in the image. I pursue this degree of elegant construction in my landscapes.

PINK AND WHITE DOGWOODS © CHRISTOPHER BURKETT; CHEZ MONDRIAN © ANDRE KERTESZ/SEATTLE ART MUSEUM/CORBIS; GORILLA ON ROCK © NICK BRANDT, COURTESY OF ATLAS GALLERY, LONDON

CHRISTOPHER BURKETT Pink and White Dogwoods Burkett has never wavered from his large format. He produces work that is rich with glorious detail. From apparent woodland chaos, his eye extracts striking

CHARLIE WAITE FRPS

ASPENS, NORTHERN NEW MEXICO © ANSEL ADAMS PUBLISHING RIGHTS TRUST/ CORBIS; SIFNOS, GREECE © HENRI CARTIER%BRESSON/MAGNUM PHOTOS

ANSEL ADAMS Aspens, Northern New Mexico Adams remains a mentor for many photographers. I strongly refute the suggestion that he is now regarded as passé: he is as alive and vital to my way of seeing as he ever was and I will be forever thankful for his ability to share his deep knowledge of the subject. Adams’ influence on my photography is impossible to measure. This image reminds me of his total dedication to his previsualisation. His ability to give the foreground trees such heavenly luminosity through exposure and development makes me gasp. Meanwhile, of course, the background preserves subtle detail – just as the great master planned and intended.

| INSPIRATION | 593 HENRI CARTIER& BRESSON Sifnos, Greece I have spent many years marvelling at this beautifully constructed image. I have concluded that it is the right angle of Flora’s elbow that is pivotal to the entire composition. There are numerous other right angles in the image that repeat and flow out in all directions from her elbow. It is a masterful image from a photographer who could clearly see the numerous elements that make up such a fine photograph. The right angles found throughout this image remind me of how important it is to look for relationships of form. No matter how tenuous these relationships are, they can contribute to the cohesiveness needed to complete an image.

NIC

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SANDERS 594 | EXPERIENCE | PAUL

‘Standing on a cliff in Sussex, I took an image that I intended to be my last’ Former picture editor of The Times Paul Sanders tells how landscape photography helped him recover after a nervous breakdown

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PAUL SANDERS I WAS showing the early signs of my eventual breakdown due to workrelated stress. It was a breakdown that would turn my life upside down. And it would take a new-found passion for landscape photography to get me back on track. I was given the job of picture editor on 1 April 2004, after helping turn the broadsheet Times into the more modern compact format we see today. I was in my element, pushing the limits of what we thought was possible, totally focused and single-minded in my efforts to make The Times the very

best it could be. It was like that for a while, working 14-hour days. Then things started to fray around the edges. Sleepless nights, a mild eating disorder, an obsessive cycling habit and self-harm were a regular feature of how I coped with the pressure. Meanwhile, I hid everything from my colleagues, working harder and longer to put off any suspicions. In 2011, the wheels came off. I went on sick leave in the summer following a nervous breakdown. While off ill, I decided to become a landscape photographer. I bought a Joe

| EXPERIENCE | 595

Cornish book, read articles by David Ward, Charlie Waite and many others, and then armed myself with a 5x4 camera. I travelled the UK reshooting the places that other, big-name photographers had shot already. Only they had done it better. It was disheartening to say the least, especially in my fragile state. Was I ever going to find satisfaction again? I returned to work for a spell, to prove I wasnâ&#x20AC;&#x2122;t broken, and delivered quality paper after quality paper, but on 31 December 2011, I walked out and never looked back. After becoming ill, Paul Sanders sought relief in the landscape

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SANDERS 596 | EXPERIENCE | PAUL ABOUT THE AUTHOR

PAUL SANDERS

An award-winning landscape specialist, Sanders began his career in 1984 and has worked in fashion, advertising and newspapers

Winchelsea Camber

Despite being free of the source of my stress, I was still in a state, mentally. My marriage was in tatters and everything I held dear seemed broken. By autumn 2012, I had decided to take my own life. I had nothing to give any more. Standing on a cliff in Sussex, I took an image that I intended to be my last. Clumsily, I kicked my light meter over the edge. I dived forward to catch it, but missed and was instead left looking straight down at the rocky beach below. As I lay there, a man came over to check if I was okay. We talked for nearly an hour before he was satisfied that I would go home and not harm myself. Soon after, I went to get professional help. Through the support of my therapist I realised that I was always trying to please others in every aspect of my life 596 / THE RPS JOURNAL / AUGUST 2015 / VOL 155

IT SEEMED WHATEVER STATE OF MIND I WAS IN, AS SOON AS I PICKED UP MY CAMERA I UNWOUND … – especially my photography. I was trying to conform to what I felt was the type of image that people expected. It was while on a workshop in Finland that I realised what the problem was. Underneath an amazing aurora, I was staggered by the fact that most of the group watched the display through their viewfinders – they didn’t really feel how incredible it was to witness something so beautiful. I understood

that my kit was getting in the way of truly connecting my emotions with my photography. I got rid of the 5x4, DSLRs and bought a Fuji X-Pro1. Suddenly photography became fun again – challenging, yes, but stimulating and enjoyable. It was never about the camera, it was always about the experience, the journey to the picture. I started to get a feel for the locations, never rushing to take pictures. I became totally present in the moment as I shot, feeling a real connection with the landscape. It became about the time spent in the environment, not about recreating an image I’d seen elsewhere. Instead of glowing, golden-hour landscapes, I found myself taking photos in the rain or wind. The movement of grasses, waves and clouds fascinated me. I experimented shooting through silk stockings, making my own filters to help recreate the images I could see in my head. Exposures got longer and longer, and suddenly I found I was shooting images that really worked for me. I was on the look-out for calmness, tranquillity and space. I was drawn to solid objects in the foreground, and these posts seemed to depict my sense of loneliness and solitude. My therapist had a field day analysing some of my images, but she encouraged me to continue exploring myself through photography. It seemed that whatever state of mind I was in, as soon as I picked up my camera I unwound, unloading my feelings and emotions into my images, and became connected with myself and the wider world around me. It’s three and half years since I left The Times. I am financially worse off, but I have a far better quality of life. My photography has truly saved my troubled mind. Yes, I still have bad days and the road to recovery isn’t straightforward, but by immersing myself in photography, by slowing down, taking my time, shooting just for me and not for competitions, judges, or magazines, I have found a calm place where I like to live. More importantly, making the decision to leave the crazy world of newspapers means I now get to spend quality time with my son, something I nearly stole from him.

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DKDKKD DK 598 | PICTURE | A;LKDJFKJ

Britainâ&#x20AC;&#x2122;s best landscapes The country is full of wonderful locations for capturing coastal, mountain, pastoral and forest scenes. David Clark hears from five top photographers about some of their favourite places 598 / THE RPS JOURNAL / AUGUST 2015 / VOL 155

SOME OF THE UK’S BEST LOCATIONS

Mountains Yew Barrow, Scafell Pike and Wastwater, autumn Joe Cornish HonFRPS This Lake District landscape is a breathtaking scene in which Joe Cornish HonFRPS captures the scale of the location’s craggy terrain in the dappled light of a partially cloudy day. It shows Scafell Pike, England’s highest mountain, with clouds gathered on its summit and Wastwater, England’s deepest lake, below it. Cornish took the photograph in the middle of an early November

day, and says the main challenge in photographing the mountain was choosing a shooting location. ‘Scafell is far from being England’s finest-looking mountain,’ he says. ‘It was clear from the map there was no elegant, logical, framed view of it.’ The best viewpoint, he decided, was from nearby Middle Fell. The photograph’s composition was carefully considered. ‘It was essentially an exercise in finding a position where the dark presence of Wastwater is described suitably, but does not drain energy away from the mountain

| PICTURE THE SCENE | 599

landscape,’ Cornish says. ‘This had to be resolved by finding a foreground that draws attention away from the lake and resolves the contrasting slopes of Illgill on the right and Yew Barrow on the left.’ Cornish found he couldn’t include all the necessary compositional elements in one frame and the resulting panoramic image was stitched from two files shot in series on a sliding back. Linhof Techno/Phase One P45+, 40mm f/4 Rodenstock lens, 1/8 sec at f/11.5, ISO 50 VOL 155 / AUGUST 2015 / THE RPS JOURNAL / 599

DKDKKD DK 600 | PICTURE | A;LKDJFKJ

Coastal

Elgol Dawn Mark Voce The photographer, from Halifax, first visited Elgol, on the Isle of Skye coast, in 2005 and has often returned since then to explore this coastal landscape. ‘Elgol is without a doubt an awe-inspiring location,’ Voce says. ‘There is something rather special when you can see vertiginous mountains rising up out of the sea.’ Voce works almost exclusively in black and white because he feels it allows him greater freedom of expression to depict the scene as he chooses. That freedom is used to good effect in this powerful monochrome study. Taken just after sunrise on a

November morning, the image uses the jagged rocks on the shoreline to lead the eye into the scene’s calm expanse of sea and, further on, the dark clouds looming over the distant Cuillin mountains. ‘I wanted to create a deep, interesting foreground for the viewer’s eyes to explore, before heading across the water to the mountains,’ Voce says. He used a Lee 10-stop ND filter and a graduated ND filter to produce a long exposure that ‘softened the water and clouds, and provided a nice contrast to the hard, precise lines of the rock’. Canon EOS 5D MkII, Canon 17-40mm at 21mm, 181 seconds at f/8, ISO 160

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Forest

MARK VOCE

ADAM BURTON

Autumn Winds, Exmoor Adam Burton ‘Forest photography is far more difficult than most other types of landscape,’ says Burton. ‘Without an obvious subject, photographers can feel somewhat overwhelmed with the choice. Deciduous woodlands can also be very cluttered and appear quite chaotic, making composition difficult.’ The solution to this problem, Burton says, is to use basic compositional rules and aim to find simplicity and order within the scene – exactly what he’s done in this outstanding, richly coloured autumnal image. It was photographed around midday in mid-November, in Devon’s Exmoor National Park.

SOME OF THE UK’S BEST LOCATIONS

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Landscape with a difference Aurora Borealis over Sycamore Gap, Northumberland Guy Edwardes Capturing a familiar landscape in unusual conditions can produce a refreshingly different image, which is just what happened one February night when Guy Edwardes went to Sycamore Gap on Hadrian’s Wall, near Hexham. Edwardes had set out to photograph the tree and hillocks silhouetted against the starry sky. After taking that shot, he decided to see how it looked from the other direction. ‘I took a test shot

of around 20 seconds in complete darkness and this image is basically what came out,’ he says. The striking pink and purple glow is the result of a rare appearance of the aurora borealis or ‘northern lights’. Edwardes explains that, generally, the further south this phenomenon is visible, the redder the colours. ‘I wasn’t expecting to see the northern lights, as they’re hardly ever visible that far south,’ he says. ‘It was a complete surprise and really was a case of being in the right place at the right time.’ Canon EOS 5D MkIII, 16-35mm f/2.8 lens, 20 seconds at f/2.8, ISO 2,200

‘It was a blustery, overcast day with occasional showers, the perfect weather for photographing in woodlands,’ he says. ‘With every gust of wind, the branches rustled, bringing down hundreds of golden leaves from the trees all around.’ The scene inspired him to ‘capture some of the atmosphere of being in the wood at this special time’. Burton used the two main trees, a third from the right of the frame, to give strength and structure to the composition. Warm tones of yellow, brown and gold predominate, while the 10-second exposure records the movement of the wind-blown branches and other foliage as an attractive blur. Nikon D800E, Nikon 24-70mm, 10 seconds at f/13, ISO 100 VOL 155 / AUGUST 2015 / THE RPS JOURNAL / 601

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LOCATIONS, LOCATIONS

The featured photographers share some of their favourite landscape spots COAST South Gare, Redcar & Cleveland Ynys Llanddwyn, Anglesey Whitby, North Yorkshire Embleton, Northumberland (overlooked by Dunstanburgh Castle) Porth Nanven, Cornwall RECOMMENDED BY MARK VOCE

MOUNTAINS ENGLAND: Peak District, Yorkshire Dales, Lake District, Dartmoor SCOTLAND: Skye (Cuillin, Trotternish); Assynt; Foinaven, Ben Loyal and Ben Hope in the far north; Torridon and the Great Wilderness; Kintail; Glen Coe/Rannoch; and the Cairngorms WALES: Brecon Beacons, Black Mountain, Cadair Idris and Snowdonia (Rhinogs, Glyderau, Carneddau, Snowdon Massif) RECOMMENDED BY JOE CORNISH HonFRPS

Pastoral

Sainfoin Meadow Colin Roberts This peaceful photograph of a meadow filled with sainfoin and peppered with its abundant pink flowers is a quintessential pastoral scene. The location is near Popham in central Hampshire. Roberts says it’s one of his favourite locations, partly because it has an attractively shaped oak tree, which makes a good focal point on the skyline, with timing and viewpoint playing crucial roles. The scene was photographed one June morning, shortly after sunrise. ‘The field is located in a gentle dip,’ Roberts says, ‘which

means it often retains a morning mist long after it has vanished from the surrounding area.’ This mist has added to the shot’s atmosphere and made the oak tree more prominent against the paler grey trees in the distance. Roberts made the most of the colour of the dew-enhanced foreground flowers by going in very close with a wide-angle lens. These blooms carry the eye into the scene, and help make a simple and satisfying composition. Canon EOS-1Ds MkII, Zeiss 28mm lens with Canon adapter, 1/2 second at f/16, ISO 200. Shot using a Hoya polarising filter and a Lee 0.9 ND soft grad

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FOREST The New Forest, Hampshire (particularly Bolderwood) The Lake District (especially the woodlands around Derwentwater) Wistman’s Wood, Dartmoor West Woods, Wiltshire Savernake Forest, Wiltshire RECOMMENDED BY ADAM BURTON

PASTORAL The Blackdown Hills on the Devon/Somerset border Martin Down (chalk grassland and nature reserve), Hampshire Marshwood Vale, Dorset Lambourn Downs, West Berkshire Vale of White Horse, south-west Oxfordshire RECOMMENDED BY COLIN ROBERTS

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604 | WORLD VIEWS |

New territories History, trauma and ecological threats come to the fore as Lucy Davies explores modern trends in landscape photography

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BEFORE dust had settled on the first successful prints in 1839, photographers were drawn to making image after image of the hedgerows and stiles, the waterfalls, craggy mountains and glassy lakes they saw around them and on their travels. They took their lead from the great landscape painters, such as Giorgione, Lorrain, Corot and Constable, preserving the idea of rural idylls, raw grandeur and quiet sanctuary. These days, ‘landscape’ has become as much a shape-shifting construct as a physical place – as connected to war, capitalism, industry and politics as it is to the perceived fundamentals of life. For some, any suggestion of serenity or beauty has been peeled away with the precision of a surgeon’s knife, revealing traumas and transgressions. Others’ more contemplative, gentler approach refines ‘landscape’ as a living, breathing thing, defined as much by our expectations and memories as the line of a fence or path of a stream. Copşa Mică factory (central Romania), 2013 by Tamas Dezso VOL 155 / AUGUST 2015 / THE RPS JOURNAL / 605

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One of Andy Sewell’s series on Hampstead Heath

From the Shot at Dawn series by Chloe Dewe Mathews

Witchpond by Leo Goddard

Cooling Towers (Calan, West Romania) by Tamas Dezso

Traces of the past

hloe Dewe Mathews’ series Shot at Dawn was represented by just four pictures in last year’s Conflict, Time, Photography at Tate Modern, yet was one of the most talked about of the exhibition. Each image, showing the site at which soldiers were executed for ‘cowardice and desertion’ in the First World War, was taken in the same season and at the same time as the execution took place, forming a taut, poignant thread between past and present. Nothing remains in the landscape to suggest these often beautiful, sometimes plain, landscapes were the last thing men saw before they died.

Hungary-born Tamas Dezso experienced the fall of Communism first hand and documents its legacy in neighbouring Romania and his home country. Some areas of Romania that have remained almost unchanged, for example, are like illustrations from Hans Christian Andersen or the Brothers Grimm, full of wooden huts, children in bear fur, a spire halfdrowned in a frozen lake. But it’s their coexistence alongside the ruins of aggressive industrialisation that most intrigues Dezso. Interspersed are images of vast factories and humble homes eating themselves from the inside out.

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To make her series The Hundred, Leo Goddard photographed the medieval district (or ‘Hundred’) of Gartree, near her parents’ home in Leicestershire. ‘Its gently bland landscape has not inspired any works of art, it is very unremarkable,’ she says, using this very ordinariness as fertile ground from which to tug a number of eerie histories into being. Pairing her photographs with ephemera, texts written by local historians, drawings and maps, she conjures the area’s medieval past into being. The landscape appears plain, washed out and overgrown and yet full of Domesday ghosts.

| WORLD VIEWS | 607 Frontiers and borderlands

everal photographers explore the point where city meets countryside. Neither urban nor rural, these muddled spaces behave oddly in the frame. In his series Pastoral, for example, the Estonian photographer Alexander Gronsky has made a sustained study of the edges of the city of Moscow. Wide and deep in their prospect, his detailed images have a topographical backcloth. They are sublime in the Romantic sense of the word: their reflections and shifting skies, belching industrial pipes, cranes and high rises

Fuga, from In Landscapes by Petros Koublis

made all the more beautiful by the constellations of tiny figures in the foreground. For his series In Landscapes, Petros Koublis explores landscapes on the outskirts of Athens. They are

From Pastoral by Alexander Gronsky

poetic things – intricate, blasted tree trunks emerging from a morning mist; horses and sheep on windswept cliffs; steely blue-grey seas. So far, so traditional. But Koublis is attracted to the mystical presence he experiences in the landscape, ‘a lost connection’ between man and a beauty that has always been there, but which has been overtaken and made unfamiliar by the city’s ‘tough and tense present’. It’s an oblique, clever way to approach the problems the ancient Greek capital is facing. His bucolic scenes have an extraordinary stillness about them, as if tree and sea and animal and bird are simply waiting patiently for the next chapter. Andy Sewell took five years to photograph the fragment of London green space that is Hampstead Heath. Considering its ‘ancient trees, tall grass and thickets dense enough to get lost in’ cover only a couple of square miles, this was some investigation. For the British photographer, though, the process of photographing becomes part of the photograph. Beginning with something he feels confused by or attracted to, he takes picture after picture until he finds some kind of coherence. The landscape hovers weirdly between pristine, organic and natural, and a more managed kind of wilderness. And that’s his intention. It’s a musing rather than an explanation. More is revealed the longer you look.

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Looking down a precipice

Clockwise, from above: Iceland aerials and Greenland by Daniel Beltrá; Vista Aerea de la Ciudad de Mexico V (buena), 2006 and Vista Aerea de la Ciudad de Mexico XIII, 2006 by Pablo López Luz

ablo López Luz maps the land around his home town of Mexico City, alongside other cities in Mexico. From an elevated position, he captures vast terrains of urban sprawl in spectacular, almost collage-like arrangements of shapes, space, pattern and perspective: uncannily like the world we know, except more coherent. Luz comes at his subject through a prism of art history, about which he’s very specific, aiming to reinterpret the classical idea of the landscape by emphasising human intervention – ‘the modification and transformation of the natural space into the urban megalopolis … a social landscape that remains animated, always expanding and in constant change’. He considers the phenomenon at one remove, so the work is observational rather than lesson driven. It is also incredibly affecting – he treats his panoramas with a Turner-like reverence to gleaming seas and mountain passes. Daniel Beltrá also uses aerial perspective to

showcase environmental concerns. Over the past 20 years or so, he has explored issues in the Amazon, the Arctic, the Southern Oceans and the Patagonian ice fields – his photographs of the Deepwater oil spill in 2011 were some of the most

widely circulated at the time and won him several awards. His particular approach is to show us what we are losing even as we lose it; a curious mix of beauty and horror. His knack for finding elegance in the direst event is extraordinary.

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HENAO RESTREPO 610 | INTERVIEW | MANUELA

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MANUELA HENAO RESTREPO

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THE NAKED TRUTH O

Her work created uproar in Colombia, but Society bursary winner Manuela Henao Restrepo isn’t giving up, hears Lucy Anna Scott

f all the advantages that being a recipient of the Joan Wakelin Bursary conveys, being plunged into the depths of media controversy was not one Manuela Henao Restrepo would have predicted on hearing she’d been chosen. But beauty in Colombia is – as she was soon to discover – a controversial subject. And the photo-essay the award enabled her to pursue centred on just that, as Restrepo set out to explore the social and cultural factors that have shaped the female form in the city of Medellín. The results were arresting. Through her project Beauties, the 27-year-old introduces viewers to teens with a casual familiarity with liposuction, a diet pill seller so desperate to be ‘as pretty as her friends’ she allowed an unqualified doctor to inject biopolymers in her buttocks (a procedure she’s now seeking to reverse), and handfuls of other women who’ve spent millions of pesos on plastic surgery. While this is not peculiar to Colombia, the

anthropological influences that have normalised plastic surgery for a generation of women in its second largest city are – and it was this that Restrepo documented as she strove to reflect a particular approach to, and interpretation of, female beauty. ‘In Medellín, women have historically been seen as strong figures, mothers and hard workers,’ explains Restrepo, who graduated in 2013 from the London College of Communication. ‘But this changed during the 1980s and 90s. Drug lords would visit the US to do deals and return with images of beauty they’d seen in prostitutes there. This changed the role of women, from being mothers raising families to being bodies and beauties. ‘As that aesthetic went mainstream, women in Medellín grew up surrounded by those images. This not only affects the poor – the pressure is on all social backgrounds.’ The Colombia-born photographer became fascinated by the subject during a six-month stay in her native country, having been raised in Spain. It was then that the artist became Skin deep: one of Manuela Henao Restrepo’s Beauties subjects VOL 155 / AUGUST 2015 / THE RPS JOURNAL / 611

HENAO RESTREPO 612 | INTERVIEW | MANUELA

aware of how mainstream cosmetic surgery had become, and how differently female culture was understood there. ‘I wanted to get to know these women and understand how they felt about their bodies. What I discovered is that they feel great – they’re proud,’ she says. ‘But what shocked me most was how the surgery isn’t to gain greater love and affection from men; it is about competition with other women.’ Almost half a million surgical cosmetic procedures are performed annually in Colombia, according to The International Society of Aesthetic Plastic Surgeons. But as the country’s economy booms, Medellín is undergoing its own makeover. Plunging homicide rates, a public campaign to reduce violence, and a development drive that has delivered swathes of new libraries, parks, schools and sustainable infrastructure, have all combined to qualify Medellín as a city of change on the international stage. For some, therefore, the old face that Restrepo’s images portrayed proved awkward viewing. ‘It was like rubbing salt in a wound,’ she explains. ‘The narcotics inference 612 / THE RPS JOURNAL / AUGUST 2015 / VOL 155

‘I BEGAN TO RECEIVE CALLS FOR INTERVIEWS FROM THE COLOMBIAN MEDIA … AND THEN IT WENT CRAZY’ [in my work] was what created the most noise in the media. People want to move on and present Medellín as a place of innovation. The city is trying to ignore the influences that drug culture still has on society.’ The media’s focus on the drugrelated aspects of the photo essay has, she says, overshadowed other layers in the work: the interpretation of beauty, the past, aesthetics and femininity. ‘The essay is not saying these women are involved in drugs, just that they have inherited the influences,’ she says. ‘I wanted to show the effects of that. When something so big happens in a society it affects all aspects of it, and one of them was the interpretation of female beauty. Trying to ignore it is trying to ignore a large part of a reality.’

Myopic it may have been, but the attention Beauties drew went far beyond anything Restrepo could have anticipated as she competed for the Joan Wakelin bursary in 2014, against a line-up of impressive candidates including 2012 Taylor Wessing Photographic Portrait Prize winner Jordi Ruiz Cirera. ‘As soon as The Guardian [the Society’s bursary partner] published my work I began to receive calls from the Colombian media saying they wanted to interview me. That was just the start, and it went crazy. Some publications took my images and wrote a negative story and sensationalist headline around them, using hurtful language. Readers were commenting on the story online too, saying all sorts of things,’ Restrepo recalls. ‘For a while I didn’t want to see the pictures. But then I got prouder and prouder of them.’ British photographer Martin Parr HonFRPS was an important influence on Restrepo’s undergraduate self. And especially formative was Paul Graham’s Beyond Caring series – an essay that explored the crowded dole offices of Margaret Thatcher’s Britain.

MANUELA HENAO RESTREPO

Clockwise, from right: models at a Medellín textiles event; ‘tummy tuck’ scar; a sweet 15 cake; and a model and weight-loss pills seller, who began saving money for plastic surgery aged 18

MANUELA HENAO RESTREPO

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CAGES, JOAN WAKELIN HonFRPS/ROYAL PHOTOGRAPHIC SOCIETY COLLECTION/NATIONAL MEDIA MUSEUM

IN THE WAKE OF JOAN

This interest in social reportage has also taken her to the mountains of Colombia to document how capitalism is changing family life in the rural communities there. But the deep social debate Restrepo has invoked around the cosmetic aesthetic has galvanised her to develop Beauties, which represents her first long-term personal body of work. With hindsight, she believes such a strong reaction to her photo-essay has led her to understand that comments both bad and good can allow an artist to see their work in a new way. She now plans to return to Columbia to profile even more women. Restrepo is particularly interested in those who lived during the height of the narcotrafficking era, to see if time has brought perspective: ‘I’d like to find out how their bodies were changed by that time, how they feel about that and what they think about the heritage of which they are part. Many of these subjects were difficult to access before.’ But Restrepo is also thankful for receiving the award at such an early point in her career, a time when she was blind to the double-edged sword

of publicity. ‘I was super naïve, I didn’t know the reaction it would create. Due to that, the work was very much from the heart and I had a lot of freedom to follow what I felt,’ she says. ‘It has made me more determined to pursue this subject. As well as the controversy, I had good feedback, and received emails from people in Colombia thanking me for my work and encouraging me to carry on. I was so grateful for that.’ Enabling girls to realise there are alternative ways of seeing beauty is a priority in Restrepo’s reportage. ‘I would like to believe that my work will tell them to listen to what you see around you and realise it is just a culturally formed interpretation of beauty; you don’t need to take it in full,’ she says. But the girls of Medellín are not the only ones to feel the effects of the bursary. It has, Restrepo says, ‘changed everything’ for her: ‘You’re fresh out of university, you apply to many contests and no-one replies. You start to get desperate and then comes the light. The award was one big opportunity and I wanted to give it my all.’

Manuela Henao Restrepo was a recipient of the Joan Wakelin Bursary in 2014. Administered by The Royal Photographic Society in partnership with The Guardian, each year the award offers a photographer £2,000 for the production of a photographic essay on an overseas social documentary issue. It includes the opportunity for winners to see their work published in The Guardian. The bursary is a tribute to Fenton Medalist Joan Wakelin HonFRPS, who died in 2003 at the age of 75. The Lancashire-born photojournalist left behind an impressive body of work, in which she documented the women protesters of Greenham Common, New Zealand’s Maori communities and Australia’s Aboriginals. Her images of Vietnamese boat people in Hong Kong were included in the 1990 World Press Awards. In 1986 Wakelin established the Arena seminar group of photographers, a discussion forum still regularly attended and going strong. It was this enthusiasm for encouraging others to take photographs that was among one of the key points of her Guardian obituary, published in October 2003. Another was the way the photographer gave a voice to disadvantaged or vulnerable people. Much of her work is now with the RPS Collection in the National Media Museum in Bradford. To find out more about the Joan Wakelin Bursary, visit rps.org/learning/projectfunding/joan-wakelin VOL 155 / AUGUST 2015 / THE RPS JOURNAL / 613

614 | SHOWCASE |

TIME AND TIDE

Shirley Hollis ARPS’s ‘photography of now’ is on show at Fenton House FROM impressionistic landscapes to street work, Shirley Hollis ARPS does not like to limit or restrict herself to any one genre or style. Her exhibition, titled A Bit of This and a Bit of That, reflects this. She likes to capture moments that are unlikely to ever be repeated in quite the same way – when the key elements and the light come together at just the right time – and will explore any environment for angles, scenes and viewpoints that stimulate her imagination.

You describe your work as the ‘photography of now’. What do you mean by that and how does it distinguish you from other photographers? I have no truck with the idea that there is ever ‘nothing to photograph here’. In my experience, not all photographers think like that. Sometimes photographers go out specifically for a particular scene or event, with a preconceived idea of what they hope to achieve. Neither method is better, it’s simply a different approach.

VISIT!

Why is variety so important in your work? I believe there is always a picture to be had. Also, for me, I think I would get very bored focusing on one aspect. I love exploring anything that presents itself. I take photos for my own enjoyment. If others like my work that’s a bonus, but there are no constraints when I’m out taking photos. How do you know when you’ve captured the right shot? Sometimes you realise straight away. Other times it’s only later you realise what you have taken. There are images that evolve at the

THE SOCIETY HEADQUARTERS

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post-processing stage, but I always aim to start with a good image. Post-processing cannot salvage a weak image. My approach is often to take many photographs before I get the right one. I recognise that this is not the way many photographers work. It’s probably a result of having started in the digital era. It’s something I’ve missed by not having worked with film.

How do you know when you’ve got an image just right in post-processing? I always go with what I like. It might be a simple crop and a slight sharpen, or there may be a number of

processes to get the desired effect. Sometimes I go too far and return to a previous version of the image, or take some steps back in Lightroom or Photoshop. If I am stuck, I will send it to a friend to look at and give an opinion. Sometimes that helps to clarify.

There is something quite painterly in some of your images. Do other art forms, such as painting, inspire your photography? I do read books on art and photography, and I look at a lot of other people’s photographs, but I have never thought about my particular influences.

SHIRLEY HOLLIS ARPS’S EXHIBITION WILL RUN DURING AUGUST AT THE ROYAL PHOTOGRAPHIC SOCIETY, FENTON HOUSE, 122 WELLS ROAD, BATH BA2 3AH

JOANIE FAN HUI LING FRPS

Captive

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Above: Intimate Forest and, main image, In the Lead VOL 155 / AUGUST 2015 / THE RPS JOURNAL / 615

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Sony a7R II

Pixel count is not all that’s pumped up in this camera’s second iteration, finds Gavin Stoker

t didn’t need to be unveiled at Pinewood Studios for us to get the message that Sony considers its newest compact system camera a potential blockbuster. And that’s not just because of the £2,600 price tag. Pumped up to a impressive 42 megapixels, and with a ‘world first’ back-illuminated full-frame CMOS sensor, the a7R II offers a light sensitivity up to an equivalent of ISO 102,400. Operational speed has also been tweaked: the secondgeneration CSC offers 40 per cent faster autofocus than the

original a7R, and the new chip delivers a 3.5x faster read-out. Feeling as well built and solid as we’d expect when gripped in the palm, key features include a lifelike display via a 2.4-milliondot-resolution, eye-level electronic viewfinder, 399-point wide-area AF, five-axis in-body image stabilisation, and a continuous capture rate of up to five frames per second. With 4K video capture, and a backplate LCD screen offering a resolution just over one million dots, viewing it as a ‘hybrid’ device means that the asking

PRICE: £2,600 SENSOR: 36x24mm (full-frame) Exmor R CMOS LENS: Sony E-mount; access to A-mount lenses via optional adapter SCREEN: 3-inch, 1,288,800-dot resolution WEIGHT: 625g including battery and card MORE: sony.co.uk IN BRIEF: Impressive, quick and powerful piece of kit with corresponding price tag, hampered by disappointing battery life

price starts to make more sense. There are 13 directly compatible lenses, with a further 20 promised by the manufacturer by 2016. The optional LA-EA3 mount adapter allows the use of A-mount lenses, widening the creative options considerably. From fully charged the camera offers only 340 shots using the LCD, or 290 with the viewfinder. You’ll also have to buy a separate mains charger if you don’t want to keep recharging the battery in-camera every time.

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618 | THE CRAFT |

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Leica Q £2,900

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aluminium and magnesium alloy-bodied, luxury-feel, fixed-lens model suited to street or travel photography will find it in the rangefinder-styled, 24.2-effective megapixel Leica Q, with full-frame sensor, and a 3-inch touchscreen. Its 3.68-million dot ultra-high resolution electronic viewfinder relays an impressively lifelike real-time image. Meanwhile, the wide-angle 28mm lens with fast f/1.7 aperture is perfect for striking portraiture, with creamily smooth shallow depth-of-field effects. Yes, as a Leica it is reassuringly expensive, at just shy of £3k, although this makes it still one of the most affordable options for brand loyalists who want a compact that does it all.

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the TIPA (Technical Image Press Association) Awards, Profoto’s B2 off-camera flash aims to make the lives of wedding and portrait photographers a little easier. Comprising a battery pack and a head, with the battery light enough to be worn on the hip or shoulder, the B2 can be mounted on a monopod or camera bracket, and wirelessly controlled via your camera. The head is the same size and weight as a speedlight, but is five times more powerful. The B2 can be used with Profoto’s range of ‘light-shaping tools’, including new items such as four softboxes, a grid kit, and a barn door. A current kit deal offers £264 worth of accessories free until 30 September.

Lowepro Pro Runner AW II bags From £184 3 If you’re into travel

For Canon and Nikon DSLR owners, the Sigma 24-35mm f/2 DG HSM ‘Art’ series lens is the world’s first large-aperture full-frame wide-angle zoom offering f/2 brightness throughout its focal range, while the lightweight Samsung NX Mini 2 compact system camera is to offer 4K video capture among its updates.

photography, you need a roomy camera bag that will hold all your gear while still meeting airport requirements for hand luggage. This latest update of Lowepro’s Pro Runner series promises to fulfil such desires. Comprising a trio of allweather bags, the Pro Runner BP 350 AW II, BP 450 AW II and RL x450 AW II offer greater storage capacity and travelfriendly versatility than their predecessors. The RL x450 AW II features tuck-in shoulder straps and a removable waist belt so it can be converted from a backpack to a ‘rolling back’, complete with a handle and wheels, ideal for the airport. The bags, of course, feature organisational zones and divided areas for different types of gear.

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Canon PowerShot G3 X Panasonic Lumix £799 DMC-G7 £599 Dust-proof, drip-proof premium compact with a 25x zoom canon.co.uk

4 Canon’s G3 X premium

compact is notable for its 1-inch sensor, and offers a 20.2-megapixel resolution and 25x optical zoom (24-600mm equivalent in 35mm terms). Claiming to offer the longest focal length on the market for a camera with a 1-inch sensor, its reach would be quite expensive to match on an SLR. Its control layout and feel are similar to an EOS, and its capabilities make it likely appeal to wildlife photographers and sports fans. While there is no built-in eyelevel viewfinder, an EVF is available for around £250. A flip-up 3.2-inch screen with a resolution of 1.62 million dots puts selfies into the mix, as is full HD video, while it is possible to add an external microphone for a more professional sound.

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5 This robust-yet-lightweight

16-megapixel compact system camera features Panasonic’s big push for this year: 4K video. As with the similarly styled GH4 flagship, the Lumix DMC-G7 allows the extraction of 8-megapixel stills from 4K (3,840 x 2,160 pixels) video footage, captured at 30fps. The camera weighs in at 410g, making it an option for travel photography. It features an OLED viewfinder and a handy 3-inch 1,040k-dot resolution free-angle LCD display. An improved panorama mode helps capture cityscapes and landscapes in all their glory. Other features include a 3.5mm microphone socket for video work, focus peaking, silent mode, a level gauge and 22 creative image-effect filters.

We can’t buy image editor exemplar Photoshop as standalone software any longer – these days, it’s all done online via a monthly subscription service and incremental updates. There’s a danger, then, that it just becomes part of the ‘digital noise’ invading our lives. So, to jolt us all awake, Adobe has launched a big 2015 update to its Creative Cloud (CC) suite, which includes Photoshop, Lightroom and Premiere. A connected, ‘assetsbased’ workflow, CreativeSync, allows users to directly work on the same files across several applications. There are sizeable tweaks to its component parts too, with new versions of 15 desktop applications. Overall speed and performance are greatly improved. The big talking point in photographic circles, however, is Adobe Stock

– a component that allows users to buy or sell imagery, with prices starting at £5.99. There are around 40 million shots available from the outset, thanks to Adobe acquiring the former Fotolia image library. Also new is an imagecorrection option to remove – or add – haze. Repair tools have also had an overhaul, with adjustments made using the healing brush now displayed in real time. Spot healing brush and patch tool results are claimed to be 120x faster than they were in CS6. Additionally, there is a new Photoshop interface, called Design Space, for designing website and mobile apps. In short, if you’ve previously held off jumping into Adobe’s Creative Cloud because of the subscription fee set-up, this feels like a good time to change tack.

Photoshop CC artboards

VOL 155 / AUGUST 2015 / THE RPS JOURNAL / 619

TECHNIQUE MASTERCLASS

| THE CRAFT | 621

Landscapes you’ll want to get lost in

Guest editor Charlie Waite FRPS shares his five top tips to capturing incredible vistas

Ireland from the Mull of Kintyre, Scotland by Chris Shepherd

SKY’S THE LIMIT 4 If the sky is too bland, too blue or too grey, try leaving it out. If the sky is good, let it have its say. Squint to evaluate brightness range: the best way to see whether it is too great for the capacity of the sensor or film to handle. Try devoting three quarters of the image to the sky if it is remarkable. Include whole clouds if possible. With reflections too, try to include entire clouds.

Darkness Spurned, Spurn Point by Adrian Fretwell

BE AWARE OF LIGHT 1 A photographer must be acutely aware of the nature and quality of light, and

how the light is falling on the subject. Light is everything! For flare-free shots, do not assume that the lens hood will

cover it. Use your hand, a piece of card or, better still, a friend standing alongside to keep unwanted light from your lens. HIGH DYNAMIC RANGE 3 To use HDR, ensure you are familiar with natural lighting ratios and how certain surfaces absorb and reflect light. Don’t underestimate the human eye and brain’s ability to detect where these ratios are skewed – with too much light in a shadow, say.

IT’S A MATTER OF TIME 5 Try not to photograph expansive views in the middle of the day. Early light, offering long shadows, is preferable. Late evening just after the sun has set, the ‘afterglow’, can also produce a lovely, luminous light.

Terrington Lavender Farm, North Yorkshire by Chris Shepherd

BRACKET FOR THE BEST SHOT 2 In most scenarios, I recommend bracketing – taking exposures of a half to two thirds of a stop either side of the one suggested by the meter in your camera. With

WORKSHOP

extreme contrast, it is advisable to only bracket in thirds, or you’ll get burnt-out highlights and deep black shadows. In scenes with a compressed brightness range (ie low contrast), bracketing is less worthwhile.

BESIDE THE SEASIDE

Reaching for Warmth of Sunrise. Grand Canyon National Park. Arizona, USA by Nathan Barry

Boulders & Gateway, Keswick, Lake District by David Neve

ABOUT THE AUTHOR CHARLIE WAITE FRPS One of the world’s leading landscape photographers

THERE IS A COASTAL LANDSCAPE PHOTOGRAPHY WORKSHOP ON 17 OCTOBER IN NORTH DEVON. FOR MORE VISIT RPS.ORG/LEARNING VOL 155 / AUGUST 2015 / THE RPS JOURNAL / 621

Canary Wharf Night by John Law ARPS

Panoramic cityscapes

Let John Law ARPS guide you through an image’s capture, process, projection and output

live in a city, always have, and find it a natural subject for my panoramas. For a successful panorama – hand-held, monopod or tripod-mounted – ensure that auto-ISO is off, and set the camera to manual, locking the aperture and shutter so that all the exposures are the same. This will give you a good basis for a stitch.

Capture

Making panoramas is a compelling activity. Standing in front of an interesting motif and scanning around, knowing that the process can capture the whole scene and not just a fragment of it, is as exhilarating as it is rewarding.

Modern mobile phones can produce low-quality, auto-stitched panoramas in seconds. At the other end of the scale, teams of specialist photographers can struggle with changing light conditions to produce images of whole cities for very high-resolution gigapans, which then take days of work to process. My work is usually somewhere in between these two extremes.

Process

I have a couple of common set-ups. One is a 10.5mm fisheye on a ring pano head on a full-frame body mounted on a monopod, which allows the capture of the whole sphere around the viewpoint in four shots.

622 / THE RPS JOURNAL / AUGUST 2015 / VOL 155

La Sietas by John Law ARPS

This flexible set-up can be used almost anywhere, but requires quite a lot of post-processing to eliminate stitching errors. The other is a 16mm full-frame fisheye lens on the same full-frame body, mounted on a tripod with an appropriate pano head, which captures a higher-resolution sphere but requires six horizontal shots + zenith & nadir (up & down). This requires less postprocessing but is not as flexible or permitted in public places, as I know to my cost. For higher-resolution partial

panos, I’ve used 35 and 50mm lenses, and for gigapanos 180, 300 and 500mm lenses requiring multiple rows of many dozens of shots, a very substantial tripod and considerable post-processing.

Projection

The synergy between a modern digital camera and computer software gives unlimited possibilities to the image maker. On screen, the stitched pano can be a starting point, giving new ways of seeing the image using fisheye, stereographic,

TECHNIQUE IN DEPTH

| THE CRAFT | 623

Different perspective

John Willetts ARPS gives his view of what makes, or breaks, a cityscape

Panini or architectural projections to mention a few.

Output

Both public and individual platforms are growing in popularity, from huge domes for hundreds of viewers, reminiscent of the 19th century’s gigantic painted panoramas, to individual head-mounted displays that immerse the viewer in a virtual environment. Virtual tours, popular online, use sets of linked immersive panos, so users can explore anything from a building to a battleship.

Like John, I was an immersive panoramic photographer, but after asking myself if it was worth lugging heavy equipment around for taking images, I decided to concentrate on spherical panoramas using a smartphone for ground-based work and a drone for aerial shots. Before buying a drone, you must understand the legal requirements. And do not believe that they

are as easy to fly and navigate as the manufacturers claim. You need a long time to master the skills. I use the Camera Raw filter in post production and, if I’ve got everything right, Photomerge for stitching, or sometimes PTGui. What makes serious photography practical on either platform is a new development, the gimbal, which consists of an electronic spirit

level that controls three motors, which in turn maintain vertical and horizontal stability. Hooray, you can ditch the tripod! In bright light, it’s difficult to frame shots with a smartphone. My solution has been to mirror the image onto a hooded monitor connected by HDMI. So, when serendipity hit at dawn, it was lovely to effortlessly take this cityscape.

ABOUT THE AUTHORS JOHN LAW ARPS Law has been exhibiting his work since 1967 and has become heavily involved in interactive panoramic photography and video (see john-law.net/projects). Law and Willetts have proposed the formation of a Dynamic Imaging Group. See page 490 in the July 2015 Journal for details

Manhattan Dawn by John Willetts ARPS JOHN WILLETS ARPS With academic qualifications in fine art and photography, Willetts has worked in educational multimedia in Sweden, Japan, the USA and the UK. His panoramic essay, Active Landscapes, was selected for 2012’s Cultural Olympics VOL 155 / AUGUST 2015 / THE RPS JOURNAL / 623

| THE CRAFT | 625 MY FAVOURITE CAMERA

Pentax 645Z

SUBTERRANEAN CISTERM © MATTHEW EMMETT

Matthew Emmett’s medium-format camera helps him feel like a time traveller

My love of photography started with a Pentax ME Super some 24 years ago. My father bought it for my 19th birthday, showed me how to use it and I was off. It seems only fitting that after the digital revolution, and a few years spent with a Canon 7D, I found my way back to Pentax. In the last three years, I have focused on shooting inside the remnants of Europe’s industrial heritage and its numerous atmospheric abandoned buildings. This unusual genre offers some great photographic opportunities, but also comes with some challenges. Environmentally, these forgotten places are often gloomy, cold, wet and dusty – conditions that camera makers recommend avoiding. Pentax has built its kit to handle these conditions well. The K-3 and its bigger brother, the Pentax 645Z medium format, are weather sealed for such conditions. I got a chance to borrow the 645Z a few months after signing my contract as Pentax ambassador. Medium format was still relatively unknown to me. One of the first things that struck me was how similar it felt to the K-3, a DSLR. The menus were all laid out the same and

the button layout took minutes to suss. It was only after my first serious shoot that the real benefit to shooting this format hit home. The clarity and detail most of us strive for in our shots was here by the bucketload. Even tiny crops from the larger frame looked like decent DSLR images. I know it’s obvious that medium format will provide great IQ but I really wasn’t prepared for just how good the images would look. I got to borrow it again more recently on a five-day tour of the abandoned sites of northern Italy. The camera delivered

again, and processing time in the weeks that followed was a great experience. For me, being able to relive and prolong a trip such as this is what makes photography the best profession in the world. The 645Z simply helped me preserve those memories in the best light possible.

Emmett will give a talk about his forgotten heritage photography on 13 September at the Digital Imaging Group Thames Valley Centre. For more information turn to page 630

AUTHOR PROFILE MATTHEW EMMETT Emmett has been shooting abandoned spaces for three years, particularly industrial ex-military sites, and has visited Belgium, Luxemburg and Italy. See www. forgottenheritage.co.uk VOL 155 / AUGUST 2015 / THE RPS JOURNAL / 625

MEMBER Rooms with a view

Enjoy breathtaking Lake District views on the Northern Region’s weekend away

he four-star Burnside Hotel will host a series of photography talks as part of the Northern Region’s November weekend event. Veterinary surgeon Ronnie Gilbert will share his passion for nature and wildlife photography, for which he has travelled far and wide. Hugh Milsom FRPS specialises in fine art monochrome, infrared and colour landscape photography, and is perhaps best known for his gentle pastel landscapes. Pat Broad ARPS has worked with Milsom since 2007, seeking out prime locations in the UK and around the world, and presenting joint lectures.

Gordon Follows ARPS is one of the Region’s outstanding photographers, whose interest in travel and ornithology has taken him all over the world. Alongside the talks and chance to capture images of one of the UK’s most picturesque areas, participants can enjoy two nights’ dinner, bed and breakfast at the Burnside Hotel, overlooking Lake Windermere. Participants can extend their stay at a discounted rate, with more information available at bit.ly/northern_weekend

GUIDE

627

YOUR RPS EVENTS ! COURSES PROGRAMME

AUG!SEP!OCT

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

Above: U Bein Bridge, Mandalay, by Gordon Follows ARPS Below, clockwise from top: Buzzard Confrontation by Ronnie Gilbert, Pool and Mountain Iceland by Pat Broad ARPS and Southwold Pier by Hugh Milsom FRPS

The Northern Region’s weekend will take place from 6-8 November. For more details, see page 629 VOL 155 / AUGUST 2015 / THE RPS JOURNAL / 627

628 | GUIDE |

REGIONS

discussion of Graham Clarke’s book The Photograph, chapter 4 `` The Crusting Pipe, 27 The Market, Covent Garden, London WC2E 8RD `` RPS London, as above

Meet photographers and view work in your area

Microscopy in medical research

CENTRAL MIKE SHARPLES ARPS, 07884 657535

SATURDAY 17 OCTOBER / 10:00$16:15

MIKES.SHARPLES(VIRGIN.NET

`` Dr Afzal Ansary ASIS FRPS,

Distinctions advisory day (Creative/Pictorial) LRPS or ARPS

`` See Medial Group for details

SATURDAY 22 AUGUST / 10:00$16:00

DON LANGFORD LRPS, 01758 713572

`` £20/£15/£5 spectators `` Colin Harrison FRPS and Clive

DONCHRISLANGFORD(BTINTERNET.COM

07970 403672, afzalansary@aol.com

NORTH WALES

An afternoon with Leigh Preston FRPS

Haynes FRPS advise

`` Smethwick Photographic Society,

Churchbridge, West Midlands B69 2AS

`` Mike Sharples ARPS, as above EAST ANGLIA IAN WILSON ARPS, 07767 473594 IAN(GREENMEN.ORG.UK

SATURDAY 17 OCTOBER / 14:00$17:00

Hear from photographers at the Creative Photo Lecture with the East Anglia Group this October Image: Colin Southgate FRPS

LRPS Assessment Day

EIRE MICHAEL O’SULLIVAN FRPS, 00353 861 739 875 info@mosullivan.com

`` £6/£5 RPS members `` Craig-y-Don Community Centre,

Queens Road, Llandudno LL30 1TE

`` Christine Langford, as above LONDON DEL BARRETT ARPS LONDONEVENTS(RPS.ORG

SATURDAY 19 SEPTEMBER / 10.30$17.30

NORTH WEST DR AFZAL ANSARY ASIS FRPS, 07970 403672 AFZALANSARY(AOL.COM

First Tuesday meeting

`` Observers only `` Foxton Village Hall, Hardman Road,

TUESDAY 4 AUGUST / 19:00$21:00

Foxton CB22 6XR `` Ian Wilson ARPS, as above

`` £5/£3 RPS members `` Greenwich Gallery, Peyton Place,

A Creative Photo Lecture

`` RPS London, as above

London SE10 8RS

Distinctions advisory day SUNDAY 27 SEPTEMBER / 10.30$16.30

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

Colin Southgate FRPS `` Foxton Village Hall, Hardman Road, Foxton CB22 6RN `` Dave Jordan FRPS, daveandjoanjordan@yahoo.co.uk

`` Graham Clarke’s The Photograph,

Conceptual and Contemporary, Creative, Pictorial and Travel `` Hough End Centre, Mauldeth Road West, Manchester M21 7SX `` Afzal Ansary FRPS, as above

`` The Crusting Pipe, 27 The Market, Covent Garden, London WC2E 8RD `` RPS London, as above

Contemporary meeting `` Regular Contemporary Group

Distinctions advisory day

Bleeding London exhibition

`` Days Inn Hotel Charnock Richard M6,

SUNDAY 4 OCTOBER / 10:30$16:30

The Bookworm Club (5)

`` £14/£11/£8 group or region members `` With Kathryn Scorah MPAGB and

WEDNESDAY 12 AUGUST / 18:30$21:00

chapter 3

SUNDAY 8 NOVEMBER / 10:30$16:30

UNTIL FRIDAY 14 AUGUST / 8:30$18:00

`` £20/£15/£10 spectators `` Foxton Village Hall, Hardman Road,

`` City Hall, The Queen’s Walk SE1 2AA `` Del Barrett ARPS, as above

`` Ann Miles FRPS, ann@pinsharp.co.uk

Street workshop

Foxton CB22 6RN

SATURDAY 15 AUGUST / 10:00$14:00

`` £5/£3/free for regional members `` Regular street photography workshop `` RPS London, as above

EAST MIDLANDS RALPH BENNETT ARPS, 01636 651277 RALPH.EMRPS(GMAIL.COM

The Bookworm Club (6)

Distinctions Advisory Day LRPS, ARPS in VA both sections, and Nature

`` Chapter 3 of On Photography by

Susan Sontag `` The Crusting Pipe, 27 The Market, Covent Garden, London WC2E 8RD `` RPS London, as above

`` See website for costs `` The panel advisors are: LRPS Peter

Yeo; ARPS Visual Pictorial and Creative Andy Wilson; ARPS Nature TBA `` Park Inn by Radisson Nottingham, Mansfield Road, Nottingham NG5 2BT `` Ralph Bennett ARPS, as above

SUNDAY 18 OCTOBER / 10:30$16:30

`` £10 `` Park Inn by Radisson Nottingham,

meeting

junction 27-28, M6 northbound, Mill Lane, Chorley, Lancashire PR7 5LR `` Ian Maxwell, 01524 770278, mail@ihmaxwell.com

Autumnal photography field meeting SATURDAY 10 OCTOBER / 10:00$16:00

`` Stunning views at Langdale Valley `` Nina Agnew, 07811 403125, ninaagnew@yahoo.co.uk

WEDNESDAY 9 SEPTEMBER / 18:30$21:00

SUNDAY 20 SEPTEMBER / 10:30$16:00

B&W masterclass day with Andy Beel FRPS

MONDAY 28 SEPTEMBER / 19:30$22:00

The Royal Photographic Society Awards WEDNESDAY 16 SEPTEMBER / 18:00$22:00

`` The Royal Society, 6-9 Carlton House

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

Mansfield Road, Nottingham NG5 2BT `` Ralph Bennett ARPS, as above 628 / THE RPS JOURNAL / AUGUST 2015 / VOL 155

Terrace, London SW1Y 5AG

`` Jo Macdonald, 01225 325721, jo@rps.org

The Bookworm Club (7)

How to get the best print from your digital files & 3D photography SUNDAY 22 NOVEMBER / 10.30 $ 16.30

`` £10/£7 RPS members `` Anthony Kaye FRPS and Jim Sharp `` Hough End Centre, Moulted Road West, Manchester, M21 7SX

`` Afzal Ansary FRPS, as above NORTHERN IRELAND DAMIAN MCDONALD ARPS, 07902 481691 damianmcdonald@outlook.com NORTHERN

WEDNESDAY 14 OCTOBER / 18:30$21:00

JANE BLACK ARPS, 0191 252 2870

`` Continuing our reading and

J.BLACK70(BTINTERNET.COM

| GUIDE | 629 Photography in Durham

`` Terry McGhie ARPS, as above Peter Moseley’s digital negative one-day workshop

members

`` Edinburgh Photographic Society,

THURSDAY 6 AUGUST $ FRIDAY 7 AUGUST

`` Durham DH1 3EH `` Aline Hopkins,

68 Great King Street, Edinburgh EH3 6QU `` Donald Stewart, 01592 840277, donaldstewart42@aol.com `` See Historical Group for details

alinehopkins@btinternet.com `` See Travel group for details

Society lecture: Sandy Cleland FRPS

SATURDAY 12 SEPTEMBER / 10:00$16:30

`` £35 `` The first in a series of introductory workshops to alternative processes

`` Kingston-upon-Thames, Studio 9,

Curator-led tour: Photography – A Victorian Sensation

THURSDAY 3 SEPTEMBER / 19:00$21:30

`` Durham Photographic Society,

Fusion Arts, 53 Eden Street, Kingston-upon-Thames KT1 1BW `` Chelin Miller, 07804 776980, heritageweb@rps.org

FRIDAY 2 OCTOBER / 14:00$16:00

St Oswald’s Church Institute, Church Street, Durham DH1 3DQ `` Alan Sharp, 0191 384 1539

`` £5/free for group members `` National Museum of Scotland,

Chambers Street, Edinburgh EH1 1LF

A&H conference day

Distinctions workshop/ advisory day

donaldstewart42@aol.com `` See Historical Group for details

`` On archaeology and heritage topics `` Leatherhead Institute, 67 High Street,

Victorian Photography: A Scottish Perspective

`` Mike Sasse, 01892 531179,

`` Donald Stewart, 01592 840277,

SATURDAY 10 OCTOBER / 10:00$17:00

Leatherhead KT22 8AH

SUNDAY 25 OCTOBER / 10:00$17:00

`` £20/£15/£10 spectators `` Backworth Hall, Backworth, near

Newcastle, Tyne & Wear NE27 0AH `` Brian Pearson ARPS, 0191 257 5051, brianpearson41@btinternet.com

mike.sasse@btinternet.com

SATURDAY 3 OCTOBER / 10:30$16:30

`` National Museum of Scotland,

SOUTH WALES

Chambers Street, Edinburgh EH1 1JF `` Donald Stewart, 01592 840277, donaldstewart42@aol.com `` See Historical Group for details

Northern weekend FRI 6 NOVEMBER $ SUN 8 NOVEMBER

`` See website for costs `` Dinner B&B with lectures `` Burnside Hotel, Bowness, Kendal

MIKE LEWIS, 07855 309667, 01446 710770 MIKEGLEWIS101(BTINTERNET.COM

Introduction to Distinctions SATURDAY 10 OCTOBER / 10:30$16:00

Photo forum – Dingwall

`` £10 spectators `` View successful panels from recent

SUNDAY 25 OCTOBER / 11:00$16:00

`` £10/£8 RPS members `` An opportunity for constructive

Road, Windermere, Cumbria, LA23 3EP `` Brian Pearson ARPS, 0191 257 5051, brianpearson41@btinternet.com

Distinctions assessments

`` St Francis Millennium Hall, Porth-y-

feedback on photographic work

`` Dingwall Camera Club, Eagle House, High Street, Dingwall IV15 9RY

`` James Frost FRPS, as above

SCOTLAND

SOUTH EAST

JAMES.FROST11(BTINTERNET.COM

SUNDAY 9 AUGUST / 11:00$16:00

`` £10/£8 RPS members `` A chance for constructive feedback `` Aberdeen Arts Centre, 33 King Street, Aberdeen AB24 5AA `` James Frost FRPS, as above

Distinctions advisory day

distinctions@rps.org SOUTH WEST

JAMES FROST FRPS, 01578 730466, 07881 856294

Photo forum – North East

Castell, Barry, Glamorgan CF62 6NX

`` Reception, 01225 325733,

Join the Scotland Region on a curator-led tour of ‘Photography - A Victorian Sensation’ this October Image: Gathering Water Lilies by Peter Harry Emerson, 1886, platinum print. © Howarth-Loomes Collection at National Museums Scotland

MARTIN HOWSE ARPS, 01326 221939 MGHVKH(BTINTERNET.COM

TERRY MCGHIE ARPS, 01323 492584 SOUTHEAST(RPS.ORG

South West Region exhibition

ARPS advisory day: Pictorial, Natural History and Travel

DATE TBC

`` The exhibition will not be on display

SUNDAY 2 AUGUST / 10:30$16:30

`` £20/£15/£10 spectators `` Canterbury Christ Church University, Old Sessions House, North Holmes Road, Canterbury CT1 1QU

from 1 August as previously arranged. See website for updates `` RD & E Hospital, Barrack Road, Exeter EX2 5DW `` Martin Howse ARPS, as above

SATURDAY 5 SEPTEMBER / 11:00$16:00

`` £20/£15/£10 spectators `` Bridge of Allan Parish Church, Keir Street, Bridge of Allan FK9 4NW

`` James Frost FRPS, as above `` DI Group Scotland: September 2015 meeting SUNDAY 13 SEPTEMBER / 13:30$16:30

`` £8/£7 group members `` Bridge of Allan Parish Church, Keir Street, Bridge of Allan FK9 4NW

Fellowship advisory day SUNDAY 20 SEPTEMBER / 11:00$16:00

`` £25 `` Edinburgh Photographic Society,

68 Gt King Street, Edinburgh EH3 6QU

`` James Frost FRPS, as above

The invention of photojournalism: Brady, Gardner and the American Civil War FRIDAY 2 OCTOBER / 19:30$21:30

`` £10/£8/free for group or EPS VOL 155 / AUGUST 2015 / THE RPS JOURNAL / 629

INTEREST GROUPS 630 | GUIDE | SPECIAL Field trip to Royal William Yard, Plymouth

GO TO

SATURDAY 12 SEPTEMBER / 12:00$17:00

`` Explore the largest collection of grade 1 listed buildings in Europe `` Royal William Bakehouse, 3 Bakehouse, Royal William Yard, Plymouth PL1 3RP `` Mick Medley, 01626 824865, michael.medley@btinternet.com

RPS.ORG/EVENTS FOR THE LATEST UPDATES

DIG Thames Valley: Leigh Preston FRPS – hallmarks and performances SUNDAY 11 OCTOBER / 10:00$15:30

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

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

`` Chacewater Village Hall, Church Hill,

Women in photography – Magda Rakita

`` Drake Hall, Community Centre,

`` Mark Buckley-Sharp ARPS, as above

`` 01225 325773, reception@rps.org

Chiltern Avenue, Amersham HP6 5AH

Chacewater, Truro TR4 8PZ `` Vivien Howse ARPS, 01326 221939, vivien939@btinternet.com

WESTERN

Weekend in Falmouth

FRIDAY 9 OCTOBER / 19:00$10:00

`` £10/£7 `` Presentation by Laura Pannack `` University of Huddersfield, Queen’s

Summer outing `` To be advised `` Tony Cooper ARPS, as above

A day with Viveca Koh FRPS

Members’ meeting, Highnam

SUNDAY 9 AUGUST / 10:00$17:00

SUNDAY 25 OCTOBER / 10:30$16:00

SUNDAY 23 AUGUST / 10:00$13:00

`` £13/£10 members `` ‘Urban exploration to fine art’ and ‘From

`` £5 `` A chance for members around

`` The Dolphin Hotel, Station Road,

`` Parish Rooms, Highnam Community

`` Linda Wevill FRPS, 01752 873162,

`` Bob Train, 01452 521424,

Gloucester to show/discuss their work

Bovey Tracey TQ13 9AL

Centre, Newent Road, Highnam GL2 8DG

bobtrain@tiscali.co.uk

linda.wevill@btinternet.com

DIG Western: Blurb book using Lightroom – Debbie Jones

THAMES VALLEY MARK BUCKLEY,SHARP ARPS, 020 8907 5874

SUNDAY 6 SEPTEMBER / 10:00$16:00

MARK.BUCKLEY,SHARP(TISCALI.CO.UK

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

DIG Thames Valley: forgotten heritage photography with Matthew Emmett

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

SUNDAY 13 SEPTEMBER / 10:00$15:30

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

Members’ meeting, Bath

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

SUNDAY 13 SEPTEMBER / 10:00$13:00

`` £2 `` Prints for discussion `` RPS HQ, Fenton House, 122 Wells

Members’ exhibition and joint meeting with Visual Art Visit the beautiful Canons Ashby House with the Archaeology and Heritage Group this month Image: R K Evans FRPS

Laura’s northern gig

TONY(PHOTOSCOOP.CO.UK

Falmouth TR11 4NZ `` Margaret Hocking, 01872 561219, bosrowynek@btinternet.com

iPhonography to photo illustrations’

Leeds, West Yorkshire LS2 9AQ

TONY COOPER ARPS, 01225 421097 FRI 9 OCTOBER$SUN 11 OCTOBER / 14:00$17:00

`` The Falmouth Hotel, Castle Beach,

Chiltern Avenue, Amersham HP6 5AH `` Mark Buckley-Sharp ARPS, as above

Leeds LS1 4HT

`` Mary Crowther ARPS, as above

`` £5/£3 RPS members `` Illustrated talk on her Liberia project `` Leeds College of Art, Blenheim Walk,

SUNDAY 11 OCTOBER / 16:00$16:30

TUESDAY 15 SEPTEMBER / 19:30$21:30

SUNDAY 11 OCTOBER / 10:00$16:00

SATURDAY 26 SEPTEMBER / 10:00$12:30

`` Meet like-minded photographers `` White Cloth Gallery, 24 Aire Street,

THURSDAY 8 OCTOBER / 15:00$17:00

Thames Valley Region AGM

West Cornwall Group meeting

`` £7 `` Drake Hall, Community Centre,

Café session

Road, Bath BA2 3AH `` Tony Cooper ARPS, 07785 251208, tony@photoscoop.co.uk

Gate, Huddersfield HD1 3DH

`` Mary Crowther ARPS, as above

SPECIAL INTEREST GROUPS

Explore more about aspects of photography and imaging ANALOGUE DAVID HEALEY ARPS, 07968 746 211 ANALOGUE(RPS.ORG

Analogue exhibition TUE 1 DECEMBER 2015 $ WED 13 JANUARY 2016

`` An exhibition of members’ prints. For entry form see group website.

`` Royal Photographic Society, Fenton

House, 122 Wells Road, Bath BA23AH

`` Afzal Ansary ASIS FRPS, 01225 325733, analogue@rps.org ARCHAEOLOGY AND HERITAGE RODNEY BERNARD THRING LRPS, 01276 20725 RODNEY.THRING(NTLWORLD.COM

LRPS & ARPS Distinctions advisory day

Canons Ashby House

SUNDAY 25 OCTOBER / 10:00$16:30

THURSDAY 20 AUGUST / 10:00$16:00

`` £20/£15/£10 spectators `` RPS HQ, Fenton House,

122 Wells Road, Bath BA2 3AH

`` £12 `` Photograph inside this Tudor house `` Near Daventry, Northamptonshire

016956, gjphotomail@gmail.com

`` Keith Evans FRPS, 01732 743943,

`` Gordon James FRPS, 07890 YORKSHIRE MARY CROWTHER ARPS, 07921 237962 PHOTOBOX50(GMAIL.COM

NN11 3SD

richard.evans943@btinternet.com

Peter Moseley’s digital negative one-day workshop SATURDAY 12 SEPTEMBER / 10:00$16:30

Cornel Lucas exhibition WEDNESDAY 26 AUGUST / 17.30

`` See website for cost `` The Gallery at Munro House, York

Street/Duke Street, Leeds LS9 8AG

`` Geoff Blackwell, gblackwell@fastmail.fm 630 / THE RPS JOURNAL / AUGUST 2015 / VOL 155

`` £35 `` This is the first of a series of

introductory workshops to alternative processes `` Studio 9, Fusion Arts, 53 Eden Street, Kingston-upon-Thames KT1 1BW

| GUIDE | 631

WORKSHOPS

Hear from the experts and hone your skills

Two-day wedding photography workshop SAT 22 AUGUST $ SUN 23 AUGUST / 10:00$16:30

`` £160/£135 members `` This workshop offers practical

experience photographing a bride and groom in a beautiful location, as well as professional business advice `` Lacock, Wiltshire

Wedding photography with Stuart Wood WEDNESDAY 2 SEPTEMBER / 10:00$17:00

`` £135/£110 members `` A workshop for experienced wedding pros and beginners

`` Thrumpton, Nottingham

Better digital printing SAT 5 $ SUN 6 SEPTEMBER / 10:00$16:30

`` £175/£150 members `` Participants need some operational knowledge of Photoshop

Architectural and travel photography in and around Exeter SATURDAY 5 SEPTEMBER / 12:00$19:00

`` £95/£71 members `` A combined architectural/travel photo shoot

`` Exeter Cathedral, Exeter, Devon Developing compositional and critiquing skills SATURDAY 12 SEPTEMBER / 10:00$16:30

`` £45/£33 members `` Led by Tony Worobiec Shooting for stock MONDAY 14 SEPTEMBER / 10:30$16:30

`` £65/£48 members `` Get the most from your images

with the potential to license and sell them through image libraries and other stock suppliers

Creative techniques in Photoshop THURSDAY 17 SEPTEMBER / 10:00$16:30

`` £95/£71 members `` John Humphrey shows a range of

approaches that enable you to apply your creative vision to photographs `` Walton Hall, Milton Keynes

Art nude photography SATURDAY 19 SEPTEMBER / 10:00$16:30

`` £115/£90 members `` Learn about lighting a nude and

producing high-quality photographs. The lighting techniques are suitable for pregnancy and maternity photography `` Lacock, Wiltshire

Introduction to Photoshop SUNDAY 20 SEPTEMBER / 10:00$17:00

`` £95/£71 members `` The goal of this workshop is to teach you how to use the tools, concepts and workflows needed to succeed and develop good practice

Creative dance lighting SATURDAY 26 SEPTEMBER / 10:00$17:00

`` £115/£90 members `` Learn how to create multi-image

and strobe effects, and have the opportunity to work alongside a top model and professional ballet dancer `` Square 1 Studio, Leigh, Surrey

One-day introduction to your digital SLR SUNDAY 27 SEPTEMBER / 10:00$17:00

`` £85/£63 members How to photograph children and babies SATURDAY 3 OCTOBER / 10:00$17:00

`` Learn to enhance your images `` £95/£71 members `` Lacock, Wiltshire Two-day Photoshop workshop SATURDAY 3 $ SUNDAY 4 OCTOBER / 10:00$17:00

`` £165/£140 members `` Learn to create, manipulate and edit professional-quality images with skill and precision

Wedding photography techniques WEDNESDAY 7 OCTOBER/ 10:00$17:00

`` £135/£110 members `` Thrumpton, Nottingham From shutter to print colour management training

Visit Woolacombe Sands as part of the Coastal landscapes workshop Image: Shutterstock

Product photography MONDAY 12 OCTOBER / 10:30$16:30

`` £155/£130 members `` Enhance your photographic

skills in shooting products for publishing on the web or other promotional material `` Colerne near Bath

Lightroom SATURDAY 17 OCTOBER / 10:00$16:00

`` £95/£71 members `` An introduction to Lightroom’s organisational, editing and printing tools

Wedding photography business development SAT 17 OCT $ SUN 18 OCT / 10:00$16:30

`` £160/£135 members `` Lacock, Wiltshire Coastal landscapes SATURDAY 17 OCTOBER / 11:00$18:00

`` £95/£71 members `` Photograph at the magnificent

Woolacombe Sands, nearby Morte Point and at lovely Rockham Bay `` North Devon, Woolacombe Sands

Printing with Lightroom SUNDAY 18 OCTOBER / 10:00$16:00

`` £95/£71 members `` Suitable for beginners One-day introduction to your digital SLR SATURDAY 24 OCTOBER / 10:00$17:00

`` £85/£63 members `` Get more creative with your camera and understand its buttons and menu functions

Studio portraiture

SATURDAY 10 OCTOBER / 10:00$15:00

SATURDAY 24 OCTOBER / 10:00$16:30

`` £45/£33 members `` Get accurate colour results

`` £160/£135 members `` Take great images in a studio

and create a more successful colour workflow

environment

`` Lacock, Wiltshire VOL 155 / AUGUST 2015 / THE RPS JOURNAL / 631

Body Body EOS only 7D MKII only APS-C £4449 £1428 BG-E16 Grip £198 Body Ask about £150 part-ex bonus* only Body £2998 EOS 70D only APS-C Body £699 only Plus 18-55 STM £767 £939 £3198 Plus 18-135 STM

EOS 1DX Full Frame

EOS 5Ds Full Frame

EOS 5Ds R

Full Frame

Ask about £200 part-ex bonus*

EOS 5D MKIII

Full Frame Plus 24-105 f4 IS U L BG-E11 Grip

Body only £2198 £2699 £224

Body only £1139

EOS 6D Full Frame

Plus 24-105 f3.5/5.6 IS £1498 BG-E13 Grip

£139

EF-S NON FULL FRAME LENSES 10-18 F4.5/5.6 IS STM . . . . . . . . . . . . . . . . £189 18-55 F3.5/5.6 IS STM no box . . . . . . . . .£139 18-135 F3.5/5.6 IS STM no box . . . . . . . .£279 24 F2.8 STM . . . . . . . . . . . . . . . . . . . . . . . . .£148 EF FULL FRAME LENSES 8-15 F4 L USM Fisheye. . . . . . . . . . . . . . . .£914 11-24 F4 L USM . . . . . . . . . . . . . . . . . . . . £2777 16-35 F2.8 MKII L USM. . . . . . . . . . . . . . £1111 16-35 F4 L IS USM. . . . . . . . . . . . . . . . . . . .£729 17-40 F4 L USM . . . . . . . . . . . . . . . . . . . . . .£548 20 F2.8 USM . . . . . . . . . . . . . . . . . . . . . . . . .£379 24 F1.4 L II USM . . . . . . . . . . . . . . . . . . . . £1139 24 F2.8 IS USM . . . . . . . . . . . . . . . . . . . . . . .£447 24 F3.5 L TSE MKII . . . . . . . . . . . . . . . . . . £1469 24-70 F2.8 L II USM. . . . . . . . . . . . . . . . . £1398 24-70 F4 L IS USM . . . . . . . . . . . . . . . . . . . .£698 24-105 F3.5/5.6 IS STM . . . . . . . . . . . . . . .£375 24-105 F4 L IS USM no box . . . . . . . . . . .£699 28 F2.8 IS USM . . . . . . . . . . . . . . . . . . . . . . .£389 35 F2 IS USM. . . . . . . . . . . . . . . . . . . . . . . . .£389 40 F2.8 STM . . . . . . . . . . . . . . . . . . . . . . . . .£125 50 F1.2 L USM . . . . . . . . . . . . . . . . . . . . . £1000 50 F1.4 USM . . . . . . . . . . . . . . . . . . . . . . . . .£244 50 F1.8 STM . . . . . . . . . . . . . . . . . . . . . . . . .£129

BG-E14 Grip

£125

EOS 760D APS-C

Plus 18-135 STM

EOS 750D

APS-C Plus 18-55 STM Plus 18-135 STM

Body only £647 £899

PART EXCHANGE WELCOME WE PART EXCHANGE, BUY FOR CASH OR COMMISSION SALE

Body only WE ALWAYS OFFER A FAIR PRICE ~ £534 £617 £898

*Part-ex bonus is over and above our normal quote for your gear

50 F1.8 II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £87 70-200 F2.8 IS LII USM. . . . . . . . . . . . . . £1489 70-200 F2.8 non IS L USM. . . . . . . . . . . . .£897 70-200 F4 L IS USM. . . . . . . . . . . . . . . . . . .£805 70-200 F4 L USM . . . . . . . . . . . . . . . . . . . . .£443 70-300 F4/5.6 L IS USM . . . . . . . . . . . . . . .£899 85 F1.2 USM L II . . . . . . . . . . . . . . . . . . . . £1497 85 F1.8 USM . . . . . . . . . . . . . . . . . . . . . . . . .£251 100 F2.8 IS L USM macro. . . . . . . . . . . . . .£635 100 F2.8 Macro USM . . . . . . . . . . . . . . . . .£385 100-400 F4.5/5.6 IS LII U . . . . . . . . . . . . £1998 200-400 F4 IS L USM . . . . . . . . . . . . . . . £8499 200 F2.8 II L USM . . . . . . . . . . . . . . . . . . . .£568 300 F2.8 IS L USM II . . . . . . . . . . . . . . . . £4599 300 F4 L IS USM. . . . . . . . . . . . . . . . . . . . . .£999 400 F2.8 IS L USM II . . . . . . . . . . . . . . . . £7499 400 F5.6 L USM . . . . . . . . . . . . . . . . . . . . . .£919 500 F4 IS L USM II . . . . . . . . . . . . . . . . . . £6777 600 F4 IS L USM II . . . . . . . . . . . . . . . . . . £8894

QUOTED QUICKLY

COLLECTION CAN BE ARRANGED

For speediest response please email equipment details to... info@mifsuds.com Mail Order :

01803 852400 Email - info@mifsuds.com

600 F4 IS LU II DEMO £7999 1.4x III conv. . . . . . . . . . . . . . . . . . . . . . . . . .£317 2x III conv . . . . . . . . . . . . . . . . . . . . . . . . . . .£317

www.mifsuds.com 27-29, Bolton Street,

Brixham. Devon. TQ5 9BZ. X-T1 body Graphite ............. £997 X-T1 blk + 18-135mm ...... £1248 X-T1 blk + 18-55mm .......... £1177 X-T1 body black.................... £878 X-T10 + 18-55mm ...................£799 X-E2 + 18-55mm OIS ............ £728 X-E2 body ............................... £499 10-24mm F4 XF .................... £714 14mm F2.8 XF ....................... £648 16mm F1.4 XF ....................... £728 16-55mm F2.8 ....................... £798 18mm F2 XF........................... £349 18-55mm OIS no box ......... £349

18-135mm F3.5/5.6 XF.............£549 23mm F1.4 XF ....................... £647 27mm F2.8 XF ....................... £309 35mm F1.4 XF ....................... £378 50-140mm F2.8 R OIS ..............£1098 55-200mm OIS XF................... £494 56mm F1.2 R APD ................ £998 56mm F1.2 XF ....................... £728 60mm F2.4 XF ....................... £424 90 F2 R LM WR ...................... £699 EF-X20 flash ........................... £169 X100T Black/Silver ............... £849 X30 Black/Silver .................... £324

K3 II

K3 II body.............£769 K3 II + 18-55........£849 K3 II + 18-135 .. £1069 K3 II + 16-85..... £1149

PHONE LINES OPEN MON -FRI 8am - 5pm, SAT 9am - 5pm, SUN 10am - 1pm. SHOP OPEN MON -SAT 9am - 5pm, SUN 10am - 1pm.

D4S

Body only £4444

D810

Body only £2347

Full Frame

MBD-12 Grip (D810/800/E) £279

D750

Full Frame Plus 24-120 f4 VR

Body only £1498 £1997

MBD-16 Grip

D610

Full Frame

£228

Body only £1188

MBD-14 Grip (D610/600)

£189

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. . . . . . . . . . . . . . . . £869 16-85 F3.5/5.6 AFS VR . . . . . . . . . . . . . . . . . £399 18-55 F3.5/5.6 AFS VR . . . . . . . . . . . . . . . . . . .£99 18-105 F3.5/5.6 AFS G no box. . . . . . . . . . £179 18-140 F3.5/5.6 AFS VR . . . . . . . . . . . . . . . . £379 18-300 F3.5/6.3 AFS VR . . . . . . . . . . . . . . . . £548 35 F1.8 AFS G . . . . . . . . . . . . . . . . . . . . . . . . . £169 40 F2.8 AFS G macro . . . . . . . . . . . . . . . . . . £177 55-300 F4.5/5.6 AFS VR . . . . . . . . . . . . . . . . £268 FX FULL FRAME LENSES 14-24 F2.8 AFS G ED. . . . . . . . . . . . . . . . . . £1309 16 F2.8 AFD Fisheye . . . . . . . . . . . . . . . . . . . £624 16-35 F4 AFS VR . . . . . . . . . . . . . . . . . . . . . . £828 18-35 F3.5/4.5 AFS G . . . . . . . . . . . . . . . . . . £517 20 F1.8 AFS G ED. . . . . . . . . . . . . . . . . . . . . . £647 24 F1.4 AFS . . . . . . . . . . . . . . . . . . . . . . . . . . £1378 24 F3.5 PCE . . . . . . . . . . . . . . . . . . . . . . . . . . £1464 24-70 F2.8 AFS G ED. . . . . . . . . . . . . . . . . . £1199 24-85 F3.5/4.5 AFS VR . . . . . . . . . . . . . . . . . £399 24-120 F4 AFS G ED VR . . . . . . . . . . . . . . . . £719 28 F1.8 AFS . . . . . . . . . . . . . . . . . . . . . . . . . . . £494 28-300 F3.5/5.6 AFS VR . . . . . . . . . . . . . . . . £658 35 F1.4 AFS G . . . . . . . . . . . . . . . . . . . . . . . . £1294

10-20 F3.5 EX DC HSM . . . . . . £399 10-20 F4/5.6 EX DC HSM . . . . £299 18-300 F3.5/6.3 DC OS mac . . . . . £399 24 F1.4 DG HSM Art . . . . . . . . £699 24-35 F2 DG HSM Art . . . . . . . £POA 35 F1.4 DG HSM Art . . . . . . . . £699 50 F1.4 EX DG HSM Art . . . . . £699 120-300 F2.8 DG OS Sport. . £2499 150-600 F5/6.3 OS Contemp . . . . . £899 150-600 F5/6.3 OS Sport . . . £1497

D7200

APS-C Plus 18-105 VR MBD-15 Grip

D5500

APS-C Plus 18-55 VRII Plus 18-140 VR

D3300 APS-C

Plus 18-55 VR

Body only £848 £1039 £228

Body only £555 £598 £868

Body only £333 £378

we are part exchange specialists, email details of your equipment to receive your quote - info@mifsuds.com 35 F1.8 AFS G . . . . . . . . . . . . . . . . . . . . . . . . . £398 35 F2 AF-D. . . . . . . . . . . . . . . . . . . . . . . . . . . . £254 50 F1.4 AFS G . . . . . . . . . . . . . . . . . . . . . . . . ..£274 50 F1.8 AFS G . . . . . . . . . . . . . . . . . . . . . . . . . £139 58 F1.4 AFS G . . . . . . . . . . . . . . . . . . . . . . . . £1299 60 F2.8 AFS . . . . . . . . . . . . . . . . . . . . . . . . . . . £369 70-200 F2.8 AFS VRII . . . . . . . . . . . . . . . . . £1578 70-200 F4 AFS G ED VR . . . . . . . . . . . . . . . . £899 70-300 F4.5/5.6 AFS VR . . . . . . . . . . . . . . . . £439 80-400 F4.5/5.6 AFS G VR . . . . . . . . . . . . . £1899 85 F1.4 AFS G . . . . . . . . . . . . . . . . . . . . . . . . £1148 85 F1.8 AFS G . . . . . . . . . . . . . . . . . . . . . . . . . £348 105 F2.8 AFS VR macro . . . . . . . . . . . . . . . . £629 200 F2 AFS G VRII . . . . . . . . . . . . . . . . . . . . £3799 300 F2.8 AFS ED VRII £3749 300 F4 E PF ED VR . . . . . . . . . . . . . . . . . . . . £1639 400 F2.8 G E FL ED VR . . . . . . . . . . . . . . . . £9497 500 F4 E AFS FL ED VR . . . . . . . . . . . . . . . . £8149 600 F4 E AFS FL ED VR . . . . . . . . . . . . . . . . £9649 TC14EIII converter. . . . . . . . . . . . . . . . . . . . . £448 TC17EII converter . . . . . . . . . . . . . . . . . . . . . £308 TC20EIII converter. . . . . . . . . . . . . . . . . . . . . £366

16-300 f3.5/6.3 Di II VC PZD £448 150-600 f5/6.3 SP VC USD £868 Kenko Converters

1.4x Pro 300 DGX .....£149 2x Pro 300 DGX.........£149 Auto ext tube set ....... £99

BeFree Legs & Head Carbon Fibre...... £274.95 Aluminium ......... £119.00 Legs only... MT055CX Pro 4 . £274.00 MT055CX Pro 3 . £259.00 MT190CX Pro 4 . £239.00 MT190CX Pro 3 . £229.00

Family Run Pro Dealership with Friendly, Knowledgeable Staff. Open 7 days per week. Prices shown inc VAT - correct 17/07/2015. P&P Extra. FREE courier delivery for new stock items ordered online (for delivery to UK mainland address). E&OE. Used items purchased via mail order are sold on a 10 day approval. Return in ‘as received’ condition for full refund if not satisfied (postage not included).

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

CANON DIGITAL AF USED 1DX body M- box......... £3599 1DS MKIII body ............. £1399 1D MKIV body box ...... £2199 1D MKIV body ............... £1299 1D MKIII body box..........£799 7D body box........................£449 5D MKII body box ............£999 5D MKI body box ..............£399 70D body box .....................£599 60D body ..............................£399 50D body box .....................£299 40D body ..............................£199 30D body box .....................£169 700D body box ..................£349 600D body box ..................£299 550D body box ..................£249 450D body ...........................£179 400D body ...........................£129 350D body ............................. £99 300D body ............................. £79 BG-E1 box ............................... £29 BG-E2 box ............................... £39 BG-E2N box............................ £59 BG-ED3 box............................ £39 BG-E5 box ............................... £49 BG-E6 box .............................£119 BG-E7 box ............................... £99 BG-E8 box ............................... £79 BG-E11 M- box....................£189 BG-E16 box ..........................£169 G12 compact box .............£199 G11 compact box .............£179 G10 compact box .............£149 G9 compact ........................... £99 CANON AF USED EOS 3 + PB-E2 ..................£239 EOS 3 + BP-E1 ..................£199 EOS 3 ...................................£149 EOS 1n body.....................£129 EOS 3 body .......................£129 EOS 5 body ......................... £39 EOS 650 body .................... £29 EOS 600 body .................... £20 8-15 F4 L box ...................... £749 10-22 F3.5/4.5 U ..............£349 16-35 F2.8 LII box ...........£899 17-40 F4 L box .................£449 17-55 F2.8 IS U .................£449 18-55 F3.5/5.6 IS EFS ....... £79 18-55 F3.5/5.6 IS STM.......... £99

18-55 F3.5/5.6 EFS ................ £59 24 F2.8 IS USM......................£369 24-70 F2.8 LII M- box ......£1199 24-70 F2.8 ...............................£699 24-105 F4 L.............................£499 28-90 F3.5/5.6 .................... £79 35-70 F3.5/4.5 .................... £69 40 F2.8 STM ........................ £99 50 F1.4 U box ...................£219 50 F1.8 MKI ........................£149 50 F2.5 mac box ...............£149 60 F2.8 EFS mac ...............£249 65 F2.8 MPE M- box .......£749 70-200 F2.8 IS U LII M- £1249 70-200 F4 IS U L ..............£699 70-200 F4 U L ...................£399 70-300 F4/5.6 L IS U .......£799 70-300 F4/5.6 IS U ..........£279 75-300 F4/5.6 MKIII .......... £89 85 F1.2 L MKII M- ......... £1279 85 F1.2 L MKI M- .............£949 85 F1.8 U box ...................£219 90-300 F4/5.6 ..................... £69 100 F2.8 IS L U .................£549 100-400 F4.5/5.6 L IS U ..........................£699/799 200 F2.8 LII U ...................... £449 300 F2.8 IS L U MKI ....... £2999 300 F4 IS USM box .......... £699 400 F2.8 L IS U.....£3999/4799 400 F5.6 L box ................... £749 500 F4 L IS U ....................£4699 500 F4 L IS U ....................£3999 1.4x extender MKII .......... £219 2x extender MKII .............. £219 Kenko 1.5x conv ..................£59 Kenko 1.4x Pro .....................£89 Kenko Pro 300 DG 1.4x.....£99 Kenko Pro 300 DG 2x ........£99 Teleplus 2x DG conv ........ £89 Kenko ext tube set DG ....... £89 Jessops ext tubes ............. £69 BP-E1 batt pack ................. £49 BP-50 ..................................... £20 LC-4 wireless kit ................ £89 Angle finder C.................... £99 PB-E2 drive .......................... £99 Tripod mnt adapt A (W). £59 SIGMA CAF USED 8-15 F4.5/5.6 DC box.........£419 10 F2.8 DC Fisheye .............£349

10-20 F4/5.6 HSM box£229 17-70 F2.8/4 DC OS HSM £249 17-70 F2.8/4.5 DC ..................£149 18-35 F1.8 DC M-....................£499 18-50 F2.8/4.5 DC OS ..........£149 18-50 F3.5/5.6 DC box ...... £49 24-70 F2.8 HSM..................£469 24-70 F2.8 EX DG mac ........£349 50 F1.4 DG Art M- box...£549 50 F1.4 EX DC......................£249 70-200 F2.8 DG OS .............£599 70-200 F2.8 EX DG HSM £429 70-300 F4.5/5.6 DG OS box ............................£179 100-300 F4 EX DG box ...£449 120-300 F2.8 EX DG OS box ................................£1349 120-400 F4/5.6 DG OS ....£499 150 F2.8 EX DG.....................£399 150-500 F5/6.3 DG OS ......£499 800 F5.6 EX DG box ........£2999 1.4x EX DG conv ..................£149 2x EX DG conv ......................£149 OTHER CAF USED TAM 24-70 F2.8 Di VC .......£499 TAM 70-200 F2.8 Di VC USD...................................£649 TAM 90 F2.8 VC box.........£299 TAM 150-600 Di VC M- ...£699 TAM 180 F3.5 Di.................£369 CANON FLASH USED CP-E4 box ............................ £99 SB-E2 bracket ...................£119 ST-E3 box ...........................£199 ST-E2 transmitter .............. £89 ML3 non digital ................. £69 430EX II...............................£149 430EZ non digital ............. £39 550EX ..................................£149 580EX box .........................£239 580EX II...............................£299 600EX RT box ...................£349 FUJI DIGITAL USED X-T1 body blk box ............ £699 X-Pro 1 body box .............. £299 10-24 F4 XF M- box .......... £629 16-50 F3.5/5.6 XC M- .......£179 18 F2 M- box ....................£199 18-55 F2.8/4......................£279 18-135 F3.5/5.6................£479 27 F2.8 XF M- box ...........£199

35 F1.4 R M- box .............£299 55-200 F3.5/4.8 M- box £399 56 F1.2 R XF M- box .......£599 VG X-T1 grip......................£129 X100s silver M- box........£499 X20 black box ..................£249 X10 black box ..................£179 HS20 ....................................£129 HS10 box ............................. £79 MINOLTA/SONY DIGITAL USED Sony A100 body..................£89 Sony VGB30AM ...................£79 Sony VGC70AM ................ £139 Sony HVLF56AM flash ......£189 Sony HX90X M- box........ £269 SONY NEX USED NEX 7 body box................ £349 NEX 5N + 18-55 ................ £239 NEX 5 body ........................ £179 MINOLTA/SONY AF USED Dynax 9 body...................£299 9000 body ........................... £79 800Si QD M- ....................... £79 700Si + VC700 .................... £69 700Si body .......................... £49 7xi body ............................... £49 Dynax 5 body.........................£39 505Si Super............................ £25 300Si or SPXi body ea ...... £19 18-70 F3.5/5.6 ......................£69 20-35 F3.5/4.5 M- box ...£249 24-50 F4 .............................£149 24-105 F3.5/4.5 AFD box £179 28 F2.8 .................................. £99 28-80 F4/5.6........................ £39 28-85 F3.5/4.5 ..................£129 28-100 F3.5/5.6 D ............. £49 35-70 F4 ............................... £39 35-70 F3.5/4.5 ......................... £25 35-80 f4/5.6 .............................. £25 35-105 F3.5/4.5 ...................... £99 50 F1.4 AF ...............................£149 50 F1.7 ........................................ £79 50 F2.8 macro .......................£179 75-300 F4.5/5.6 ...................... £99 85 F1.4 G box ........................£599 100-300 F4.5/5.6 APO .......£169 500 F8 mirror.........................£349 VC700 grip................................ £49 VC9 grip....................................£149 RC1000S/L cord ..................... £15

AW90........................................... £49 MD90 + BP90-M .................... £79 SONY LENSES USED 16-35 F2.8 ZASSM box ....... £979 18-55 F3.5/5.6 SAM .............. £39 18-200 F3.5/6.3 DT .............£199 24-70 F2.8 ZE SSM ..............£999 50 F1.8 DT ................................. £79 1.4x conv M- box.................£289 SIGMA MIN/SONY AF USED 28-135 F3.8/5.6 ....................£79 28-300 F3.5/6.3 mac ....... £149 50 F1.4 .................................. £149 50 F2.8 EX DG mac.......... £149 55-200 F4/5.6 .......................£69 70 F2.8 DG Mac ................ £199 70-300 F4/5.6 DG OS ....... £189 170-500 F5/6.3.................£379 600 F8 .................................£299 1.4x EX DG conv ..............£149 TAM 18-250 F3.5/6.3 DiIi £179 TAM 60 F2.8 mac.............£239 TAM 70-200 F2.8 Di ........£499 TAM 70-300 F4/5.6 Di...... £89 TAM 150-600 VC ..............£799 Teleplus 1.4x conv ............ £69 Teleplus 2x conv ............... £79 Kenko 1.4x Pro 300DG ..£149 Min 3600HSD ..................... £39 Min 5400HS ........................ £69 Min 5600HSD M-............... £99 Min 1200 Ringflash .................. £49NIKON DIGITAL AF USED D4s body box ................ £3499 D3s body ........................ £2399 D3X body box ....£1999/2199 D800E body box£1199/1299 D800 body box............. £1399 D700 body box.......£649/799 D300s body .............£349/479 D300 body box.......£249/299 D5100 body ......................£249 D5000 body ......................£199 D3200 body M- ...............£179 D3100 body ......................£149 D90 body ...........................£199 D80 body ...........................£129 MBD-11 ..............................£119 MBD-12 M- box ...............£219 MBD-80 ................................ £49

MBD-200 .............................. £49 Coolpix P7800 box .........£249 NIKON AF USED F5 body ..............................£349 F4 body ..............................£349 F4S body scruffy .............£199 F801 body .....................£29/59 F601 body ........................... £29 10.5 F2.8 EX Fisheye .........£399 12-24 F4 DX..........................£499 16-85 F3.5/5.6 AFS VR .£299 17-55 F2.8 AFS DX .............£449 18-135 F3.5/5.6 AFS DX ..£149 18-200 F3.5/5.6 AFS VRII M- box............................£399 18-200 F3.5/5.6 AFS VRI ..£249 24 F1.4 AFS M- box .. £999/1099 24 F2.8 AFD ..........................£299 24 F3.5 PC ED M-..............£1149 24-50 f3.5/4.5 AF................£129 24-70 F2.8 AFS box ...........£999 24-85 F3.5/4.5 AFG ...........£199 24-120 F3.5/5.6 VR ............£299 35-70 F3.3/4.5 AF .................. £49 35-80 F4/5.6 AFD .................. £49 40 F2.8 AFS DX M- box.....£149 50 F1.4 AFS M- box ............£229 50 F1.4 AFD............................£179 50 F1.8 AFD box .................... £79 70-200 F2.8 VRII .................£799 70-200 F2.8 AFS VRI ........£749 80-200 F2.8 AFD N .........£599 80-200 F2.8 early ............£249 80-400 F4.5/5.6 VR .........£599 105 F2.8 VR M- .................£479 105 F2.8 AFD M-..............£399 200 F2 AFS VRI .............. £2399 200-400 F4 AFS VRII M- box ..................... £4299 300 F2.8 AFS VRII Mint box.......................... £3499 300 F2.8 AFS VRI .......... £2799 300 F4 AFS M- box .........£749 TC17EII M- box.................£229 TC20E box .........................£149 Kenko MC7.......................... £69 SIGMA NAF USED 12-24 F4.5/5.6 MKII EX DG HSM............................£489 12-24 F4.5/5.6 EX DG HSM .£399 15 F2.8 EX ..............................£299

15-30 F3.5/4.5 EX DG ........£199 18-50 F2.8 EX DC Mac.......£199 18-200 F3.5/6.3 DC box ...£139 50 F1.4 DG Mint ........£199/239 50 F2.8 EX DG......................£139 50 F2.8 EX ..........................£119 50-500 F4/6. DG OS .......£649 70-300 F4/5.6 macro DG £99 80-400 F4/5.6 APO DG..£399 120-400 F4/5.6 DG OS ..£499 170-500 F5/6.3 DG ................£349 300 F2.8 EX DG..................£1299 1.4x EX DG M- .......................£139 1.4x EX conv ............................ £99 2x EX DG conv ......................£159 TAMRON NAF USED 17-35 F2.8/4...........................£169 17-50 F2.8 XR Di...................£199 24-135 F3.5/5.6 box ...........£119 70-300 F4/5.6 Di VC USD.£239 90 F2.8 Di box .............£249/299 90 F2.8 ......................................£199 150-600 F5/6.3 Di VC USD M- .....................................£699 OTHER NAF USED TOK 11-16 F2.8 ATX Pro £349 TOK 12-28 F4 ATX DX box ................................£399 TOK 16-50 F2.8 ATX Pro £349 TOK 80-400 F4.5/5.6 ATX £249 ZEISS 21 F2.8 ZFII M- box ........................£999 FLASH / ACCESSORIES USED SB-24.........£49 SB-25............£49 SB-28 ........................................... £69 SB-80DX..................................... £79 SB-900.......................................£269 SD-8 batt pack........................ £49 DR-6 angle finder................£149 DR-3 angle finder.................. £69 MB-16 M- box ......................... £89 MB-23 (fits F4)......................... £79 MC-30 remote ........................ £39 MF-23 (date back F4) ................... £79OLYMPUS DIGITAL USED E410 body ........................... £99 E400 body ........................... £99 E300 body ........................... £69 11-22 F2.8/3.5 M-............£449 12-60 F2.8/4 SWD ...........£599 14-42 F3.5/5.6 .................... £49

14-45 F3.5/5.6 .................... £89 14-50 F3.8/5.6 ..................£199 14-54 F2.8/3.5 ..................£179 35 F3.5 .................................. £99 40-150 F3.5/4.5.................. £49 40-150 F4/5.6 ..................... £49 50 F2 macro ......................£349 70-300 F4/5.6 box ..........£219 25mm ext tube.................. £79 FL-36 flash ........................... £99 OLYMPUS PEN USED OMD-EM1 body M- box ......£749 OMD E-M5 body box.....£379 Pen E-PL5 + 14-42 ........ £POA Pen E-PM1 + 14-42 M- ..£149 Pen E-PM1 body................ £99 Pen E-P3 body ............... £POA 12-40 F2.8 Pro box .........£599 17 F2.8 ................................£129 45 F1.8 ................................£149 75-300 F4.8/6.7 II ............£299 Pen VF2 viewfinder ........£129 HLD-7 grip M- ..................£129 PANASONIC DIGITAL USED G6 body .............................£299 G3 body .............................£129 GX1 body sil/blk box .....£149 GF2 body .................................. £79 GF1 body silver....................... £79 14 F2.5 .....................................£169 14-42 F3.5/5.6 .................... £79 14-45 F3.5/5.6 ..................£149 25 F1.4 M- box .................£349 45 F2.8 mac M- ................£449 45-200 F4/5.6 box ..........£199 100-300 F4/5.6 M- box .£339 BG-GH3 grip .....................£149 FZ1000 M- box ................£499 PENTAX DIGITAL AF USED K20D body ........................£199 DBG2 grip ............................ £69 360AF FGZ flash £99STUDIO LIGHTING USED Bowens Esprit GM500 twin head kit ....................£449 Bowens Prolight 60 3 head kit...........................£349 Interfit Stellar 600 three head kit ..................£249 Kenro Smart Light 300 twin head kit ....................£199

| GUIDE | 633 `` A private ‘out of hours’ visit and a

DIGITAL IMAGING

talk from Linda Marchant, a leading authority on the work of Cornel Lucas `` The Gallery at Munro House, York Street/Duke Street, Leeds LS9 8AG `` Geoff Blackwell, gblackwell@fastmail.fm

DENNIS KNOWLES DENNISKNOWLES123(BTINTERNET.COM

Digital Imaging Group projected image competition THURSDAY 27 AUGUST / 9:00$17:00

The invention of photojournalism: Brady, Gardner and the American Civil War

`` Compete for the Raymond Wallace Thomson Trophy `` RPS HQ, Fenton House, 122 Wells Road, Bath BA2 3AH `` David Taylor, digPIcomp@rps.org

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

A&H conference day SATURDAY 10 OCTOBER / 10:00$17:00

`` £15/£10 group members `` Presentations on a range of

Enter your photography into the Wellcome Image Awards Image: Albert Cardona, HHMI Janelia Research Campus/Wellcome Images

archaeology and heritage topics `` Leatherhead Institute, 67 High Street, Leatherhead KT22 8AH `` Mike Sasse, 01892 531179, mike.sasse@btinternet.com

FRIDAY 2 OCTOBER / 19:30$21:30

`` £10/£8/free to group and

DIG Western: Blurb book using Lightroom – Debbie Jones SUNDAY 6 SEPTEMBER / 10:00$16:00

`` £8/£7/£5 group members `` Make your own, plus show and tell

Great King Street, Edinburgh EH3 6QU

with attendees’ prints or digital images

`` Merryfield Village Hall, Ilton,

Curator-led tour: Photography – A Victorian Sensation

DIG Scotland: September meeting

`` £5/free for group members `` Tour led by Alison Morrison-Low,

curator of the National Museum of Scotland exhibition `` National Museum of Scotland, Chambers Street, Edinburgh EH1 1LF `` Donald Stewart, 01592 840277, donaldstewart42@aol.com

SUNDAY 13 SEPTEMBER / 13:30$16:30

Street, Bridge of Allan FK9 4NW

2015 National Audio Visual championship

DIG Thames Valley: forgotten heritage photography with Matthew Emmett

FRIDAY 4 $ SUNDAY 6 SEPTEMBER / 10:00$16:00

SUNDAY 13 SEPTEMBER / 10:00$15:30

`` See website for costs `` Alongside entries from audio visual

`` £12/£8 group members `` How to plan, capture and process two (or more) images

authors, film and video authors will be invited to enter for the first time `` Ruxton Lecture Theatre, Ruxton Technology Centre, Beaconside Campus, Staffordshire University, Stafford ST18 0AD `` Edgar Gibbs FRPS, edgar.gibbs@ntlworld.com

`` Woosehill Community Hall, Emmview Close, Wokingham RG41 3DA

`` Laurie Pate, digthamesvalley@rps.org Digital Imaging Expo 2015

CREATIVECHAIR(RPS.ORG

A Creative Photo Lecture SUNDAY 4 OCTOBER / 10:30$16:30

`` £14/£11/£8 group or region

members `` With Kathryn Scorah MPAGB and Colin Southgate FRPS `` Foxton Village Hall, Hardman Road, Foxton CB22 6RN `` Dave Jordan FRPS, daveandjoanjordan@yahoo.co.uk

early Scottish photography and their influence in Scotland and beyond `` National Museum of Scotland, Chambers Street, Edinburgh EH1 1JF `` Donald Stewart, 01592 840277, donaldstewart42@aol.com IMAGING SCIENCE TONYKAYE(HOTMAIL.CO.UK

`` University of Warwick, Chemistry

WORDSNPICSLTD(GMAIL.COM

CREATIVE

SATURDAY 3 OCTOBER / 10:30$16:30

`` Our panel discuss the pioneers of

DR TONY KAYE ASIS FRPS, 020 8420 6557

Steve Caplin and Eddie Ephraums

CONTEMPORARY

BARRY COLLIN LRPS

Victorian photography: a Scottish perspective

SUNDAY 20 SEPTEMBER / 8:30$18:00

`` See website for costs `` Hear from Joe Cornish HonFRPS,

PETER ELLIS LRPS, 07770 837977

junction 27-28 M6 northbound, Mill Lane, Chorley, Lancashire PR7 5LR `` Ian Maxwell, 01524 770278, mail@ihmaxwell.com

donaldstewart42@aol.com

near Taunton TA19 9HG

HANDJAF(VIRGINMEDIA.COM

MONDAY 28 SEPTEMBER / 19:30$22:00

`` Donald Stewart, 01592 840277,

`` Dennis Knowles, as above

`` £8/£7 group members `` Bridge of Allan Parish Church, Keir

AUDIO VISUAL

`` Days Inn Charnock Richard M6,

modern photojournalism

`` Edinburgh Photographic Society, 68

FRIDAY 2 OCTOBER / 14:00$16:00

HOWARD FISHER LRPS, 0115 9372898

Contemporary North West meeting

EPS members

`` Mary Panzer PhD on the birth of

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

Building, Science Department, Library Road, Coventry CV47AL `` Rex Waygood, 01425 673216, digexpo@rps.org

DIG Thames Valley: Leigh Preston FRPS – hallmarks and performances

AFZALANSARY(AOL.COM

Wellcome Image Awards WEDNESDAY 9 SEPTEMBER

`` The deadline for submissions is 9

SUNDAY 11 OCTOBER / 10:00$15:30

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

Close, Wokingham, Berkshire RG41 3DA

`` Laurie Pate, digthamesvalley@rps.org DOCUMENTARY

MEDICAL DR AFZAL ANSARY ASIS FRPS, 07970 403672

September 2015. The winning images will go on display in science centres and public galleries around the world `` Wellcome Image Awards, London SE1 0AA `` For details, go to www.wellcomeimageawards.org `` Sabrina Taner, s.taner@wellcome.ac.uk

MO CONNELLY LRPS, 01590 641849 dvj@rps.org

Microscopy in medical research SATURDAY 17 OCTOBER / 10:00$16:00

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

Cornel Lucas exhibition WEDNESDAY 26 AUGUST / 17.30

`` See website for cost

`` Microscopy in medical research and

diagnosis 2015 is a joint symposium organised by the Medical Group of The Royal Photographic Society and the Royal Microscopical Society `` Moorfields Eye Hospital, 162 City Road, London EC1V 2PD VOL 155 / AUGUST 2015 / THE RPS JOURNAL / 633

REPORT ! AGM NEWS 634 | GUIDE | COUNCIL NATURE RICHARD REVELS FRPS, 01767 313065

Cambodia overland photo tour – November 2016

The 48th EA International Salon of Photography 2015

RICHARD.REVELS(TALKTALK.NET

SATURDAY 12 $ THURSDAY 24 NOVEMBER 2016

CLOSING DATE: 26 AUGUST

RPS Nature Group Field Meeting to Risley Moss

`` £950 group members `` Phnom Penh, Cambodia `` Keith Pointon, 01588 640592,

`` www.psea-photo.org/hk `` Ref: 2015/55

TUESDAY 8 SEPTEMBER / 11:00

`` An area of peat bog, a site of special

scientific interest and a nature reserve. There is a woodland hide for photographing birds `` Risley Moss Nature Reserve, Birchwood, Warrington WA3 6QS `` Nina Agnew, 07811 403125, ninaagnew@yahoo.co.uk

RPS Nature Group – chairman’s day 2015 SATURDAY 24 OCTOBER / 10:30$16:00

`` £12 `` Smethwick Photographic Society Clubrooms, The Old Schoolhouse, Churchbridge, Oldbury B69 2AS TRAVEL

Photography in Durham THURSDAY 6 AUGUST $ FRIDAY 7 AUGUST

`` A photographic tour of the city `` Durham DH1 3EH `` Aline Hopkins, alinehopkins@btinternet.com

Western Canada SATURDAY 29 AUGUST $ SATURDAY 12 SEPTEMBER

`` £2,169 (one place remaining) `` From Calgary to Vancouver, through

some of the west’s remarkable scenery

`` Aline Hopkins,

alinehopkins@btinternet.com

CLOSING DATE: 1 SEPTEMBER 2015

VISUAL ART

`` beogradfoto.rs `` Ref: 2015/52

VIVECA KOH FRPS, 07956 517524 VIVECA.KOH(GMAIL.COM

Rollright Visual Art Group members’ day SATURDAY 22 AUGUST / 10:00$16:30

`` £8 `` The focus of the meeting will be

on peer review. Present examples of your work at leisure, with open, honest and constructive opinions from the rest of us `` The Village Hall, Main Street, Long Compton CV36 5JS `` Andreas Klatt ARPS, 01608 684848, rpsva@klatt.co.uk

KEITH POINTON LRPS, 01588 640592 BAGPOINT(AOL.COM

3rd Belgrade Photo International Salon

bagpoint@aol.com

Visual Art Group autumn weekend in Worcestershire FRIDAY 9 OCTOBER $ MONDAY 12 OCTOBER

`` £220 group members `` Capture the photogenic city of

Worcester with its cathedral, the River Severn and many other places of interest `` Bank House Hotel, Bransford, Worcestershire WR6 5JD `` David J Wood ARPS, 020 3105 0548, wood.david.j@virgin.net

Thames Valley members’ exhibition and joint meeting with Visual Art

The Visual Art Group’s autumn weekend will take place in picturesque Worcestershire Image: Shutterstock

Sydney International Exhibition of Photography 2015 CLOSING DATE: 14 SEPTEMBER 2015

`` siep.org.au `` Ref: 2015/12 2nd International Salon Shadow 2015 CLOSING DATE: 14 SEPTEMBER 2015

`` srbijafoto.rs `` Ref: 2015/47 Tai Po Photography Club International Salon 2015 CLOSING DATE: 17 SEPTEMBER 2015

`` tppc-hk.org/index.php `` Ref: 2015/46 Adriatic 2015 CLOSING DATE: 21 SEPTEMBER 2015

`` pca-exhibition.com/adriatic `` Ref: 2015/44 The 7th GPC International Salon of Colour Digital Projected Images CLOSING DATE: 27 SEPTEMBER 2015

`` gpc-hk.org `` Ref: 2015/51

SUNDAY 11 OCTOBER / 10:00$16:00

Weekend in Falmouth FRIDAY 9 OCTOBER $ SUNDAY 11 OCTOBER

`` £140 members/£36 meeting and

dinner only `` Guided visits to places of interest `` The Falmouth Hotel, Castle Beach, Falmouth TR11 4NZ `` Margaret Hocking, 01872 561219, bosrowynek@btinternet.com

Japan – cherry blossom tour WEDNESDAY 23 MARCH $ THURSDAY 7 APRIL 2016

`` £3,020 per person excluding flights and single supplement

`` Includes ancient and modern

Japan, national parks, and riding the ‘bullet train’ `` Aline Hopkins, alinehopkins@btinternet.com

Cambodia overland photo tour – May 2016 SATURDAY 21 MAY $ THURSDAY 2 JUNE 2016

`` £950 group members `` Highlights include Phnom Penh, the

temples of Angkor and Tonle Sap lake `` Phnom Penh, Cambodia `` Keith Pointon, 01588 640592, bagpoint@aol.com

`` £7 `` Drake Hall, Community Centre,

The 2nd GPC International Salon of Monochrome Digital Projected Images

A day with Viveca Koh FRPS

`` gpc-hk.org/ `` Ref: 2015/51

Chiltern Avenue, Amersham HP6 5AH

CLOSING DATE: 4 OCTOBER 2015 SUNDAY 25 OCTOBER / 10:30$16:00

`` £13/£10 RPS members `` Two lectures: ‘Urban exploration to

fine art: a photographic journey’ and ‘From iPhonography to photo illustrations: my continuing journey’ `` The Dolphin Hotel, Station Road, Bovey Tracey TQ13 9AL `` Linda Wevill FRPS, 01752 873162, linda.wevill@btinternet.com

PATRONAGE

Society patronage has been granted to the following exhibitions and salons

36th Northern Counties International Salon 2015 CLOSING DATE: 23 AUGUST 2015

`` northerncountiessalon.org.uk/ `` Ref: 2015/33

634 / THE RPS JOURNAL / AUGUST 2015 / VOL 155

The 2nd GPC International Salon of Nature Digital Projected Images CLOSING DATE: 4 OCTOBER 2015

`` gpc-hk.org/ `` Ref: 2015/51

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

Members’ Biennial Print Exhibition UNTIL SATURDAY 8 AUGUST / 12:00$17:00

`` A showcase of the diversity and

creativity that exists within the Society

`` Arts Centre Washington, Biddick Lane, Fatfield, Tyne & Wear NE38 8AB

| GUIDE | 635

OVERSEAS CHAPTERS

Royal Photographic Society members around the world

`` AUSTRALIA Elaine Herbert ARPS, eherbert@ alphalink.com.au `` BENELUX Stephen Johns, Steve_johns@me.com `` CANADA John Bradford, jb.rps@cogeco.ca `` CHINA BEIJING

Yan Li, yanli88@yahoo.com `` CHINA CHONGQING `` CHINA WESTERN Wei Han (Richard), oolongcha@ hotmail.com `` CHINA SHANGTUF Guo Jing,

shangtuf@ yahoo.com.cn `` CHINA QUANZHOU Xiaoling Wang, hgudsh@163.com `` GERMANY Chris Renk, info@chrisrenk.de `` HONG KONG Shan Sang Wan FRPS, shansangwan@ yahoo.com.hk `` INDIA Rajen Nandwana, rajennandwana@ gmail.com

`` INDONESIA Agatha Bunanta ARPS, agathabunanta@ gmail.com `` ITALY Olivio Argenti FRPS, info@rps-italy.org `` JAPAN TOKYO Yoshio Miyake, yoshio-raps@ nifty.com `` MALAYSIA Nick Ng, nickng6208@ gmail.com `` MALTA Ruben Buhagiar,

info@rubenbuhagiar. com `` NEW ZEALAND Mark Berger rps@moothall.co.nz `` SINGAPORE Steven Yee Pui Chung FRPS, peacock@ sandvengroup.com `` SOUTHERN SPAIN Mike Naylor, mike@mikenaylor.es `` SRI LANKA Romesh de Silva, romesh@access.lk

JOURNAL COUNCIL REPORT MAY 2015

In a change to previous practice the Society’s departmental managers provided written reports of day-to-day matters in advance of the meeting, allowing Council to give greater consideration to more strategic issues. SOCIETY FINANCE

`` Geoff Blackwell reported that

the Finance Committee had seen the first-quarter management accounts. Timing issues and a slight drop in membership in that quarter would need to be kept under review. Transfer of the Society’s investments had been completed and the Investment Committee had met with its new investment managers, Brewin Dolphin. An investment strategy was being drafted and would be presented to Council. `` Derek Birch noted that John Page, a former president and treasurer, had advised that he would be retiring from the Investment Committee. Council expressed its appreciation for his important contribution. SOCIETY PREMISES `` There had been no more progress in locating possible premises. MEMBERSHIP

`` Membership stood at 11,284. `` Simon Bibb reported on results

from the new-member survey, which had received 325 responses to date. The results showed the popularity of the website and of activities that did not require active participation. The growth in Group membership was welcomed and there were opportunities to remind those who had not joined a Group of their benefits. `` The lapsed-member survey had

received 86 responses since it was launched. The results suggested that engaging with members at three and nine months after they joined would help long-term retention. `` Walter Benzie noted there was no lack of ideas concerning growth of membership but implementation could be an issue with limited resources.

GROUPS/REGIONS/ OVERSEAS CHAPTERS `` Richard Tucker reviewed his report to Council on overseas members and Chapters. The Journal and eRPS had improved communication dramatically but there was still a need to provide access to courses and lectures. The website presented difficulties for non-English speakers and users needed to ‘pull’ information from it. He proposed a ‘push’ service similar to eRPS, which would provide small pieces of information to members every few days with links to the website or other sources of information. Council considered that an email to all members every week could be trialled. `` Council approved a request from the Documentary and Visual Journalism Group’s annual general meeting to change its name to the Documentary Group. `` Geoff Blackwell reported that the proposal for a Landscape Group would be carried in the July Journal. Colin Shaw would act as the contact point with expressions of interest by mid-August. `` Michael O’ Sullivan was approved as Regional Organiser for Eire with acknowledgement of the role of his predecessor, Des Clinton. Michael would be

encouraged to form a committee to support his role and the Region. `` A request from the Sichuan Chapter to change its name to Western China was approved. AWARDS

`` Council expressed concern at

the number of awards recipients unable to attend the ceremony. The Director-General reported that Roy Robertson, Jo MacDonald, Simon James and he would review matters. Council would be asked to approve two new nominations.

STAFF AND MANAGEMENT MATTERS `` A report from Director-General Michael Pritchard was circulated. DISTINCTIONS

`` Andy Moore and Simon Vercoe

demonstrated the online advice and guidance system that had been soft launched on 9 April. Twenty applications had been received to date and it would be publicised in the June Journal. Feedback to applicants would be provided within three weeks. Simon answered questions on its use and the likely impact on the department. `` Council discussed the role of the Distinctions Advisory Board and Fellowship Board, noting the dual role of the DAB to determine and monitor processes and its overlap in membership with the Fellowship Board. EXHIBITIONS

`` Robert Gates reported that there had been 510 entries to the International Print Exhibition to date. New venues had been sourced for the IPE158. He had judged the NCFE photography

`` 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

competition. The science exhibition had been selected. EDUCATION, WORKSHOPS AND TRADE SHOWS `` David Cooke reported that there had been 140 registrants for the June presentation of the OU course, with 27 for October and two for March 2016. Registration would close on 29 May. Council agreed to extend the Society’s student membership rate to non-members who joined the Society via the OU course. RPS JOURNAL

`` Think Publishing would join staff for a planning meeting on 27 May at Fenton House. NATIONAL MEDIA MUSEUM

`` Robert Gates reported that a

meeting was planned with the museum’s volunteer coordinator and its head of collections and exhibitions, Michael Terwey, to review the management of the Society’s volunteers. ANNUAL REPORT

`` Derek Birch reminded trustees of the end of May deadline for changes to the draft report. ANY OTHER BUSINESS

`` Portfolio FOUR. Council

expressed mixed views on the need to publish Portfolio FOUR and whether the cost was justified. After discussion, it agreed to proceed and asked Walter Benzie, David Cooke and the Director-General to form a group to progress it. `` Due to planned rail engineering works, the 14 July and 18 August Council meetings would be held at No. 63, Bayswater Road, London.

VOL 155 / AUGUST 2015 / THE RPS JOURNAL / 635

STATEMENTS 636 | ELECTION | CANDIDATES’

Election summary

Candidates’ statements for Officers, Members of the Council and the Advisory Board 2015-2017

Standing for election as Officers or for Council As part of its objectives, the Society is there to help members enhance their photographic skills through the wide range of our activities on offer. It has been doing this over many years and I would like to build on this past success in the following ways:

PRESIDENT WALTER BENZIE ARPS Chichester, West Sussex, aged 70

l to maintain the standards of our world-class Distinctions l enhance our educational role though our courses and in particular the exciting new OU programme l support the activities of our Special Interest Groups l encourage more participation in the many competitions and exhibitions organised by the Society l increase our membership but, more significantly, give existing members further opportunities to participate with the Society and thus become more active members. The evidence is that active members are satisfied members l explore ways to help our overseas members participate and engage with us l to continue improving our links with other photographic organisations, particularly the PAGB and the camera clubs around the country l lead the discussion on how we make our governance procedures more efficient and transparent.

VICE!PRESIDENT ROBERT ALEXANDER ALBRIGHT FRPS Aldbourne, Wiltshire, aged 64

My own photographic interests are eclectic; I belong to both the Digital Group and the Historical Group. Almost without exception, I have enjoyed my visits to lectures, exhibitions and talks organised by the Society. I am extremely proud to have been asked to sit on the Licentiate panel. Above all, photography combines a unique distillation of artistic and technical skills with the potential to enhance and change our lives. Being part of the Society should further this objective.

TREASURER GEOFF BLACKWELL ARPS Sheffield, South Yorkshire, aged 73

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I was first elected to Council in September 2009. Prior to this, I was Western Regional Organiser for five years. My professional background is in business and legal affairs. I have served in recent times on the Finance, Membership and Exhibition committees and as Society representative to the PAGB executive; prior to this, I was Chair of the AV Distinctions Panel and a member of the Fellowship Board. To fulfil our purpose as an educational charity promoting all forms of photography, we need to find income equivalent to our costs to pay for our widespread activities. A key recruitment market is the 95% of camera club members, approximately 30,000 of them, who are not in the Society. I have produced for the Society a membership promotional video ‘Discover the RPS’. If elected, I intend to work with Council and the PAGB to improve recruitment of members in clubs affiliated, via their federations, to the PAGB. Now that the decision has been made to find a more suitable HQ, it is important to find a location that has suitable exhibition space and is more accessible to the membership. An alternative model to the freehold purchase of a complete facility, including offices, is to partner with a major library or museum using existing exhibition space to promote the outward-facing activities of the Society. The financial, membership and public-profile aspects of this change need to be carefully assessed so that the right choice is made for the future of the Society. My period of office between 2013 to 2015 has been challenging, fulfilling and at times exciting. Working with the staff at headquarters, we have strengthened the financial systems and controls to meet the demands of more stringent external oversight. Internally, I have introduced a new Finance Committee that meets to liaise with our professional staff and advise Council. The Society’s finances are stable and we are now working with new professional investment advisors aiming to improve our investment income and compensate for poor interest rates. I am also fortunate to have been in office at a time when the Society has received a substantial legacy. As we look forward we aim to use this as an opportunity to acquire more suitable premises, and obviously managing the financial aspects of such a move will present new challenges and responsibilities. As a Trustee I have enjoyed the opportunity to strengthen links with the Regions and have attended events in Yorkshire, the East Midlands and the Central Region, and if re-elected, I intend to engage with other Regions and Groups. From a personal perspective, my interest in photography continues to focus on its history and I have been active in the Historical Group, speaking and writing on various topics. I would welcome the opportunity to serve the Society for a further two years.

CANDIDATES’ STATEMENTS

| ELECTION | 637

Ordinary Members of Council

DR DEL AMANDA BARRETT ARPS London, aged 56

DR DAVID FITZROY COOKE FRPS Flax Bourton, Bristol, aged 69

Trends in photography are moving rapidly which, coupled with continuing changes in technology, means that the Society needs to be in a position to embrace all forms of photography, while not excluding the more traditional practices on which it has built its reputation. If elected to Council, I believe that I can make a significant contribution towards broadening our offering, widening the membership appeal and increasing public perception of our educational achievements – as I have shown through the phenomenally successful Bleeding London project. Interest in photography is growing exponentially each year and we must safeguard against complacency and being seen as a ‘closed shop’. Through my significant contribution to the transformation of the moribund London Region into one of the most active regions – and prior to that, playing a major part in reviving the Documentary and Visual Journalism Group – I believe that I have demonstrated I possess the right skills to expedite growth and respond to the changing environment. Our volunteers are our greatest resource. If elected, I would like to work closely with them. I would ensure that their voice is heard and endeavour to provide the necessary support to facilitate and strengthen the magnificent work they already carry out. Having been both a Special Interest Group Chair and a Regional Organiser, I am only too aware of the complexities and responsibilities demanded by these roles. My background is in higher education (lecturer in linguistics), which gives me a strong transferable skill set for supporting an educational charity. After the last election, I was co-opted to Council and became Chair of the Education Committee. I have used this opportunity to work to increase significantly the role and impact the Society has in photography education. The most important achievement has been the development and launch of the Society/OU online course. The course is designed for beginners and those who want to improve their skills, and aims to impart the expertise required to tackle an LRPS. It is presented worldwide, so it is open to our overseas members and others who are not able to attend workshops. We are now investigating the possibility of online follow-up courses. Other current work includes the development of: l workshops covering more topics, in more locations in the UK l online study groups for members to share and discuss images l Society Distinctions exemptions assessment l College and university affiliation scheme l Schools Photography Certificate. In 2014, we negotiated an agreement with the OCA giving a discount on Accreditation of Prior Learning to members with a Society Distinction. I am standing for Council so that, if elected, I can help to complete the current work and to develop our education provision for the benefit of our members, potential members and the general public worldwide. Other information: Council member (April 2012–present); Chair of Digital Imaging Group (2011–2014); editor of DIGIT (2010–2014); editor of Visual Art Group magazine Visual Art (2010– present); senior academic at the OU (1988–2010).

GARY EVANS ASIS FRPS Greenford, Middlesex, aged 53 STOP PRESS

For personal reasons, Gary Evans has withdrawn as a candidate from the Society’s election. Council has directed that members who have already voted may, if they wish, download a copy of the ballot paper and re-cast their votes. Where the Society receives a second ballot paper from a membe,r this will supersede the earlier ballot paper. Please ensure that any new ballot paper is returned to the Society in a properly marked envelope. See more and download a new ballot paper here: rps.org/election2015

ROBERT JOHN GATES ARPS Hexham, Northumberland, aged 67

I have been in the photography business all my professional life. A trained scientific photographer, for the last 25 years I have worked at a stock agency specialising in science and medicine. I have been fortunate to have been on the selection panel for all three recent science exhibitions, as well as curating the very successful outdoor exhibition Light Works. I have had the great pleasure of working on the Advisory Board and, more recently, as a co-opted member of Council. I also sit on the Science and Exhibition Committees, the ISQ Board and I am the treasurer of the Medical Group. The biggest challenge facing the RPS involves making the Society more appealing to a wider, younger demographic while maintaining the standards that make our Distinctions and qualifications world-renowned. I would like to see new technologies embraced as far as we can. The website needs to be our hub, the core of our communications, with active forums that are designed with photographers in mind and an increased learning offer through more online courses. Governance itself needs to be reviewed, especially the role of the Advisory Board, which has become large and unwieldy. A smaller, fully elected committee could garner opinions from Region and Group conferences and specially constituted working groups to provide advice to the Council for action. I want to develop a culture in which people enjoy volunteering as much as I do. I urge every member to use their vote. It is your Society, it is for you to help decide its future.

Once again I am seeking re-election to Council in order to help promote the further development of the Society. Over recent years, the Society has been transformed into a more vibrant, active organisation, attracting many new and younger members. We need to continue this growth with greater use of the internet and social media. Web-based Distinctions advice, especially for our overseas members, is just one area we need to develop in order to satisfy our diverse membership. The variation in regional activity should be addressed, as some regions are extremely active and others almost dormant. I would like to see the entire regional/group structure examined and new proposals investigated. My own group memberships are Contemporary, Historical and DVJ, and I am a former Regional Organiser for the Yorkshire Region. I am a member of the RPS/NMeM Collections Acquisitions Group and hope that collaboration with the National Media Museum in Bradford and Media Space in London could be strengthened even further to our mutual benefit. Currently I am Chair of the Licentiate Distinctions panel and Chair of the Society’s Exhibitions Committee. I am interested in pursuing new and novel ways of providing advice for Distinctions candidates and engaging more members worldwide to participate in Society exhibitions by means of digital submissions. During my 45 years of Society membership, I have seen many changes; however, I feel that the next few years will see Council rapidly develop membership benefits, and to be part of the team would be a great honour.

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STATEMENTS 638 | ELECTION | CANDIDATES’

Ordinary Members of Council (continued)

VANESSA ELAINE SLAWSON FRPS Totton, Hampshire, aged 50

I was elected to the Council two years ago and have used my wide experience of working in the charity sector, where volunteers have a major role in the sustainability and success of their organisations, to recruit and retain our membership. I believe that members must feel valued. To this end, I have implemented the Volunteer Recognition Scheme, which gives us a chance to say thank you to many members who freely give their time in a variety of activities across the Society. This initiative will now be expanded with more induction days – a new opportunity for all officers and committee members. Overseas members, who make up more than 13 per cent of the membership, will also see improvements to their membership benefits, with increased advice on the Distinctions and better access to lectures and speakers. I am now seeking re-election so that I can continue to drive forward new involvement for members and to champion Distinctions, which are held in high esteem worldwide as a gold standard of achievement as a way of progressing and improving your photography. With your support, I will continue the work I initiated on the engagement of younger members by increasing activities using new technology such as smartphones and multimedia. Above all, I believe that Trustees need to respond to members and to work on their behalf, providing better opportunities for involvement in the Society’s activities wherever their specific interest in photography lies.

RICHARD NEIL TUCKER ARPS Diesse, Switzerland, aged 73

1. If elected, I intend continuing the work of the last two years on behalf of overseas members and Chapters. Since the beginning of 2015, I have been a co-opted member of Council which has given me the chance to work at the centre of development in the Society. One in seven members lives outside the UK. Unable to attend the events in the UK, we need different forms of access to lectures, exhibitions, courses and Distinctions assessments. The website is much improved, but more needs to be done in the making of videos and audiovisual reports. Much has changed through the support of Council and staff, and at the very least through reporting on the Overseas Chapters many more people are now aware that overseas members are an important part of the Society. 2. I have a long career in media production, mainly for education and training including teaching photography and AV, and working with international professional organisations. I have also led projects for the European Commission and UNESCO. As organiser of the Switzerland Chapter, I am daily aware of the needs of members trying to be part of the Society. 3. My work has included press photography (Yorkshire Post), teaching film and television production at Bristol University; Director, the Netherlands Institute for Audiovisual Media. 4. Now in retirement, I am concentrating on photographing people and events. 5. A member of the Advisory Board since 2013 and Council since the beginning of 2015.

Standing for election as Members of the Advisory Board

JAY CHARNOCK Osterley, Middlesex, aged 74

I have been a judge of the Surrey Photographic Association for many years, and was Chairman for two years; before that, I was the Competition Organiser. I am a past President of the Richmond and Twickenham Photographic Society and The Leica Fellowship. In December 2009, I became Chairman of the Visual Art Group, a post I still hold. I am an invited member and Secretary of The London Salon. My work as a biomedical scientist included four years in charge of the Children’s Haematology Laboratory of the Johns Hopkins Hospital, Maryland, and later I was in charge of the Special Haematology Laboratory at Charing Cross Hospital. After retirement, I worked for five years in Sotheby’s photographic department. The holding of various posts has given me an insight into the dynamics of how committees/ groups work, and I hope to bring to the Advisory Board determination, tempered by understanding and humour. While supporting and furthering the aims of the Society, I would like to see: 1. Greater involvement of Regions and SIGs, with a view to organisation of events 2. A more positive ‘outreach’ programme aimed at making more clubs aware of the Society and the benefits of joining 3. Encouraging the formation of SIG subgroups within the Regions. Some SIGs are further along this road than others, but more can be done to raise awareness of the potential. If elected, the passion I have for photography will be expressed as an enthusiasm to carry out the aims above, to the best of my ability.

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MIKE CULLIS ARPS Tenby, Pembrokeshire, aged 66

My passion for photography began when I was 14 years old, processing my own B/W films. My interest in photography has grown over the years and this has continued with increasing focus since retirement. I have a diverse interest in photography, but now my main focus has been drawn to wildlife photography. I have travelled extensively and present my work to camera clubs throughout Wales, as well as being a WPF judge. I was a finalist in the BBC Wildlife Photographer of the Year competition in 2013 and now have four images in the final selection in this year’s competition. Prior to my retirement, I travelled extensively and was a senior manager in major oil and gas international projects. I would hope to bring transferable skills to the Advisory Board, including communications and strategic thinking skill sets. I am passionate about sharing knowledge and see opportunities to better publicise the benefits of joining the Society to camera clubs and to establish a healthy dialogue. There is a great deal of synergy between the aspirations of the Society and camera club members, and this is an area which is ripe for development. I would be highly honoured to be appointed as a member of the Advisory Board and would very much appreciate your voting for me.

CANDIDATES’ STATEMENTS

R KEITH EVANS FRPS Sevenoaks, Kent, aged 80

Having served on the Advisory Board for some 11 years, as a representative of, in turn, an RPS Region and a Special Interest Group, I have a good insight into the work of the Board and its relationship with the Society Council. I should like now to help the Advisory Board undertake a more executive role and have greater influence on Council decision-making. In particular, I would like to help raise the profile of the Society’s Special Interest Groups, with the aim of increasing members’ awareness of the added value these Groups can offer. I shall continue to encourage non-Society members of photographic societies, and in the wider world of photography in general, of the merits of Society membership. Society activities 1988: Joined the RPS and gained Associateship 1989: Gained Society Fellowship 1998-2003: Regional Organiser, SE Region 2000-2006: Member of Distinctions Panel 2009-2015: Chairman, A & H Group 2015 (April): Showcase print exhibition at Fenton House. Other relevant interests Professional career was as a chartered engineer (FIMechE, FIMarE). Following retirement, I was the founding partner of a UK-registered publishing consultancy, advising small and medium-sized technology companies on their promotional, editorial and publishing projects. Hold distinction of the PAGB, and have been chairman of one of the largest photographic societies in SE England. As a lecturer and judge for the Kent County Photographic Association I regularly speak and judge at camera clubs throughout the SE Region, whenever possible promoting The Royal Photographic Society to their members.

ANTHONY HOLLAND& PARKIN, ASICI FRPS London, aged 40

I have been a long-term admirer of the Society and in the last few years have proudly acted as a selector for the International Print Exhibition, a judge for the Environmental Bursary (for the last three years) as well as recently providing mentorship for its under-25 winner. As a result, I’ve gained a greater knowledge of the depth and breadth of the Society’s membership and diverse creativity. The collective knowledge and ability is world-class. I’ve been working in the commercial side of our industry for more than 17 years, starting in a darkroom creating ‘dupes’ for such luminaries as Tom Stoddart HonFRPS before editing, representing and now providing creative direction at a major photo agency for a large number of professional photographers and videographers for an international client base. If elected, I would seek to assist with promoting the Society to new members (leveraging in part my network in the creative industry), as well as offering consultation on development and engagement within the education sector through existing ties and in hope of forging new ones. I have extensive curatorial experience, which I would like to offer if required, as well as making introductions to possible corporate sponsors for the Society. As a recent Fellow, and having been fortunate to be awarded one of the first ASICI Creative Industries Qualifications from the Society, I hope to become further informed and act as an advocate on the RPS’s behalf.

JOHN P MARGETTS ARPS Cambridge, aged 80

| ELECTION | 639

As the founding member of the Society’s Digital Imaging Group, Eastern Centre, I am the Centre Organiser and webmaster. I served on the Digital Imaging Group committee as webmaster and managed the change from the old website to the new one. I am on the committee of the East Anglia Region as their webmaster and am the webmaster for the Documentary and Visual Journalism Group. Photography plays an important role in society, and is at the forefront of how we view the world. The advances and greater use of the internet and social media sites have proved more attractive to the younger generation, who are out there taking pictures by the million. However, how many will go on to improve their photography and become members of our Society? I see this as one of the Society’s big challenges. At the last count, the Society had 188 members under 25, or 1.7 per cent, and they are our future. If elected, I would hope to be able to be involved with and develop initiatives that will look at ways to significantly increase membership of the under-25s. This may mean that we widen the scope of our website to embrace the younger generation more, and to help and encourage them to develop their photographic skills. I would also like to be involved with the further development of our Special Interest Groups and encourage new Society members to join at least one group during their first year of membership. I am retired from my own medical transport business and am a former professional photographer.

HOW TO VOTE Election statements and voting papers were circulated with the July issue of the Journal. Voting papers are also available at rps.org/ election2015. Please follow the instructions carefully to ensure your vote is valid. The closing date is 5pm on Monday 21 September 2015. If you have any questions, please contact Director-General Dr Michael Pritchard at director@rps.org

VOL 155 / AUGUST 2015 / THE RPS JOURNAL / 639

THE SOCIETY’S COLLECTION 640 | TIMES PAST | FROM

The book of life

ife and Landscape on the Norfolk Broads (1886) was the first published book by Peter Henry Emerson (1856-1936) and one of the most important photographic books of the 19th century. The book was conceived by Emerson and the naturalist painter TF Goodall (1857-1944), who first met in 1885. Finding they shared a passion for the landscapes of East Anglia and a belief that art should truthfully represent nature, they decided to collaborate. That year, they travelled through Norfolk, making

photographs during the day and developing the negatives at night. The resulting book featured 40 platinum prints (13 of them were credited to Emerson alone; the rest were jointly credited to Emerson and Goodall). The majority of the photographs were idyllic rural scenes showing people who worked in traditional ways on the Norfolk Broads. They were recorded cutting reeds and transporting them, caching eels or collecting water lilies to use as fish bait. In these pictures, Emerson explicitly rejected both the

640 / THE RPS JOURNAL / AUGUST 2015 / VOL 155

widely used technique of ‘combination printing’, in which several negatives were used to make one print, as well as the aim of showing everything in a scene in sharp focus. Instead, he made his photographs from one negative and not retouched, while his technique of ‘differential focusing’ showed the subject in focus, with the rest of the scene made softer and more impressionistic. Emerson went on to argue his case for this style of photography in the book Naturalistic Photography for

Life and Landscape on the Norfolk Broads (1886) contains unretouched prints made from single negatives

Students of the Art (1889). Despite later retracting his views, his ideas and methods remained a powerful influence on the generation of photographers that followed. DAVID CLARK

ROYAL PHOTOGRAPHIC SOCIETY COLLECTION/NATIONAL MEDIA MUSEUM

Peter Henry Emerson’s first publication was an honest look at man’s dialogue with nature

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