ROYAL MEMBERSHIP
INTERVIEW
HISTORY
SOCIETY WELCOMES THE DUCHESS OF CAMBRIDGE
DAVID YARROW ON HOW HE HIT THE BIG TIME
CELEBRATING THE MAN BEHIND BRUNEL’S IMAGE
JANUARY 2017 / VOLUME 157 / NUMBER 1 / WWW.RPS.ORG
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| JANUARY 2017 | 1
OPENING SHOT
START AS WE MEAN TO GO ON
H COMING UP
IN FUTURE ISSUES Next month, the remarkable Sir Harold Evans will take up the role of Journal editor for a very special edition looking at press photography, past and present
PRINCIPAL PATRONS
appy new year everyone. I hope you had a great holiday and that you are enjoying all the wonderful photography gear you were gifted over the festive period. It’s the perfect time – box-fresh kit in hand – to learn some new skills, and while everything gets off to a slow start you can use the time to broaden your expertise. The Society offers a whole host of exciting workshops aimed at taking your images to the next level, with classes suitable for beginner, intermediate and advanced photographers. If you’re looking to set yourself a fresh challenge, turn to page 36 to read about some of the many workshops on offer. No one is above acquiring new skills, but there’s at least one photographer featured in this issue who exemplifies the benefits of learning out in the field. Society member David Yarrow, one of the highest-earning fine-art nature photographers around, has an impressive portfolio of images that show wildlife in Kenya, Borneo and beyond, closer than you’ve ever seen before. It’s hard to believe that it was only last year he finally sold his financial interests after living a dual life as both hedge-fund manager and photographer. Now solely focused on
MAJOR PARTNERS
photography, he’s proving there’s a lot to be gained from applying business acumen to his new occupation. Also in this issue, Rose Teanby ARPS unearths the story of member and Isambard Kingdom Brunel photographer Robert Howlett; Graeme Weston, also a Society member, creates a ghostly homage to the cyclists who were killed on London’s roads in 2015; and we bring you some essential cold-weather photography tips. Lastly, a warm welcome to Her Royal Highness The Duchess of Cambridge, who has accepted an honorary Society membership. To help celebrate the occasion, we bring you a gallery of official portraits of her children taken by the duchess herself. We thank her for allowing us to print the photos and look forward to seeing more of her images in the future.
ANDREW CATTANACH Editor
SUPPORTING PARTNERS
VOL 157 / JANUARY 2017 / THE RPS JOURNAL / 1
2 | JANUARY 2017
IN THIS ISSUE The Royal Photographic Society Fenton House, 122 Wells Road Bath BA2 3AH, UK www.rps.org reception@rps.org +44 (0)1225 325733 Incorporated by Royal Charter Patron Her Majesty the Queen President Walter Benzie HonFRPS Vice-President Robert Albright FRPS Treasurer Geoff Blackwell ARPS Chief Executive Dr Michael Pritchard FRPS Published on behalf of The Royal Photographic Society by Think Red Tree Business Suites 33 Dalmarnock Road, Glasgow G40 4LA thinkpublishing.co.uk
61 Make the most of winter with our guide to cold-weather photography
EDITORIAL ENQUIRIES Editor Andrew Cattanach andrew@thinkpublishing.co.uk 0141 375 0481 Contributing editors Fiona McKinlay, Jonathan McIntosh, Gavin Stoker, David Clark Design Matthew Ball, John Pender, Andrew Bell Sub-editors Sam Bartlett, Rica Dearman Advertising sales Molly Matthews molly.matthews@thinkpublishing. co.uk 020 3771 7233
FEATURES
28 | BY ROYAL APPOINTMENT The Duchess of Cambridge's photographs of her children
Editor-in-chief Clare Harris clare.harris@thinkpublishing.co.uk Group account director John Innes
32 | FORGOTTEN TALENT After capturing the enduring image of Isambard Kingdom Brunel, what happened to Robert Howlett?
© 2017 The Royal Photographic Society. All rights reserved. Every reasonable endeavour has been made to find and contact the copyright owners of the works included in this newspaper. However, if you believe a copyright work has been included without your permission, please contact the publishers. Views of contributors and advertisers do not necessarily reflect the policies of The Royal Photographic Society or those of the publishers. All material correct at time of going to press.
42 | MOSTLY LEFT TURNS Graeme Weston's award-winning project highlights the dangers of cycling in London
Circulation 11,237 (Jan-Dec 2015) ABC ISSN: 1468-8670
Cover by Catkaling FRPS
36 Learn how to light dancers and more with a Society workshop
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48 | BEST SHOTS David Yarrow: from hedge-fund manager to big-time photographer
JON GRAY; NIGEL HICKS; DAVID YARROW
36 | REACH THE NEXT LEVEL Acquire great new skills with a Society workshop
48
David Yarrow reveals how he captures his best shots
THE CRAFT
EVERY MONTH
57 | MUST TRY/LATEST KIT Kodak's Ektra smartphone is featured in Gavin Stoker's new product review, plus member test 61 | IN DEPTH High contrast with Nigel Hicks
ALASTAIR COCHRANE
62 | MASTERCLASS Cold-weather photography
4 | BIG PICTURE Les Dominants by Sylvain Biard 7 | IN FOCUS Society news, views, competitions and the best exhibitions 17 | BOOKS Four publications to peruse 18 | DISTINCTIONS An examination of five successful Fellowship portfolios 76 | SHOWCASE The Benelux Chapter’s exhibition at Fenton House
18 Frank Gehry and Jimi Hendrix meet in this image from a new Society Fellow
80 | TIMES PAST A pair of images by the pioneering Gertrude Käsebier VOL 157 / JANUARY 2017 / THE RPS JOURNAL / 3
4 | BIG PICTURE |
Les Dominants By Sylvain Biard
I began taking street photography in 2007 when I borrowed a DSLR camera from a friend, but it wasn’t until I bought an analogue camera that I developed a strong interest. I came to 35mm lenses because they were the most common lenses featured on the cheap film rangefinder and compact cameras I was using. They’re also classics for street photography. This year I wanted to try something more flexible and went
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back to using digital. Being in the street is always surprising. I try to be attentive to details, spending time looking for potential photos and how I can capture them. I think a good street picture is not about getting closer, it’s about being at a good distance. Sylvain Biard won third prize in LensCulture’s Street Photography Awards 2016. For more visit bit.ly/ StreetPhotoAward
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With young children to take care of there was no way I could attend university. People ask me how I manage everything; it is challenging but studying with the OCA makes me really happy. Photograph and words by student Sarah-Jane Field
LIVE | LEARN | CREATE
oca.ac.uk/rps
7
PRESIDENTIAL PLEA Members urged to vote on EGM 9
WALL OF FAME The pick of the UK’s exhibitions 12
ASPIRATIONAL ASK Call to help finish capital project 14
INFOCUS NEWS, VIEWS, EXHIBITIONS AND MEMBER INSIGHT
The Duchess of Cambridge takes her camera on official overseas tours
DUCHESS ACCEPTS HONORARY MEMBERSHIP Photography enthusiast becomes the latest royal to welcome Society association
GETTY
Her Royal Highness The Duchess of Cambridge has accepted a lifetime honorary membership from The Royal Photographic Society. The duchess, a keen and skilled photographer who has taken official portraits of
BOOK NOW!
her children Prince George and Princess Charlotte, is the latest in a long line of royals to be associated with the Society. Prince Albert and Queen Victoria were early patrons of the Society, and Queen Victoria granted the Society use of the title Royal in 1894. The Duchess of Cambridge joins other official royal INTRODUCTION TO YOUR DIGITAL CAMERA WORKSHOP
photographers who are members, including Josh Olins, Matt Porteous Jason Bell HonFRPS and Christopher Jackson. ‘The Duchess of Cambridge has had a long-standing interest in photography and its history,’ said the Society’s chief executive Michael Pritchard FRPS. ‘She is the latest in a long line of royal
photographers and the Society is pleased to recognise her talent and enthusiasm through honorary membership. We look forward to a continuing relationship with her.’
To see some of the Duchess of Cambridge’s portraits, and to learn how to improve your child photography, turn to page 28
New digital camera for Christmas? Why not join this workshop at the Society’s HQ on 28 January? For details turn to page 66 VOL 157 / JANUARY 2017 / THE RPS JOURNAL / 7
8 | IN FOCUS |
PRESTON MAKES SYNGENTA SHORTLIST
From Yan Wang Preston’s shortlisted project, Forest
Journal-featured photographer among those in final selection
dialogue around key global challenges through compelling imagery. This year’s theme is Grow-Conserve. Preston, a British-Chinese photographer, has been shortlisted in the
Glemie Playing the Blues by Dave Jordano
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Professional Commission category for her series Forest. It explores the growing trend in China for building urban forests by transplanting trees from rural areas. Her work documents the trees’
struggle for survival in an alien environment.
The winning photographers will be exhibited alongside selected images at Somerset House in London, 9–28 March. See syngentaphoto.com
THE SIDE GALLERY REOPENS The Side Gallery, which closed in 2015 for redevelopment, reopened in October. The gallery, located at 5-9 Side, Newcastle upon Tyne, is dedicated to ‘showing the best in humanist documentary photography’. The current exhibition is Detroit: Unbroken Down, a long-term project by Dave Jordano focusing on the city at the heart of America’s
‘Rust Belt’. It is on show until Sunday 5 February, Tue-Sun, 11am-5pm, admission free. See amber-online.com/ side-gallery
FOREST, 2011, PHOTOGRAPHIC PRINTS © YAN WANG PRESTON; DAVE JORDANO
The six-strong shortlist for the prestigious Syngenta Photography Award includes Yan Wang Preston who featured in the May 2015 issue of the Journal. The award’s aim is to draw attention to and stimulate
| IN FOCUS | 9 FROM WALTER BENZIE HonFRPS
THE ROLE OF PRESIDENT
And how best to act for the Society
Y
PRESTON ON HER PROJECT ‘Under the current urbanisation in China, every city is eagerly building their concrete forests. To make these more liveable, they want to buy and build tree forests too. Young trees from nurseries are a default, but thousands of mature trees are sourced on the international market.’
COMPETITION
FLOWER POWER
The beauty of plants and gardens is celebrated in the relaunched Royal Horticultural Society Photographic Competition. It is open to amateur and professional photographers and has nine individual categories, with a £5,000 top prize. The judges include garden photographer Clive Nichols and the deadline for entries is 28 February. See rhs.org.uk/Promotions/ rhs-photo-competition
ou will now have received notice of an extraordinary general meeting (EGM), and considered the arguments for and against the resolution. If you have not yet used your proxy vote, then please do so (see rps.org/EGM1). As currently constituted, the president of the Society acts as chairman of the board of trustees (council) and represents the Society to the wider world. Although we have a charitable remit, as a members’ organisation it has been a fundamental part of our ethos that all members have the right to stand for council – and in due course any member of council can put him or herself forward for election as president or vice-president. Currently, the president chairs the monthly trustees’ meeting. The EGM proposition would change our structure completely and seeks to elect the president from a small group of Honorary Fellows. This proposition was considered by the governance review committee, but was not included in their recommendations. As president, I attend as many events as possible, where I have the greatest contact with members and potential members. I enjoy such events in their own right, and learn a great deal from the conversations I have with members attending. I feel this gives me a better insight into what is going well, or what might need improving. My involvement with council puts me in a good
position to explain why certain decisions have been made – and perhaps give an insight into future plans. This contact is an essential part of the role. There is also a considerable amount of correspondence from all over the world, covering a very wide a range of topics; it requires a very detailed understanding of our operation to know how best to respond to the questions raised. This aspect alone would be very challenging for someone with little knowledge of the workings of the Society. Certainly, it would be desirable to give our distinguished Honorary Fellows more opportunities to share their skills with us – perhaps by giving lectures, contributing to some of our publications and being selectors for some of our exhibitions. Such involvement would be welcomed, and it should also be offered to our direct Fellows. The majority of council voted against the EGM proposition and I hope you too will give us your support in ticking the ‘No’ box. Walter Benzie HonFRPS President of The Royal Photographic Society
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10 | IN FOCUS |
FOUR TO EIGHT YEARS’ SERVICE Liz Hale LRPS Alan Hale ARPS Peter Phillips LRPS Hilary Britland Dickie Duckett FRPS Olivio Argenti FRPS Peter Hayes FRPS Roger Force FRPS Michael Tibbs LRPS EIGHT TO TWELVE YEARS’ SERVICE David Bathard FRPS Ray Spence FRPS Douglas May FRPS TWELVE YEARS’ AND OVER SERVICE Brian Jeffs FRPS Ian Bateman FRPS Keith Leedham FRPS Keith Scott FRPS John Long ARPS John Hankin LRPS Rikki O’Neill FRPS Nicholas Despres FRPS Andrea Liggins ASICI FRPS Clive Rathband FRPS OBITUARY
John Bradford, Canada Chapter organiser, died on 8 December aged 83 after a short illness. He was the driving force behind Canadian Image Maker, the chapter’s publication. The Society sends its condolences to his family.
CELEBRATED ENGINEER GIVES ANNUAL SOCIETY LECTURE Combined Royal Colleges Medal recipient is honoured
The 2016 Combined Royal Colleges Lecture was given on 15 November at the Royal College of Surgeons in London by Dr Gavriel Iddan D.Sc. He spoke about his work in the invention of capsule endoscopy. Afterwards, he was presented with the 2015 Combined Royal Colleges Medal, as he had been unable to attend the 2015 awards ceremony.
Dr Iddan (centre) receives his medal from Society president Walter Benzie HonFRPS (left) and Professor Afzal Ansary ASIS FRPS
INVENTOR OF THE PILLCAM ■ Dr Gavriel Iddan is an electro-optical engineer who used to work on developing guided-missile technology. In 1981, he had the idea for making a pill-sized camera that could be swallowed by a patient and used for examining previously inaccessible parts of the intestines and bowels. ■ By the mid-1990s, technology had advanced to allow the development of Dr Iddan’s idea. He patented capsule endoscopy in 1997 and it was approved by
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America’s Food and Drug Administration agency in 2001. It is used in the detection of intestinal tumours and helps identify conditions such as Crohn’s disease. ■ The PillCam is fitted with flashing LED lights and, after
being swallowed, transmits around 30,000 images to a recording device worn by the patient for 8-10 hours. It has now been used on more than 1.5 million patients in over 75 countries and has transformed the field of gastroenterology.
DR MICHAEL PRITCHARD FRPS
RECOGNISING VOLUNTEERS
| IN FOCUS | 11
365 AURORA BOREALIS By Roger Marks LRPS A few years ago I joined a tour to Lapland led by Robert Canis to photograph the autumn colours. A nice consequence of being in the right place at the right time, a truly magical aurora display presented itself during one very late night. Coupled with the excitement of witnessing this event for the first time and the inevitable battle to capture an image that reflected the moment adequately, it proved a challenge and great fun. This image was taken with a Canon EOS 40D, 10-20mm lens at 10mm, f/3.5, ISO 3,200, 30 seconds and processed using Adobe Lightroom.
NOVEMBER’S ONLINE COMPETITION WINNERS
NIGHT IMAGES
GET INVOLVED
Submit photographs for the next competition at rps-365.org
DERELICT ABANDONED PLANE By Susan Leonard LRPS Imagine the scene: I’m in Iceland, it’s freezing cold, it’s windy and the landscape is barren
RAINDROP MIGRATION By Kevin James This picture was taken using my Fujifilm X100T, which I carry everywhere with me. It fits in a pocket but is very capable. I was on my way home from a football game, looking for any opportunity to capture something interesting, and it was raining. I felt that the chances of getting a sharp image in the prevailing light were slim, so I aimed for something deliberately blurred. I kept walking, set the shutter speed to 1/15th
and let the camera do the rest. I took some quick shots of the walking crowd, shadows and lights on the
pathway, then noticed the raindrops, bouncing towards the gutter. It was an experiment really, just for fun.
except for an abandoned plane. My new Canon EOS 5D MkIII with its EF24-105mm f/4L IS USM lens were mounted on my trusty Manfrotto tripod.
I found my composition at 65mm, locked everything into place and waited. After several hours the moon rose, giving almost daylight and then the northern lights
started dancing. This shot was taken using a six-second shutter speed and I used Lightroom CC and Photoshop CC to process the resulting raw file.
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12 | IN FOCUS |
WHAT NOT TO MISS TAYLOR WESSING PHOTOGRAPHIC PORTRAIT PRIZE 2016 National Portrait Gallery, London UNTIL 26 FEBRUARY
Winning and shortlisted images from the famously eclectic contemporary portrait competition, open to amateurs and professionals around the world. This year the £15,000 top prize was won by Swiss-Italian photographer Claudio Rasano, for an image from his series Similar Uniforms: We Refuse to Compare. npg.org.uk/photoprize
UNTIL 5 FEBRUARY
The Landscape Photographer of the Year competition, founded by Charlie Waite FRPS, celebrates
THE RADICAL EYE Tate Modern, London UNTIL 7 MAY
This display of modernist photography comes from one of the world’s greatest private collections – that of Sir Elton John. The exhibition features more than 150 rare and vintage works from 70 artists, including Man Ray, Edward Steichen and Dorothea Lange. tate.org.uk
the UK’s natural and urban landscape. This exhibition at Waterloo station showcases the winning and commended images. The winning shot, of Brighton’s West Pier through a swirling flock of starlings (above), was taken by Matthew
THE JILL TODD PHOTOGRAPHIC AWARD Stills Gallery, Edinburgh UNTIL 22 JANUARY
This award, established in 2012, is open to fine art and photography graduates in Scotland, Northern Ireland and the Republic of Ireland, with the aim of promoting early careers in photography. The exhibition features work by three winning and six commended entrants. stills.org/exhibitions/current
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Cattell, and was praised by Waite as an ‘intriguing’ image with a palpable sense of movement. Admission is free and the exhibition will afterwards be on show at other stations. take-a-view.co.uk
THE PSYCHIC LENS: SURREALISM AND THE CAMERA Atlas Gallery, London UNTIL 28 JANUARY
This explores how the avant-garde Surrealist movement, launched by André Breton in 1924, has influenced photographers. Images by Horst P Horst, Bill Brandt and Man Ray, plus less familiar artists, are among the 50 works on display. bit.ly/thepsychiclens
FOX TALBOT: DAWN OF THE PHOTOGRAPH National Media Museum, Bradford UNTIL 8 FEBRUARY
An exhibition on the life and work of photographic pioneer William Henry Fox Talbot, focusing on his revolutionary invention of the negative-positive process. The display includes original prints from his publication The Pencil of Nature and explains the influence of Talbot’s technology and techniques on his contemporaries. nationalmediamuseum.org.uk ALSO SHOWING
Bowie by Duffy Proud Chelsea, London 6 January – 5 February The Queen, The Chairman and I Impressions Gallery, Bradford Until 18 March Tabula Rasa II Street Level Photoworks, Glasgow Until 5 February
MATTHEW CATTELL; DAVID CANTOR; HENRY FOX TALBOT; BILL BRANDT; MAN RAY
LANDSCAPE PHOTOGRAPHER OF THE YEAR 2016 The Mezzanine, London
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14 | IN FOCUS |
April deadline to capture remaining capital boroughs A Real Stag Do by Spyros Gennatas LRPS
Breathing London is a project organised by the Society’s London Region in which the diversity of the capital’s open spaces is being photographed by residents and visitors. It has now been running for a year. Organiser Judy Hicks
LRPS says: ‘We currently have 5,000 images but still have many places to photograph and are definitely looking for more.’ The project is open to Society members and nonmembers to upload images to
GET INSPIRED BY SUSAN DERGES Honorary Fellow will present her work in Manchester this month Susan Derges HonFRPS is to give a talk in Manchester at which she will discuss her work using cameraless photographic processes. Derges began her career as a painter and has developed techniques that allow her to explore nature in new ways, using the outdoors as her darkroom. The talk is part of a programme of photography events presented by Redeye. For details, see redeye.org.uk
HOW YOU CAN HELP
Organisers are looking for volunteers to oversee particular boroughs and build a team who will help track down diverse and interesting sites
the Breathing London website. Fees are £10 for Society members and £15 for non-members. It will close on 17 April.
To get involved, see breathinglondon.co.uk
DISTINCTIONS SUCCESSES 10/16 LRPS multimedia Megane A’herne, Caerphilly 11/16 LRPS John Bernard, West Lothian Chris Bussicott, Surrey Jill Denis, West Sussex Elke Epp, West Sussex Brian Flemming, Midlothian Nick Hillman, South Yorkshire Mike Hilton, Surrey Graham Land, Surrey Janet Lowe, Kinross-shire Glenn Porter, Vale of Glamorgan Jacqueline Powell, Wiltshire Philip Renouf, Hampshire Adrian Robbins, Aberdeenshire Paul Shilliam, East Sussex Michael Spurway, Kent Sarah Toon, Norfolk Janice Clark, Gloucestershire Linda Ewing, Lincolnshire Louise Latham, Nottingham June Milner, Hampshire Der Mits, Switzerland Paul Morgan, Berkshire Margaret Roberts, Lincolnshire Robin Simmons, Northamptonshire Susan Swain, Nottinghamshire Trevor Thurlow, North Yorkshire Sarah Townley, Hampshire 12/16 LRPS exemptions Stephanie Farmer, Lockerbie Robert O’Halloran, Ireland Kevin Carter, Surrey 10/16 ARPS multimedia Alan Tyrer, Cleethorpes 10/16 ARPS travel Gregory Lambert, London Claudia Xiaoli Lee, Taiwan Susilawati Luard, London Anthony Michael Spooner, Devon 11/16 ARPS exemptions Caroline Anne Brown, Cambridgeshire Alison Sarah Cable, Kent Gary Costello, Lancashire 11/16 ARPS REAP Emma Wood, London
An Evening with Susan Derges will be at the Geoffrey Manton Building (Lecture Theatre 1), Manchester on 25 January, 6:30pm-8pm
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12/16 ARPS exemption Anthony Boyer, Worcestershire 11/16 FRPS REAP Robert Crow, Wiltshire
SPYROS GENNATAS LRPS; SUSAN DERGES HONFRPS
FINAL PUSH FOR BREATHING LONDON
BOOK REVIEWS
| IN FOCUS | 17
ON READING Steve McCurry Phaidon (£39.95) Conceived as an homage to André Kertész’s 1971 book of the same name, the Honorary Fellow’s latest is a collection of images of people reading, taken over nearly 40 years of international travel. What sounds a rather niche subject is, like Kertész’s original, an intriguing study of the power of the written word. People are shown engrossed in reading as they run market stalls, wait for a train or casually lean against an elephant.
Honorary Fellow Sebastião Salgado has beautifully captured otherworldly scenes of destruction and danger
A DANTEAN VISION
KUWAIT, 1991 © SEBASTIÃO SALGADO / AMAZONAS IMAGES
Gulf War images document an environmental catastrophe KUWAIT: A DESERT ON FIRE Sebastião Salgado Taschen (£44.99) After a 45-year career, Sebastião Salgado HonFRPS is rightly acknowledged as one of the world’s greatest photojournalists. His projects have usually addressed major social or environmental themes and have been carried out in numerous countries over several years. Kuwait: A Desert on Fire is different: it’s a response to a sudden environmental crisis, produced over a short period during the Gulf War in 1991. The war began after the Iraqi army, under Saddam Hussein’s command, invaded Kuwait in August 1990. Six months later, after extensive aerial bombardment by coalition forces, the ground campaign to liberate Kuwait began. As the Iraqis retreated, they adopted a ‘scorched earth’ policy and exploded and set alight around 700 oil wells, causing an environmental disaster. This was the ‘Dantean landscape’ in which Salgado arrived in April 1991 on assignment for the New York Times. ‘All around,’ he wrote, ‘thick pillars of crude
oil spewed into the sky before falling back to earth to form treacly black lakes that, without warning, could become gigantic infernos.’ Salgado’s job was to photograph the work of hundreds of expatriate oil experts, technicians and firefighters who had the extremely difficult and perilous task of bringing the fires under control and capping the wells. Salgado himself endured hours of scalding heat, noise and toxic fumes; the temperature was so high it warped one of his lenses. The resulting photographs capture the drama and danger of the situation, and the bravery of the men battling to contain the fires. Salgado’s extraordinary black and white images show bright, billowing clouds of flame against the smoke-filled sky, while exhausted workers, covered in oil, look like polished metal sculptures. These images, many of which have never been published, demonstrate Salgado’s ability to go beyond the limits of news photography and create powerful and lasting artworks. DAVID CLARK
ESSENTIAL ELEMENTS Edward Burtynsky Thames & Hudson (£45) This retrospective of Canadian documentary photographer Edward Burtynsky’s work includes images from the 1980s to the present. His photographs concentrate on humanity’s impact on the planet; huge factories, shipyards, car plants, oil fields, mines, quarries and mountains of waste. Although these sometimes abstract images are often spectacular in themselves, it’s sobering to realise they depict environmental damage on a vast and unprecedented scale. FARMED Paul Hart Dewi Lewis (£35) Hart’s book explores the Fens, focusing on the modern agribusiness that has shaped them. His black and white analogue prints show the flat landscapes where straight dykes and furrows of dark soil stretch to the horizon. He highlights features that tell the region’s story: abandoned houses, pylons and functional modern farm buildings. There are echoes of Fay Godwin’s work in these absorbing, beautifully crafted images. VOL 157 / JANUARY 2017 / THE RPS JOURNAL / 17
18 | JANUARY WHAT ARE DISTINCTIONS?
Distinctions are standards of achievement recognised throughout the world
LRPS Applicants need to show good photographic competence in five key areas
Original and innovative Five recent Fellowship successes share their portfolios
Just as the chair of the Distinctions advisory board prepares an article for the ROY ROBERTSON HonFRPS CHAIR, Journal on the FELLOWSHIP BOARD lack of multimedia submissions (see last month’s issue), the Fellowship board recognises a submission in the category by Max Robinson FRPS. Night Train to Kazan, a documentary on the concert pianist Rustem Hayroudinoff, looks at the Hayroudinoff family history over four generations, using archive film, re-enactments and interviews, presenting a compelling story. It is always difficult to define ‘Fellowship’ in a category where no Fellowship has been awarded previously, such as multimedia. It was considered that this submission – with filming, sound recording, camera work, editing, lighting, directing and overall production by the applicant – produced a distinguished piece of work, which will be used to promote Hayroudinoff’s recordings. The film can be seen at maxvmax.com Three successful Fellowship submissions in the creative category showed
very different approaches in how the medium of photography can be utilised to promote a concept. Alastair Cochrane explored the inventiveness of Frank Gehry’s Museum of Pop Culture building in Seattle, mirroring the manner in which the building changes as one changes one’s viewpoint, producing an intense, dramatic series of images. Contrasting with this, Steven Le Prevost’s successful submission was based on the creation of an atmosphere of nostalgia, with gentle images and warm tones and colours. The third creative submission, from Catkaling, presented a world in which fireworks come to life, in a totally original submission based on the culture and dreams of her childhood, realised through her photography. In the pictorial category, Lee Yuk Hung references an aspect of Chinese traditional art – oriental ink-wash paintings – with landscapes in the derelict earthen walls of abandoned villages. Five beautifully realised submissions, each of which, through merging concept, imagination and technical excellence, is worthy of Fellowship of the Society. My congratulations to them all.
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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
GO TO
BIT.LY/ FRPSPORTFOLIOS FOR MORE FRPS GALLERIES
CLOCKWISE, FROM LEFT
… where glamour blinks, and splendour winks … To the ninth moon orbiting planet Earth at 807°N, where words never hurt Bouquets of rubies carved across the night sky … when land may sink, and fish may land … Acropora ablaze with adorable urchins
CREATIVE
Catkaling Fireworks Alive – from light trails to pointed bokehs CONCEPT The portfolio is a fairy tale in pictures. When a couple of – what I call – firework blossoms pluck up their courage and jump into the inky water, their amazing adventure begins. They brave the jellyfish jungle in the ocean, and thrive in the underwater world. They climb on to land and bloom inside forests. They reach the human world and then land on alien territories.
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20 | DISTINCTIONS |
Beauty is what is within my grasp, almost
MOTIVATION In my childhood, I visualised fireworks in the sky transforming themselves into flowers or creatures coming into life. I hope to
paint a world where fiery sparkles can dance in the woods and creatures of all sorts can coexist in harmony.
HANGING PLAN
‘A totally original submission’
FACT FILE
An adventurer who has conquered the highest peaks in Europe and Africa, Catkaling strives to capture images in an adventurous fashion. Her mission is to venture into the unknown, well prepared 20 / THE RPS JOURNAL / JANUARY 2017 / VOL 157
DEVELOPMENT To paint the motifs in my images, including sea urchins, flower blossoms and flying creatures, using photographs of fireworks, I
experimented with a variety of focus-ring techniques – a combination of focal length, shutter speed, aperture and timing.
MULTIMEDIA
Max Robinson ‘I felt this was a very powerful story, full of emotion’ FACT FILE
Originally from Doncaster but living in Switzerland, in 2003 Robinson set up a charity to build a school for children of disabled veterans of the Ethiopian civil war. He spends about half of each year in Ethiopia and uses his photography to raise funds and awareness for the school
CONCEPT Night Train to Kazan tells the remarkable story of Rustem Hayroudinoff and his family. Hayroudinoff is an immensely talented concert pianist and professor of piano at the Royal Academy of Music in London. I travelled with him to Kazan
in Russia earlier this year to interview him and his family in the home where he grew up. His family has a most incredible history and this video documents their musical talent and their story of survival and reunion against all the odds. MOTIVATION I felt this was a very powerful story, full of emotion, and to tell it I had to use a lot of creativity and different
techniques, including reconstructing historical events using actors. Moreover, being able to include Rustem Hayroudinoff playing the tremendously emotional and evocative music of Sergei Rachmaninoff enabled me to reinforce the emotions captured in the documentary of struggle, sadness, optimism and the violence of the Battle of Stalingrad. DEVELOPMENT My Associate portfolio was a set of colour prints and depicted the colourful images of people in Rajasthan, India. The Fellowship portfolio required me to raise to a high standard a different set of skills, such as sound recording, editing and narrative. Using music to create a mood and reinforce it in harmony with the images was challenging, but very satisfying. Directing actors was a new experience for me, but one that gave good results and was appreciated by the family whose lives were depicted in these reconstructions. Clockwise, from top left: Rustem’s grandmother, played by an actress, sees her husband and son after a gap of several years; the entrance to the Kremlin in Kazan, Russia; early-morning shadows of people on Waterloo Bridge, London; Afzal Hayroudinoff on his 92nd birthday; Hayroudinoff reading his own death certificate; a reconstruction of a reunion at Moscow Kazan railway station; concert hall of the Moscow Music Conservatoire; Hayroudinoff performs music by Sergei Rachmaninoff at the Royal Academy of Music, London
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CREATIVE
Alastair Cochrane
Frank Gehry and Jimi Hendrix inspire this panel of architectural images FACT FILE
Photography has been a part in Cochrane’s life since his schooldays. An architect, he believes the visualisation needed for design work gives a personal approach to his photography regardless of the subject matter RIGHT
Manic depression – jagged edges of the brain BELOW
Drifting – lost in space
CONCEPT I have used my original photographs of architect Frank Gehry’s Museum of Pop Culture building in Seattle to produce new abstract images that explore its curving, multicoloured metal planes, which have been inspired by Jimi Hendrix’s smashed guitars. Frank Gehry is recognised as one of the leading architects of the past 50 years, noted for creating innovative and inventive forms, using purpose-built software to produce drawings that refine the design and enable construction. MOTIVATION In a technical sense, it was out of my comfort zone and, in photographic terms, involved me learning new skills. But, I considered the subject to be sufficiently individual in terms of content and creativity to be worthy of a Distinction. DEVELOPMENT My photography has mainly been a record of daily life. However, when I retired I visited the USA several times to see architecture I had read about earlier in life. These visits produced a large collection of photographs, mostly of a travel or record nature, but I felt that some were worthy of further exploration, and from this my ideas developed into what ultimately led to my Fellowship images.
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| DISTINCTIONS | 23
Love or confusion – interplay of emotions
HANGING PLAN
‘An intense, dramatic series of images’
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24 | DISTINCTIONS |
CREATIVE
Steven Le Prevost
‘My aim is to create a picture that has a “distressed” look’ CONCEPT For the past decade, I have been portraying an atmosphere that evokes a 21st-century Impressionism. As my style of photography has evolved, I am moving away from clinical sharpness to create a picture that has a ‘distressed’ look. MOTIVATION These pictures were captured at an agricultural show, celebrating Guernsey in Victorian times. A pageant takes place and a lot of people dress up in period costume. I prefer to stay in the background and photograph them from a distance as they entertain the crowds with all things of yesteryear Guernsey. DEVELOPMENT As a panel member for this category, I consulted the team in Bath regarding my application and it was agreed I should apply under an alias. I managed to excuse myself from being present on the days when my panel would be assessed in order to keep my anonymity. In the initial assessment, panel members felt my work should be resubmitted, replacing three images. This was done and in the following assessment panel members felt that a referral was the best route – just one tiny aspect, a shadow in one of the pictures, needed adjusting. Once this was completed the revised panel was finally recommended for Fellowship. I have to admit that the final panel is a whole lot stronger. 24 / THE RPS JOURNAL / JANUARY 2017 / VOL 157
FACT FILE
Le Prevost gained his first Fellowship in 2005 and has since developed his recognisable creative style. He is a Distinctions panel member and an invited member of the London Salon of Photography
MAIN IMAGE
Sarah with Rachel and Lucky
ABOVE
Miriam and sisters
LEFT
Henry and Prince
HANGING PLAN
‘Gentle images and warm tones’
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26 | DISTINCTIONS |
CLOCKWISE, FROM LEFT
Looming, Solitary and Rage
PICTORIAL
Lee Yuk Hung ‘A chance to combine two of my great interests – photography and Chinese paintings’ CONCEPT The portfolio shows photographic images of patterns on mould-stained
and lichen-encrusted walls. These evoke Chinese landscape paintings, both classical and contemporary. The walls are a reminder that aspects of rural life survive despite rapid urban growth. MOTIVATION During a photography trip to
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an old, walled village, I encountered these weathered walls. Staring at them, the seemingly accidental mould stains started to make sense aesthetically. Pictures started to present themselves before my eyes. These morphed every time I returned to look at them, and I felt a strong
desire to capture the images I saw with my camera. DEVELOPMENT For this portfolio, I used an SLR with just one 24-70mm zoom lens. I used only natural light. Creativity took precedence over technical considerations.
FACT FILE
Lee Yuk Hung took up photography in his teens, taking images of birds and other wildlife. Lately he has been exploring landscape photography HANGING PLAN
‘Landscapes in the derelict earthen walls of abandoned villages’
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28 | XXXX | XXXX
CREDIT SITS IN BOX 4MM DEEP
Prince George cradles his new sister Princess Charlotte
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FAMILY PHOTOGRAPHY
How a royal mother revealed her skill with a camera, and the love of her children THE DUCHESS OF CAMBRIDGE VIA GETTY
Prince George on his way to school, above, and his mother The Duchess of Cambridge, below
Her Royal Highness The Duchess of Cambridge, who has accepted an honorary membership from The Royal Photographic Society, may not be the first member of the British monarchy to step behind the lens, but she is the only one to have taken official portraits of her children which have gone on to be enjoyed by millions worldwide. A graduate in art history, the duchess’s talent for photography was
put into practice while working for her parents’ company Party Pieces back in 2008. She further exhibited her abilities while on official travels in Borneo with His Royal Highness The Duke of Cambridge in 2012, taking an impressive shot of a misty Mount Kinabalu. But it was her photographs of newly born Princess Charlotte in 2015 that really captivated the public. Taken at their home of Anmer Hall in
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Princess Charlotte enjoys a climb
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| FAMILY PHOTOGRAPHY | 31 PHOTOGRAPHING CHILDREN: WHAT THE DUCHESS DID By family photographer Saraya Cortaville STAY PATIENT Often, if you leave children to their own devices they will do something that looks lovely in an image, without too much interference. Guide your subject – never pose
1 ‘Having fun will produce natural smiles with real personality’
Norfolk, the charming pictures of the princess captured her cradled in the arms of big brother Prince George. The four photographs of the siblings were a sensation around the world, and unprecedented in royal portraiture. Never before had a member of the royal family authored the first official pictures of a new addition to the family. Since then the public have been treated to further shots of the princess, including some lovely photos of her playing outside in the garden. Let’s hope this is the start of a long-lasting tradition and that the duchess will share more wonderful photos of her young family as we watch them grow.
LIGHT AND LOCATIONS Natural light is soft on the complexions of little ones. In bright daylight, look for areas of shade to soften shadows, and try to pick a location that the child is familiar with, which puts them at ease
2
BE ENGAGED The best connection and expressions come when the child is engaged with the photographer. Talking, playing and having fun will produce natural smiles with real personality
3 ‘Natural light is soft on the complexions of small children’
THINK PLACEMENT Consider the subject within the frame and your own position. Dropping down to the level of the child makes for a far more engaging and personal portrait
4
PICK THE RIGHT TIME Aim to shoot child portraits in the morning, which gives the best chance for lively and energetic shots. The light will also be softer and more flattering
5
Saraya Cortaville hosts Society workshops on photographing children and babies. For details visit rps.org/learning Princess Charlotte takes her wooden block trolley for a walk in the gardens of Anmer Hall VOL 157 / JANUARY 2017 / THE RPS JOURNAL / 31
HOWLETT 32 | APPEAL | ROBERT
The moving story of Brunel’s forgotten photographer his year marks the 160th anniversary of one of the most iconic images of the Victorian era: Isambard Kingdom Brunel with the launching chains of the Great Eastern. The photographer was Robert Howlett, a man aged 26 who had already been commissioned by Queen Victoria and Prince Albert. But one year later he was dead. I have always admired the exceptional portrait of Brunel and marvelled at its continued impact more than a century and a half after it was taken, but I wondered about the man behind the camera – where was he now, and why was he almost completely forgotten? Locating his grave would take unanticipated levels of detective work. But on a cold October day in 2015 I laid a bunch of fresh roses on an old grave in one of the remotest churchyards in England. It was completely unidentifiable, with its heavy stone plinth supported by uneven brickwork and was indeed a sorry sight, anonymous and abandoned to the Norfolk wind and rain. Having contacted the helpful vicar I already knew that this was the final resting place of this young photographer, who died as he was looking forward to the greatest years of his professional life. This was the grave of Robert Howlett. I resolved to restore his grave, bring his photographs back to life and tell his story. This entailed extensive research into the elusive man’s
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Portrait of Robert Howlett by Benjamin Brecknell Turner, 1850s
life for a proposed rededication ceremony – but without the benefit of a will, diary, work documents or other archives. I discovered that his clergyman father had installed an ornate window at this church in 1858, celebrating its renovation, but ended the same year by attending his own son’s funeral at the eastern end of the graveyard. His sorrow was evident in the choice of large, coffin-shaped memorial displaying an inscription, now completely obscured, accompanied by a brass dedication inside the church, reading ‘To The Memory of a Beloved Son Robert Howlett’. In December 1855, a young Robert Howlett was elected to join the Photographic Society (predecessor of the Royal Photographic Society), established only two years previously, and led by the inspirational Roger Fenton. Membership was a recognition of ability and opened the door to commissions from royalty, the art world, revolutionary engineering and new illustrated newspapers. In four professional years Howlett established himself as a highly skilled, creative photographic artist willing to explore the boundaries of this uncertain medium and challenge the stiff conventions of Victorian society. With little more than a mahogany box, a brass lens and sheet of glass coated in photosensitive chemicals, he captured a rapidly changing world, preserving it as a window into history for us to marvel at centuries later.
VICTORIA ! ALBERT MUSEUM; GETTY
T
Rose Teanby ARPS celebrates the life of Robert Howlett, whose famous image of the engineering pioneer has long outlived the artist’s reputation, and appeals for help to restore his grave
CREDIT SITS IN BOX 4MM DEEP
XX XX
| XX | 33
‘IN 1855, A YOUNG ROBERT HOWLETT WAS ELECTED TO JOIN THE PHOTOGRAPHIC SOCIETY’ VOL 157/ JANUARY 2017/ THE RPS JOURNAL / 33
HOWLETT 34 | APPEAL | ROBERT
One invaluable resource has been the archived Royal Photographic Society Journal, which has captured the unbroken continuity in the progression of photography over 164 years. Howlett’s few published letters in the Journal were always full of genuine enthusiasm and an eagerness to pass on his latest discovery, in a typically understated manner: ‘Dear Sir, I think that an account of the first trial of Ross’s Petzval lens may not be uninteresting to the readers of the Photographic Journal.’ This was his last letter, in November 1858, telling of his delight at the images from his working holiday in France. Four weeks later he died. His early death brought the loss of a genuine enthusiast who tried, tested and experimented with all aspects of this new art form, turning his hand to most genres, including industrial construction, rural landscape, portraiture, photojournalism and reproductions. During one year he photographed the largest moveable object on the earth and the antennae of a gnat, such was his quest to test the limits of his own capabilities. In a wide-ranging portfolio he took photographs at the Epsom Derby and even risked prosecution to capture the Great Eastern’s launch on a Sunday. He complained of not having much spare time as he experimented with micro photography, followed by collaboration with a leading astronomer to help display early photographs of the Moon. No subject was too great a challenge. It seems inconceivable that the ground-breaking portrait of Brunel was captured only 18 years after the invention of photography itself, but has remained a significant image over 160 years, because in 1857 it was simply years ahead of its time.
Clockwise, from above: views of the Moon, in collaboration with Warren De La Rue, and the building of the SS Great Eastern, captured by Robert Howlett, and the photographer’s grave
Appeal leader Rose Teanby ARPS
| TO DONATE | VISIT JUSTGIVING.COM | 34 / THE RPS JOURNAL / JANUARY 2017 / VOL 157
So why should we be concerned about a grave in a remote churchyard in rural Norfolk? We should care because we are members of a photographic community which extends beyond the present day, back to Fenton and Howlett. We are all recipients of their pioneering legacy, with each subsequent photographic generation building on the solid foundation stone they laid. The obituaries in the Photographic Journal following Howlett’s death deeply lamented the loss of such a rising star, and a profound sense of shock was evident. Howlett’s grave symbolises the scale of the photographic world’s loss, of the missed opportunities to further his art. The Photographic News reported that ‘[b]y his death photography has lost a loving disciple – one who has done so much to promote and elevate this art’. We now have an opportunity to show that, as a community, we can care for one of our own whose legacy holds a unique status, eternally linked with Brunel, more popular now than ever. We can each play our part in cherishing the memory of a young man who was denied two thirds of his life and help to restore his forgotten grave to its former glory.
A fundraising page to restore Robert Howlett’s grave has been set up and donations can be sent to justgiving.com/crowdfunding/howlett-grave. The closing date is 15 January
ROSE TEANBY ARPS; GETTY
‘OBITUARIES DEEPLY LAMENTED THE LOSS OF A RISING STAR, AND A PROFOUND SENSE OF SHOCK WAS EVIDENT’
ROCHUSSEN 35 | INSIGHT | NICKY
Digital photography: creating and sharing better images The Royal Photographic Society and the Open University have developed an online course that will help you improve your photography Available worldwide for ÂŁ200 Suitable for beginners and those who want to achieve better results, the course is designed to give you the skills to tackle the LRPS Distinction The next presentation starts on 4 March 2017; registration closes on 17 February For full details see rps.org/online-courses Society members who pass the course will get a Royal Photographic Society Certificate in Photography* and access to a free Distinctions advisory day 35 / THE RPS JOURNAL / MARCH 2016 / VOL 156
*The certificate is also available to non-members for a small fee
2017 36 | WORKSHOPS |
IMPROVE YOUR PHOTOGRAPHY IN
It’s January, and time to set yourself some fresh challenges. Take your images to the next level with the Society’s new range of workshops By Rachel Segal Hamilton
YEAR IN PICTURES
The landscape photographer’s calendar 5 March 17 September Do you think that certain seasons provide less inspiration for landscape photographers? This workshop, led by Tony Worobiec FRPS, will make
LIGHTS, CAMERA, ACTION
Theatrical and creative dance lighting 11 February
Perhaps you’re already taking pictures of performers. Perhaps you’d like to in the future. Either way, this workshop will arm you with the photographic skills, creative ideas and confidence you need to capture dramatic images of dancers in a studio environment. Jon Gray and his team will be on hand throughout,
offering technical support, practical tips and theoretical examples. You’ll get hands-on experience of directing too, as you’ll work oneon-one with a model who is also an accomplished theatrical dancer in a fantasy horror bridesthemed shoot. Bowens lighting equipment is provided – just bring your DSLR and a tripod. Location Studio 1, Leigh, Surrey Level open to all
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you think again. In it, Worobiec will guide you through the year, month by month, exploring how different weather conditions can visually enhance a location – and what technical challenges they pose. He’ll discuss techniques and equipment – lenses, filters and other accessories
| WORKSHOPS | 37 GET PROFESSIONAL
Professional Photoshop retouching with Tim Daly 1 April 14 October Professional Photoshop colour control with Tim Daly 2 April 15 October These workshops are for photographers who have already taken introductory courses in Adobe Photoshop or have experience using the program and now want
to take their understanding of retouching and colour management to the next level. Tim Daly will show how to use cutting and retouching techniques to give portraits, product shots and composite images a professional finish. He’ll help participants master Photoshop’s colour settings to prepare images to a high standard in a variety of outputs, online and in print. Location Society headquarters, Fenton House, Bath Level intermediate/advanced
DON’T MISS
– but more than that he’ll encourage you to look with fresh eyes at your environment. Whether you’re based in a rural or an urban setting, you’ll come to appreciate the landscapes to be found right on your doorstep. Location Society headquarters, Fenton House, Bath Level open to all
These popular workshops from 2016 will run again this year. Make sure you book now, as they sell out fast.
1
Architecture photography at Holme Pierrepont Hall Date 24 February Location Holme Pierrepont Hall, Nottingham Level open to all
2 GORGEOUS GARDENS
Learning from history – photographing plants and gardens 22 April
Fascinated by flowers? Intrigued by trees? If the answer is yes to either question, you won’t want to miss this enlightening workshop with Philip Smith. As founder of International Garden Photographer of the Year and an acclaimed photographer in his own right, Smith knows a thing or two about shooting
plants. He’ll take participants on a journey through the myriad ways in which artists and photographers of the past have represented plants and gardens – giving you ample inspiration for your own photography. The second half of the day will be devoted to looking at and discussing your images, about which Smith will offer authoritative feedback. Location Society headquarters, Fenton House, Bath Level open to all
Art figure painting with light Date 18 March Location Studio 1, Leigh, Surrey Level open to all
3
Photographing landscape, whatever the weather, with Tony Worobiec FRPS Dates 25 June; 26 November Location Society headquarters, Fenton House, Bath Level open to all
4
Two day wedding workshop Dates 29–30 April, 10–11 June, 11–12 November Location The Manger Barn, Lacock Level open to all
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Photography Courses Studio Lavalette runs focused photo-holidays, in SW France, for photographers who want to get more from their cameras and improve their photo-editing skills.
New in 2017 are a limited number of courses designed to help you prepare for a photography qualification. For more details, please visit: www.studiolavalette.com
studio lavalette www.studiolavalette.com
holiday. focus. france
| WORKSHOPS | 39
THROUGH THE PINHOLE
Pinhole photography 13 May; 1 July; 16 September
LIGHTROOM LOVERS
Advanced Lightroom – how to organise your library with keywords, metadata and GPS 29 April 11 November Advanced Lightroom – creative editing techniques 30 April 12 November The more you shoot, the better you get – and the
more files you find yourself having to organise. So, it's probably a good plan to develop systems for accessing your pictures quickly and easily. In the first of two workshops, Tim Daly will reveal how best to take advantage of Adobe Photoshop Lightroom’s capabilities to keep on top of your expanding image library.
In the second workshop, Daly will show you how to get creative with Lightroom by using presets to edit your images and how to add sound clips to transform them into powerful multimedia slide shows. Location Society headquarters, Fenton House, Bath Level intermediate/ advanced
Digital photography advances every day, but analogue processes are having something of a renaissance in popularity. Dating back more than 1,000 years, the earliest forerunner for creating photographic images is the pinhole camera or camera obscura – essentially a lightproof box with a small hole in one side. At this workshop, Nigel Goldsmith will teach you about the history of pinhole photography and how photographers today are reinvigorating the technique by experimenting with it in new ways. What’s more, you’ll make your very own pinhole camera, take a series of pictures with it and learn how to develop them by hand in a darkroom. Location Society headquarters, Fenton House, Bath Level open to all VOL 157 / JANUARY 2017 / THE RPS JOURNAL / 39
40 | WORKSHOPS |
SPOTLIGHT ON … AMERSHAM STUDIOS 1,200-square-foot studio just outside London. As well as hiring out the studio for professional shoots, Amersham is the location for a wide variety of training courses, taught by an innovative bunch of professional photographers and digital artists. These
While many of our workshops take place at The Royal Photographic Society’s headquarters in Bath, the Society has also partnered with a host of other fantastic venues across the UK. One of these is Amersham Studios in Buckinghamshire – a purpose-built
PRIMED TO PRINT
Bring your own inkjet printer 10-11 June
A truly great image can be let down by poor printing. And the effect of great printing can be truly transformative. If you have your own inkjet, but struggle to produce the quality of
prints your pictures deserve, Tim Daly’s hands-on two-day course is for you. Bring your printer and Daly will give you the know-how to make the most of it. Location Society headquarters, Fenton House, Bath Level beginner
cover everything from shooting products or weddings to creating artistic composite images and turning your subjects into Halloween zombies using Photoshop. Photographer Simon Ellingworth, who runs Amersham Studios, as well as an educational website
AROUND THE COUNTRY
5
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4
6
A guide to some of the Society's workshop venues
8 10
9
1. Studio 1,Surrey 2. Holme Pierrepont Hall, Nottingham 3. The Manger Barn, Lacock, Wiltshire 4. Newton Arkwright buildings,Nottingham Trent University, Nottingham
| VISIT | THE SOCIETY HEADQUARTERS |
called Lightism, aims to make photography education accessible to all. With this in mind many of the sessions that take place at Amersham are also livestreamed and downloadable, making them available for an online audience worldwide.
2
3
1
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5. University of Chester Kingsway Campus, Chester 6. Ilam Hall, Peak District, Staffordshire 7. Exeter Cathedral, Exeter 8. Hawkeye Studio, Colerne 9. Westcountry Wildlife Photography Centre, Devon 10. Society headquarters, Bath
The exhibition from Jill Pakenham FRPS will run during the month of March at The Royal Photographic Society, Fenton House, 122 Wells Road, Bath BA2 2AH
42 | PROJECT |
ESTHER HARTSILVER Esther Hartsilver, a 32-year-old physiotherapist, was fatally injured by a lorry turning left from Denmark Hill into Orpheus Street SE5 at eight o’clock in the morning on Thursday 28 May 2015. The driver was subsequently cleared of wrongdoing at a trial in September 2016. 42 / THE RPS JOURNAL / JANUARY 2017 / VOL 157
END OF THE LINE
Mostly Left Turns documents the London locations where cyclists were killed, all but one of them by lorries, in 2015 Graeme Weston’s photography project Mostly Left Turns, which featured in the latest issue of the Documentary Group’s quarterly e-journal Decisive Moment, shows all the London locations where cyclists were killed in collisions with a motor vehicle in 2015. Weston wanted to show the last movements of the eight cyclists before they were struck and, more often than not, killed instantly. All of the victims were hit by leftturning lorries, bar Clifton James in Harrow
who was killed by a car. Six of the cyclists were women, Weston explains. With the help of a friend, he photographed a bicycle fitted with a bright light taking the same route as the victims’ final journey. Using a slow shutter speed he captured the light as it extinguished at the point the cyclists were struck. The project won the LensCulture 2015 Visual Storytelling Award and in September 2016 the Society exhibited the work at the Magic Gallery in Charing Cross, London. VOL 157/ JANUARY 2017/ THE RPS JOURNAL / 43
44 | PROJECT |
FEDERICA BALDASSA ABOVE
Federica Baldassa, 26, an Italian national working as a fashion buyer in London, was killed by a left-turning lorry at the junction of Bloomsbury Square and Vernon Place WC1 at 9.20 in the evening of Friday 6 February 2015 as she cycled home. The driver was not held to be responsible for the accident. CLIFTON JAMES LEFT
Shortly after midnight on Sunday 21 June 2015, Clifton James, 60, was hit by a car in Forward Drive, Harrow. Mr James, a mechanic, was returning from work and killed just moments from his home. Exactly how the accident occurred remains unclear. The driver was arrested at the scene on suspicion of causing death by dangerous driving. 44 / THE RPS JOURNAL / JANUARY 2017 / VOL 157
STEPHANIE TURNER
CLAIRE HITIER#ABADIE
ABOVE
BELOW
Stephanie Turner, a 29-year-old physiotherapist, was killed by a left-turning lorry at the junction of Seven Sisters Road and Amhurst Park N16 at 8am on Tuesday 20 January 2015. She was cycling to a patient appointment. The lorry driver was arrested at the scene and later jailed for six months after admitting causing death by careless driving. However, on appeal, his sentence was judged too severe, and the driver was released after serving little over one month.
Claire Hitier-Abadie, a 36-year-old French national and mother of two, was killed by a lorry as it turned left from Bressenden Place into Victoria Street SW1. Riding a hire bike, the accident happened at 8am on Thursday 19 February 2015. The lorry driver subsequently admitted causing death by careless driving. He failed to spot Mrs HitierAbadie as he had been tidying his cab while waiting for traffic lights to change, and did not indicate. He escaped prison as the victim’s husband asked for clemency.
HOW I DID IT TIME OF DAY My friend and I would set out at about 4am to arrive at the scene before dawn. Apart from the dawn light having a magical quality, it was the only time to get the streets reasonably traffic-free. LOCATION In London there is no time when the streets are completely empty. Even at sunrise we’d have to work between passing vehicles. We’d typically have about 30 minutes before the traffic became too heavy. EQUIPMENT All the shots are taken on a tripod-mounted Canon EOS 5D MkIII. Two of the shots were taken with a Canon 50mm f/1.8 STM lens, and the remainder with a Canon EF 20-35mm f/2.8 L lens. The exposures were typically between 20 and 30 seconds and the aperture either f/16 or f/22.
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46 | PROJECT |
MOIRA GEMMILL ABOVE
At 9.30am on Monday 9 March 2015 Moira Gemmill, 55, a former director of the Victoria and Albert Museum, was killed by a lorry that was manoeuvring left on the
northern roundabout of Lambeth Bridge on Millbank SW1. The lorry driver pleaded not guilty to causing death by careless driving at a brief hearing at the Old Bailey in September 2016. His trial is scheduled for next month.
AKIS KOLLAROS ABOVE
Akis Kollaros, a 34-year-old music producer born in Greece, was killed at 4.20pm on Monday 2 February 2015 by a left-turning lorry at the junction of Wardle Street and Homerton High Street E9.
The driver stopped at the scene, later pleading guilty to causing death by careless driving. He was jailed for 20 weeks. The driver did not indicate, use his mirrors, or stop at the junction before manoeuvring, killing Mr Kollaros instantly.
ESTHER HARTSILVER Esther Hartsilver, a 32-year-old physiotherapist, was fatally injured by a lorry turning left from Denmark Hill into Orpheus Street SE5 at eight o’clock in the morning on Thursday 28 May 2015. The lorry driver was subsequently cleared of wrongdoing at a trial in September 2016.
YING TAO ABOVE
Ying Tao, 26, a Chinese national and financial consultant, was killed by a left-turning lorry at Bank EC3 at 9am on Tuesday 23 June 2015 while travelling to work. The driver of the 32-tonne lorry stopped at the scene but was not arrested. In July 2016 an inquest concluded the driver was not at
fault. Evidence showed Mrs Tao had been visible in three of the lorry’s mirrors as it cut across her path, and that the driver had only started to indicate once he pulled away from the lights. Mrs Tao was criticised for cycling too slowly and being in an unsafe position, despite riding in a marked cycle lane.
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AUTHOR PROFILE Graeme Weston is a London-based photojournalist and social-documentary photographer. Rather than dealing in hard news, he tells stories using film and photographs. His focus is typically local
RPS GROUP For more information about the Society’s Documentary Group and how you can join visit bit.ly/DocuGroup
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RPS
THE
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ROYAL PHOTOGRAPHIC SOCIETY
Fujfilm telling your stories in the national photo press: every month, specially commissioned interviews and features on new work, exhibitions, books and specialist imaging services have been put in the press spotlight by Fujifilm.
If only Mich elang Wallpaper onelo could have used Fujifi lm the Sistine Ch apel…
WHEN A NEW restaurant commissione nature of the d a motorjob and who themed display might suggest a suitab for its bar area le media to print photographe on. “The first r Nick Turley step was to measu turned to and printed on CC Imaging and all the bays very re an Epson Stylus Fujifilm’s Wallpa carefully,” says 11880 64" inkjet Pro Media for help. per Nick, “and then printer. The whole to produce scale process was really Michelangelo drawings. Then straightforwa may have I had to produ The ink went rd. established the ce a down really well, visual design trend for ceiling and make any with no smudging with his celebr art changes they asked for. or banding, and, ated treatment At this stage importantly, of Sistine Chape I could the colours from go ahead and l, but the princip the produce the roll to roll also match le of creating rich finished artwork files, ed perfectly.” visual all at the Great care was above the heads entertainment “I chose to work correct sizes.” taken to ensure of visitors is still that the colour going strong Imaging in Leeds with CC s would be resista some to fading. “We because it was nt years later - albeit five hundred a lab I knew well did some tests in a 21st centur and I was aware where we coated format. y of their reputa the paper with tion for high cellulose spray,” a While the newlyquality printing and says Mark, “but opene attent quickl it d ion Waterwheel restau to detail. y became appare They advised Mark Senior of nt that the that Fujifilm Wallpa media was actual CC Imaging with Yorkshire might rant in Howden, would be the per ly really durabl output not share the on Fujifilm’s Wallpa perfect media and it wasn’t e same sweeping per Media to use.” require Halifax-based dimensions as quite lightweight d. It was also Nick provided the Vatican, this comprehensi despite comin faced were ensuri upmarket new ve printing rolls that were g in venue noneth ng we got the instructions and 42 inches wide, eless measuremen and sizes to CC our fear that ts spot on and sumptuous interio boasts a it might be difficu Imaging. Mark also of handling the r Senior, the lt to hang was non-standard setting for a remark that’s the unfounded. In company’s joint sizes and overlaps. able overhead short, MD says, “This Fujifilm has got artwork, design was a first for us but the product exactly ed and create “The images we knew we right.” d by photographe were created had the facilities to r Nick Turley. in Fujifilm Image cope and we Mark Hunte “There’s a motor also r felt software appreciated the confident that ing theme Fujifilm’s Wallpa fact that, like genuin running throug per media would e wallpaper, the hout the whole be up to Fujifilm produ restaurant,” says ct had the right “In fact, the only the job. Nick, “and we smell when it was wet issues we were briefed (“a little fishy”) by our , and it was pasted at putting togeth client to look up at the restau Fujifilm Imag er a selection rant eHunter by two profes of photographs sional paper Software that tapped into hangers working off a this and which would scaffol be displayed Fujifilm’s Image record the choice d. For the on the ceiling/wall Hunter produ of adhesive was in the bar area. ct manager Peter Erfurt Mav ready The idea was to create Hayward sugge mixed paste one complete this RIP softwa and sted to CC Imagin the mounting artwork that re, designed of the 24 prints g would becom that specifically for large and wide was achieved in just e an integral part use with format printe two days. of the decora rs, might be printing job. tion.” “The result is The spaces to perfect for this Senior produ breathtaking fill on the ceiling ct specialist ,” lab through comments Nick. came in a range Mark Wade then particular the set up. Image “Photographs of different sizes guided the Hunte cropping with of the ceiling look and Nick neede an accurate previe r delivers easy resizing, amazing, but d to tiling and they an image into don’t do justice that could unders find a pro lab borderless strips w and also offers the ability to the actual tand the unusu ‘wow’ Download a to divide - perfect for effect.” al trial version at: http://www.f a project of this kind. For more inform ujifilm.eu/es p Nick: www.inside-o ation see: utbranding.co CC Imaging: www.c m cimaging.co.u fuji-wallpapert.ind k
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Above: Carolyn Mendelsohn at the Salts Mill, Yorkshire, of her ‘In-Between’ portraits show of young girls, with one her young subjects, and Fujfilm’s Jon Cohen (photograph by Susie Lawrence). One of the exhibited prints, Alice (above right) won the RPS Gold Medal subsequently. Below: checking prints emerging from the system at CC Imaging in Leeds (photograph by Louise Rayner). See: www.ccimaging.co.uk
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London-based stand-up comedian Steve Best started taking a camera along with him to his gigs and over the years has used his ‘inside track’ status to build up an outstanding collection of images of his fellow performers For more information on Fujifilm Crystal Archive papers or to request a sample print please call Peter Wigington on 01234 572138, email photoimaging@fuji.co.uk or visit www.fujifilm.eu/uk/products/photofinishing/photographic-paper/
them to contribute a one-line joke and a few unknown facts about themselves. Although there had never been the intention to turn the series into a full-scale project, eventually there was enough material – pictures of around 450 comedians, ranging from famous names such as Jo Brand, Sean Lock, Lee Mack, Harry Hill and Sarah Millican through to complete unknowns who were just working the circuit compile a book, “I ran– to upstair Comedy Snapshot. s mortified and didn’t show my years.reaction Such waslegs thefor positive Eventually a friend commented to its appearance in 2014 that on her confusion my attitud itabout very quickly became obvious e to my ‘chunk andaI second realisedvolume that was called y legs,’ I was worryin nothin for, andg.atThe thistruth point Steve g about was were stick thin. It was decided thatridiculo he needed they to adopt us, funny a more attitude to his and a little sad, thatserious one throwaway comment photography. had created impact,for He begansotomuch look around buta it got more advanced camera that would still suit his candid approach and found what he was looking for by hanging out in Park Cameras and trying the kit that was on sale. The camera he fell for was the Fujifilm X-Pro 1 plus 18mm and 35mm lenses: “It was the perfect tool for me,” he says. “I loved its retro styling and, although it was
ALL OF THE PRINTS for Steve’s show were made by theprintspace, which is located right in the centre of Shoreditch, London’s creative hotbed. First opening its doors in 2007, the company has now grown to become one of the UK’s leading providers of professional photo and fine art printing services, offering printing, mounting and framing, both online and in-house. A firm favourite with creative artists and photographers, theprintspace’s award-winning service offers gallery-standard quality at affordable prices, which is why Turner Prize-winning artists and National Portrait Gallery award-winners consistently choose to work with them. Another service recently launched by theprintspace is thehub, a new online ordering system that allows users to store their images online for easy reprints and to create customised branded online art stores where they can sell prints of their work directly to the public. “We’ve been working with Fujifilm ever since theprintspace first opened,” says Dave Lucken, the company’s operations director. “After extensively testing a wide range of products we discovered that Fujifilm papers gave us the most consistent results and the most neutral prints, especially when we were working with black and white images, which can be very tricky to print on colour papers. “Steve was introduced to us via Fujifilm and we saw straight away that this project was a unique take on what you usually see at a comedy show. It was a rare, almost backstage, viewpoint on how a comedian might see their show, and we loved the work. The decision to print it all out on Fujifilm’s DP II Matte media was a simple one: it really suited the images and, in our opinion, it was going to be the best all-round paper in terms of being able to cope with the different lighting levels that Steve encountered in the course of shooting his images.” www.theprintspace.co.uk
RPS Gold Award winner chooses Fujifilm Fine Art Photo Rag
For info, call Peter Wigington on 01234 572138 email photoimaging@fuji.co.uk or visit: http://tinyurl.com/jd6b8ax
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Archi m Crystal gton ation on Fujifil call Peter Wigin or visit For more informsample print please o.uk st a ging@fuji.c aper/ photoima or to reque tographic-p nishing/pho 572138, email on 01234 ucts/photofi .eu/uk/prod www.fujifilm
Making the Prints
West Yorkshire-based portrait photographer Carolyn Mendelsohn has won a prestigious Gold Award at the RPS’s latest International Print Exhibition with her stunning image focusing on the complex transition from childhood to young adulthood. Carolyn opted for a painterly feel, using the Giclée process and output on Fujifilm Fine Art Photo Rag, a cotton 100% rag traditional fine art paper featuring a special, smooth matt coating. Says Carolyn: “I am thrilled that my ‘Alice’ image has been awarded this honour. The final judging is based on the print itself so the choice of paper was obviously very important to me. It had to do justice to the photograph. I sampled a selection of papers and then chose Fujifilm Fine Art Photo Rag because it has a depth and quality to it which is just so beautiful. It just breathes life and soul into the image.”
‘Inside me is still sat in the cup the gap-toothed small girl board dreamin who g of Narnia’ – Carolyn Men delsohn
‘Psst – tell me a joke and I’ll take your picture and make a real exhibition of you’ L ife as a stand-up comedian is no laughing matter. There’s endless amounts of travelling; hours of hanging around backstage just waiting to go on; the fear of encountering a difficult audience and too many late nights to mention, but still this is a career that those involved would never swap. In this ‘another night, another town’ environment Steve Best appreciates more than most just how unique this business is, and over the twenty years he’s been treading the boards he’s built up a special camaraderie with his fellow performers and a unique understanding of what makes them tick. “I realised some time ago that I was in a very privileged position to be on the inside of this profession,” he says, “and at that time I started to take a simple point and shoot camera along with me so that I could take some snaps of the people I met up with along the way.” Steve’s interest quickly morphed into a formula: he would take un-posed pictures of his subjects using available light, whilst at the same time asking
25/04/2016
‘Being In-betw
x 15" up to size from 11 print sizes ADVERTISEMEN T FEATURE – ranging in and 60 x 40" giant 40 x 30" on Fujifilm Crystal ced – was produ tly matching e paper, perfec individual Matt C-typ of the ach appro the fine art ers. the ed photograph orship enabl While spons show to of Modern Life Topography there was still a need for y her, toget come est Yorkshire-bas which to displa ge venue withined portrai t us photog a presti rapher ry wasn an obvio the 71a GalleCaroly enough to it, and Mende it big lsohn remem only was bersexhib onlyited too well e. Not choic that be magica to and potentially er of thel work awkwaallow a numb rd ageallbetwee split over n not childho and od her and becoming was toget y staff a young the galler and it’s proved , butadult, ying to be pricele of floors raging, suppl ss experie encou for her publicity. rtive andnce project/exhibi suppo tion. contacts andlatest information, The momen part of an t that stands y is also out forn as ‘First Carolyn MendeThe galler know lsohn schem the eepitom ative as her personalinnov e ofies in east l 150 galler ‘in-bet overyears – ween’ chape day’ Thurs (loosel defined as that by the yWhite agen,betwee coordinated n ten London, have a twelve whenLondo Time Out to childre have s, talks, moved Gallery nand from of freeonevent their ‘cute’ years 12 phase r sched butule regula havelate lab for the last tois mature yet openings on worked at the ted a mix into privat younge views adults)and month. “We nce we targe inciden was ic each an audie of graph the photo t at home and Thursday evening a balmy theonfirst ls within the evenin our openi r’s ng holdsumme curators,g.and of professiona She haddecid ed to plucke d up the day in June to take graphers, and courag Thurs e to mics within world, photo the Firsttairs er of e downs ssional acadea pair t.” venturon wearin largeg numb also the profe that ng marke of garish lime tage of the advan green of the housi attract on that shorts. its “I was only a small the politics that galleries get very visitorsthing Fujifilm with at the Gage. “It can Meanwhile, time,” industry says eveniIng,” had over 400 of supporting a she recalls, “but has ion was ry incredi tradit Galle self-co us long with nscious. The busy: the 71a bly shorts weren’topening night for previo – in tandem x newcomers exactly with Bayeu on an rs subtle, nship visito and relatio I remember .” also commercial years –downs itions walking several slowly tairs to exhib be met ation: the of by stretching back e a spons my or com commenting: ‘Oh mum Carolyn More Inform odernlife. checks prints emergi my – your legs graphyofmby Louise agreed to becom ng from the chubby!’ ursdays www.topolook so lgallery.org/first-thRayner. Below, Alice, Decem system at CC Imaging in Leeds, the work show. Photographs © ber 1st 2015; right, right this most of www.whitechape Carolyn Mende ry Eve, April 1st 2015. (photograph As a result of Galle 71a lsohn – see www.c walls of the arolynmendelso seen on the hnphot ve papers
me thinking about the in-between where we’re all age famous Salts Mill so vulnerable.” in Yorkshire where The more that it will be part of Carolyn ponder the ed this largely ignore that’s taking place Saltaire Arts Trail d group, the more from May 28-30. realised she had she “I can so relate discovered an engagi to my subjects,” personal project ng she says, , which has now “and I give turned into an exhibit who they are and them space to be ion, ‘Being In-betw to talk while I een.’ This was initially listen. Girls of this age are shown at the Artlink bombarded with Gallery in Hull advertising and and it’s moving market on to the ing aimed at ‘tweens’, but it shouldn’t define them.
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I wanted to take beautiful portrai ts of these girls and give them the opportunity to celebrate who they really are at this point in their lives.” As part of the process Caroly n invites each subject choice of clothes to bring their own along to the sitting just to make them – feel comfortable. also interviews She each pertinent questio girl and asks them ns – and for the Salts Mill exhibition the audio incorpo rating the girls’ voices was ‘soundscape’, createdincorporated into a by compo ser and choral trainer Graham Coatman.
The art of exh presentation ibition
Over the years Carolyn has becom e acutely aware of the need to present work effectively and for ‘In-Bet ween’ she decided to have slightly larger than the pictures printed life, and to mount them unframed to Dibond (alumin ium), which made them rigid and more robust. She also opted for a painter feel, achieved by ly using the Giclée process and output ting the work on Fujifilm Fine Art Photo Rag media, a cotton 100% rag traditional fine art paper featuring a special, smooth matt coating. “When I was invited to exhibit my growing body of work Gallery I was delight at the Artlink arts council fundin ed to receive g mount the exhibit to enable me to ion in the way I felt would best suit the photographs,” says Carolyn. “At this point I contac Chris Baxter, the ted creative directo r at CC Imaging in Leeds, to discuss what might be the best material to print on. He recomm ended test prints he produc Photo Rag. The ed simply breathtaking, for me were so we went ahead with the rest and the end result was stunning, way beyond what I originally hoped for. Every portrait just looks so real, which adds to the compelling nature of the show, and while the finish of prints is matt and the non-reflective they all rich in colour. The texture invites are to reach out and you touch them. “Those who see commenting about the work are always the print medium People love it, . and there’s no doubt that it brings out the best so grateful to have in the work. I’m been introduced Fujifilm Fine Art to Photo Rag.”
For information on Fujfilm Fine Art Photo Rag Paper see: http://tinyurl.com/jd6 b8ax
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Has a Fujifilm product featured in YOUR current success? If so, we want to know – contact us now! photoimaging@fuji.co.uk
YARROW 48 | BEST SHOTS | DAVID
WILD AT HEART
48 / THE RPS JOURNAL / JANUARY 2017 / VOL 157
DAVID YARROW
| BEST SHOTS | 49
David Yarrow traded in hedge fund management to become a best-selling nature photographer. But the two jobs are not so different, hears David Clark
VOL 157 / JANUARY 2017 / THE RPS JOURNAL / 49
YARROW 50 | BEST SHOTS | DAVID EXODUS Amboseli, Kenya, 2015 PREVIOUS PAGE
‘The wildebeest is an animal that most people don’t find attractive in itself, but here it’s combined with bad weather conditions to tell a story. I was in Amboseli late one afternoon and it was
LION KING Dinokeng, South Africa, 2014
clear from the menacing sky that a huge storm was coming. I got out of my vehicle and shot towards the shafts of light through the falling rain. Although the herd of wildebeest was running away from the camera it gave the foreground interest I need.’
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ive years ago, David Yarrow took an image that changed his life. On a trip ABOVE to South Africa, he photographed a ‘I wanted to take a picture shark attacking a seal. Although underneath a jumping lion. Working published internationally, after with Kevin Richardson, the animal subtracting the cost of the trip he behaviourist known as the ‘lion calculated it cost him $2,000 to whisperer’, I set up a situation in produce. ‘At that point,’ he says, ‘I felt I which the lion was encouraged to had inadvertently created the world’s jump over a muddy stream. I was in worst business model.’ a cage and my camera was in the However, six months later a Texan water, fitted with a 35mm lens. attorney nicknamed ‘Jaws’ saw the The shutter was triggered with a picture, phoned him and asked how PocketWizard remote. Just after much he would charge for a framed this frame was shot, the lion carried print for his office. Yarrow plucked a the camera away and partly ate it. figure out of the air: $6,000. Without Luckily, the flash card was fine.' hesitation, ‘Jaws’ said he would have three of them. ‘That was when the penny dropped,’ he says. Since then he has rapidly built an extraordinary body of nature and landscape work. Last year, he sold his financial business, Clareville Capital, to
50 / THE RPS JOURNAL / JANUARY 2017 / VOL 157
THE WOLF OF MAIN STREET Montana, USA, 2015 ABOVE
‘Although staged, I think this is one of my strongest images. After a day filming with a wolf in the mountains of Montana we found the quintessential American bar. I asked the owner if he minded me bringing the wolf in, then I asked if I could put it on the counter. I put chicken fillets either side of my neck, and lay with my camera pointing at the wolf as it came towards me. The ambient light wasn’t great so I had minimal depth of field to work with. I got this after several attempts.’
DAVID YARROW
| BEST SHOTS | 51
JAWS False Bay, South Africa, 2011 LEFT
‘I got fascinated by photographing sharks and spent a lot of time in South Africa with the aim of getting shots of them predating. They mainly feed on seals in the early morning, so I went out in a boat at 6am for several days. The chances of seeing it were not high and my friends thought I was nuts to even try it. After nine days in the boat I got this. I got quite emotional about it when I downloaded the picture. The gratifying thing, as a former sports photographer, is that it’s pin sharp.’
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YARROW 52 | BEST SHOTS | DAVID
‘I NOW WINCE AT SOME OF THE THINGS I WROTE, BUT I WAS RIGHT ABOUT THE ONLY WAY TO MAKE PROPER MONEY' focus on photography and is now one of the world’s highest-earning fine-art nature photographers. Although the 50-year-old Glasgow-born photographer was in finance for nearly 30 years, including spells as a stockbroker, sports photography was his first love. Named Young Scottish Photographer of the Year at the age of 20, he photographed the 1986 World Cup for The Times and the winter Olympics for the Allsport agency while still a student at the University of Edinburgh. After graduation, he was offered a job by Allsport but his father, a former chairman of Yarrow Shipbuilders, opposed his son working as a ‘snapper’. A career in banking followed, but he maintained his passion for photography, believing the two occupations aren’t as different as most people imagine. ‘Photography is about access,’ he says. ‘It’s about logistical research, homework and putting yourself in a position so that when it matters you use your experience with precision. My job in finance was to research key things and know them better than anyone else. That’s actually not very different from doing your homework on knowing how to take a picture of an elephant in Africa.’ 52 / THE RPS JOURNAL / JANUARY 2017 / VOL 157
He reacted to an ‘emotional divorce’ in 2006 by photographing landscapes in countries including Greenland, Iceland and Chile. This work resulted in his first book, Nowhere (2007). However, following the success of his shark picture, he concentrated on building a fine-art nature photography business alongside his fund-management work. Applying his financial brain to the photography market, in 2012 he wrote a discussion paper titled The smart way to monetise strong photography. It included an analysis of the business models of the two most successful photographers in his field at the time, Nick Brandt and Peter Lik. ‘That paper annoyed a lot of people,’ he admits. ‘I now wince at some of the things I wrote, but I was right: the only way to make proper money is to go via the fine-art market. Since then it’s been a journey and I’ve been fairly relentless in pursuing this objective.’ Yarrow’s ‘brand’ is all about creating powerful, striking images that celebrate the beauty of the natural world. He prefers shooting from low angles, often by lying flat on the ground, and his frequent use of wide-angle lenses gives his wildlife photographs a visceral, immersive quality.
DAVID YARROW
HEAVEN CAN WAIT Amboseli, Kenya, 2014
MANKIND III Yirol, South Sudan, 2014
| BEST SHOTS | 53
NUTS Kalimantan, Borneo, 2016
LEFT
BELOW
ABOVE
‘I got the clue for this from my 10-year-old son, who took a picture of a giraffe and I saw how the sun was lighting up its footprints in the dust. So we built an extension to the jeep's side that allowed me to go out on to a ladder and we went giraffe chasing in the final half-hour of the day. It was full-on intense; the car doing 40mph, the giraffe running at 40mph and me holding the camera with my head one foot from the dirt.’
‘South Sudan is still recovering from a civil war; it's a dangerous place where people have a lot of guns. Some 200 miles north of the capital, Juba, is one of the biggest cattle camps in the world. It’s very hard to reach and I was the first person to photograph it. The landscape is flat, so I took a ladder to get the elevation to make the picture go on … It is like Dante’s Hell, yet with a calm serenity to it.’
‘Jungles are the hardest places to do close-up, immersive animal photography. Humidity causes condensation in the cameras and light levels are often low. This is taken in an orangutan conservation area. To get close enough to this male there was no option but to get wet and I had to stand in swamp water up to my chest. I had some peanuts to get his attention and this was taken as he lunged forward.'
VOL 157 / JANUARY 2017 / THE RPS JOURNAL / 53
YARROW 54 | BEST SHOTS | DAVID KING KONG Volcanoes National Park, Rwanda, 2011 LEFT
‘Taking pictures of mountain gorillas in Rwanda is very difficult. Their natural habitat is very heavily vegetated and it’s pot luck as to whether the gorillas are in the open. If they’re not in the open, they’re less likely to do something, so I’ve mainly been restricted to studies of them, such as facial details. In this image, the expression on this adult male’s face is what makes the picture. He’s looking at me with utter contempt, as if he’s saying: “Get out of my life, you insignificant little person.”’
‘MAYBE IT’S INSECURITY THAT MAKES ME ALWAYS WANT TO DO BETTER … ' When dealing with dangerous animals, he often places his camera in the open and fires the shutter with wireless remote triggers while he’s at a safe distance in a vehicle or metal cage. This approach has created intimate images, but it’s also resulted in expensive cameras being kicked by elephants or half-eaten by lions. However, as a Nikon ambassador, his kit is supplied and repaired by the company. His skill, energy and determination have brought great success in a short time, but he continually aims to make even greater images. ‘Right now, I sell more of my genre than anyone else in the world,’ he says. ‘Do I get high on that? No, I just want to continue being the best I can be. I think I can build a legacy in terms of taking important and relevant pictures, as well as pictures that are aesthetically strong and as perfect as they can be. ‘I’m very tough on myself and there’s a relentlessness in my approach. Maybe it’s insecurity that makes me always want to do better. In finance there were always people who were better than me and that wasn’t going to change. That still happens but in what I’m doing now I don’t feel that quite so strongly. I feel if I do the best I can, it’s other people who are looking at me. It’s more in my hands this time around.’
Wild Encounters: Iconic Photographs of the World’s Vanishing Animals and Cultures by David Yarrow is published by Rizzoli. Signed copies, which include a limited-edition print, can be purchased from davidyarrow.photography, price £100. All of Yarrow’s author royalties from the book go to the Tusk Trust charity. 54 / THE RPS JOURNAL / JANUARY 2017 / VOL 157
DAVID YARROW
| BEST SHOTS | 55
EASTER SUNDAY Kibbish, Ethiopia, 2013 LEFT
‘The Suri tribe lives in the west of Ethiopia, near the Sudanese border. This is obviously a staged picture, and staging people when you don’t know the language and there are lots of kids running around can be a challenge. I needed their cooperation, so I had to know what to give them. I had done my homework and found that the tribe, bizarrely, really like Bic razors, because they do lots of creative things with their hair. They also like Bic pens, so I also arrived with plenty of those to give. It was taken on Easter Sunday 2013.’
MY PLACE OR YOURS Kaktovik, Alaska, 2016
IGLOOLIK Nunavut, Canada, 2013 LEFT
ABOVE
‘This is a very simple portrait of Simon Qamanirg, while he was building our igloo in northern Nunavut. Igloolik is the last place where the Inuit wear a little bit of traditional clothing, rather than going around in North Face. For me, the picture shows the power of working with a prime wide-angle lens, close to the subject. It was very cold, which shows in the frost on his face, and when it’s a big print you can see every little detail. This trip was the only time to date that I’ve had frostbite.’
‘Due to global warming, polar bears are increasingly hanging around human communities for food while they wait for the sea to freeze. So there’s a greater proximity between bears and people, and I wanted to convey that in an image. I had to take it at a time when it was dark enough to include the lights in the village, but light enough to take a sharp picture. To me, the bear’s nose and face are perfectly positioned – you can see it is smelling the air as the wind blows. I think it’s a very special image.’
VOL 157 / JANUARY 2017 / THE RPS JOURNAL / 55
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MUST TRY
JANUARY 2017
THE LATEST TECHNOLOGY, TECHNIQUES AND SKILLS
Kodak Ektra smartphone
W
Is this innovation by numbers or a real game-changer? Gavin Stoker investigates
hy should a camera phone take pride of place in the Journal? Well, because DSLR and high-end cameraowning photographers are the intended target for this Kodak Ektra smartphone, a licensed product from the Bullitt Group, based in Reading. This interesting and (arguably) brave development takes its name and inspiration from the 1941-issue Kodak Ektra camera – as well as the classic slogan ‘you press the button and we do
the rest’. We were able to get hands on with an Android ‘Marshmallow’-powered unit at its London launch. So what makes this think it can take on the likes of Samsung and Apple? The accent is very much on a phone that, yes, will let you make calls and surf the net etc – yet handle like a dedicated camera, plus a leatherette-style finish and grip that, for us, feels familiar to premium-end compacts. The ‘meat’, however, is a 21-megapixel-resolution camera
Price: £449.99 Sensor: 20.1MP one-inch Lens: 26.5mm f/2.0 Display: 5-inch full HD capacitive touchscreen OS: Android 6.0 More: kodakphones.com/ Ektra Summary: Introducing a smartphone dedicated to photographers may be making the most of the Kodak brand and associated goodwill, but it remains to be seen whether interest is sufficient
with optical image stabilisation plus a 26.5mm lens with bright/ fast f/2.0 aperture. We also get 32GB of internal memory, expandable via an optional SD card, plus a 5-inch full HD display. It has manual controls too, such as the ability to adjust shutter speed, ISO, focus, white balance and exposure. Video can be shot at 720P, 1,080P or at top 4K resolution, along with a retro Super 8-style option. Accessories include a black and brown leather slipcase and a more deluxe camera-type pouch. VOL 157 / JANUARY 2017 / THE RPS JOURNAL / 57
58 | THE CRAFT | LATEST KIT
2
1 3
Sony RX100 V £999.99
Olympus STF-8 Macro Flash £449.99
The 20.1-megapixel RX100 V which, with a DSLRsized price tag belying its compact and lightweight build, boasts the promise of the world’s fastest autofocus at 0.05 seconds, as well as the highest number of AF points on a sensor: 315 in total. Its 1-inch sensor is larger than the 1/2.3-inch chip found in non-premium compacts, and has been specifically developed for the camera, which features a 24-70mm zoom with f/1.8 maximum aperture allowing for flattering bokeh effects. With 4K video, and a 2.35 million-dot viewfinder, we get a lifelike relay of the scene before us in advance of the shutter button being pressed that should satisfy those who may otherwise crave an optical viewfinder.
So you’ve invested in an Olympus OM-D camera. What next? Perhaps an equally compact and lightweight STF-8 Macro Flash to sit atop it. Dust, splash and freezeproof – a world first for its type – this twin flash can be utilised outdoors and in the rain. With a guide number of 8.5 when both heads are fired, and 6 when firing one head, the heads can be tilted in a range of 60° upwards or 40° downwards and slid along the ring adapter. They can also be detached for added versatility and adjustment of shooting distance or angles. What’s more, flash output can be set by adjustment of two dials on the control panel to avoid overexposure and to precisely control shadows. The unit comes with a retractable diffuser.
Enhancements added to Sony’s 1-inch sensor premium compact sony.co.uk 1
GEAR SPY
Two heads may be better than one when it comes to macro flash olympus.co.uk
58 / THE RPS JOURNAL / JANUARY 2017 / VOL 157
2
Nikon D5600 From £799.99
Including 18-55mm VR lens
After action camera launches, Nikon returns to what it does best nikon.co.uk A pair of heavy-duty Nikkor lenses for Nikon DSLRs are on the way in the AF-S Nikkor 70–200mm f/2.8E FL ED VR, a full-frame FX-format telephoto zoom, aimed at pros at an asking price of £2,649.99 – plus the new PC Nikkor 19mm f/4E ED tilt-shift lens. The latter is likewise designed for its full-frame cameras and enables photographers to exercise control over the lens’s focal plane and create images unaffected by convergence. At £3,299.99, the lens’s 19mm angle of view is being touted as ideal for large structures and spaces, with the optical construction ensuring minimal distortion.
This APS-C-sensor incorporating DSLR is pitched at those wanting a larger image resolution – 24.2 megapixels in this case – for producing bigger prints. It also features a flip-out, variable-angle LCD touchscreen, which enables a variety of creative shooting angles. With an ISO range from 100 to 25,600, and built-in wi-fi, we also get Nikon’s SnapBridge Bluetooth technology for synching the camera with a smart device. We’d probably choose the 18-140mm VR zoom lens kit at a manufacturer’s suggested £989.99, in order to get the one optic that (nearly) does it all, over the standard kit including 18-55mm VR lens at £799.99, while other accessories can further expand creativity. 3
| THE| INSIGHT CRAFT | |941 59
NICKY ROCHUSSEN MEMBER TEST
5
4
Olympus OM-D E-M5 II
M Ricoh Theta SC £249.99
Leica Summaron-M 28mm f/5.6 £1,900
Ricoh has added a ‘standard class’ model to its 360°-shooting Theta line-up. Retaining the same upright design, the SC is aimed at firsttime ‘all rounders’ and includes a full range of basic features plus solid specification, including 14MP effective output and full HD videos, while being compact and lightweight. Allowing users to capture and share videos in the round to smartphones and tablets, there is a dedicated website – theta360. com – for sharing them on. The Theta SC comes supported via a range of optional accessories including a waterproof TH-2 hard case (not, however, designed for underwater shooting), which also provides a tripod socket into the bargain.
Reportage photographers may want to take note of new version of a classic in the Summaron-M 28mm f/5.6 wide-angle lens – introduced as a screw-mount in the 1950s. With a depth-of-field scale for precise adjustment, the lens is designed for Leica’s M rangefinder system; the pitch being that it will deliver an analogue look for fans of retro while the blend of extreme depth of field, natural contrast rendition, excellent resolution of detail and visible vignetting can help create a ‘visual signature’. Capable of shooting from one metre to infinity, and designed for unobtrusive, reportage-style use, the lens exudes the quality expected from the brand. Even the hood is machined from solid brass.
Shoot in the round with this minimally styled 360° camera ricoh-imaging.co.uk 4
New interpretation of a classic lens aimed at Leica M-owners leica-camera.com 5
y main aim when testing this was to find a camera that would be durable for travelling, with impressive image quality. Aesthetically, it’s stylish, it felt durable and comfortable, and the side grip allowed me to shoot one-handed easily. The fully articulating rear touchscreen made it easy to get shots that could otherwise be awkward, yet this feature could be easily disabled (I’m not a fan of camera touchscreens). A viewfinder is a must for me, so I was pleased. A handy sensor turns on the viewfinder when needed, but I noticed an annoying lag in the time it took switching from touchscreen to viewfinder. The camera’s numerous external controls mean most shooting adjustments could be done without trawling through menus. The customisability of these buttons ensured
‘It’s good for day-to-day use and would be great for travelling’
an intuitive and tailored shooting experience. Mainly used for lots for personal photos, I found myself throwing the camera in my handbag wherever I went – which I never do with my heavy Nikon D750. My biggest complaint is the battery life. It claims to manage 310 shots per charge but I never experienced this. The Olympus won’t replace my Nikon for my professional work, but it’s good for day-to-day use and would be great for travelling. Although I’d definitely need a spare battery or two.
AUTHOR PROFILE LEIGH EROS A fine-art and conceptual photographer based in Edinburgh, Eros worked as a vet for many years before finding her passion. See leighbishopphotography.com
VOL 157 / JANUARY 2017 / THE RPS JOURNAL / 59
How to expose snow
Society member Nigel Hicks offers three solutions to photographing high-contrast scenes
| THE CRAFT | 61
IN DEPTH BEFORE
THE WHITE STUFF
Capturing images of snow requires a delicate balancing act. Underexposed images will render the snow as grey, with overdark shadows but this can be corrected in postprocessing, and is best done in Raw format AFTER
W
inter can be a dreary time of year, but a good fall of snow – or even just a light dusting – can change the world into a photographer’s dream subject. However pretty it might look, snow can pose a real technical challenge, particularly when under clear blue skies, which turn that idyllic white sheet into a dazzling reflector, playing games with the camera’s meter and resulting exposures. The problem with snow is that light meters do not like to render white as white: they generally want to capture it as a neutral grey. The danger is underexposure, the snow coming out in the final images a less-than-inspiring hue, with any other parts of the scene too dark and filled with deep shadows. Overexpose the image and you’ll fix those shadows, but you’ll also run the risk of blowing out your highlights. Even with modern cameras, it is still a problem that needs to be overcome.
WILD SOUTHWEST BY NIGEL HICKS For Hicks’ book on south-west England’s wildlife and most beautiful landscapes, visit www.aquaterra publishing.co.uk
Graduated filters
HDR photography
Use a neutral density graduated filter oriented so that the dark part is over the snow, decreasing the light reflecting off it and so reducing the contrast between the snow and the sky. This can be surprisingly effective, but of course it depends on the horizon being at least moderately straight.
HDR merges a series of identical images with slightly different exposures to render one that captures all the detail in a very high-contrast scene. For those with cameras capable of this technique, HDR can offer a quick, on-site solution. Everyone else has to go home to use in-computer HDR software. Done well, it can be very successful. Done badly, it can look plain awful.
Single image post-processing In-computer processing is best done with Raw images, particularly for high-contrast scenes where the original file may show some histogram clipping. Raw converter software can reach deep into the highlights and shadows in a Raw file, pulling up details that would be impossible to restore from a jpeg file, with results that can outdo even many HDR images.
VOL 157 / JANUARY 2017 / THE RPS JOURNAL / 61
MASTER CLASS
Cold-weather photography Peter West Carey explores how best to protect you and your gear when out in chilly conditions
A
chill in the air doesn’t mean you should stop heading outside to capture beautiful images. But it should remind you that special precautions are needed as the mercury drops. While most modern cameras can handle temperatures down to and below freezing, it’s still important to follow commonsense steps when shooting in the cold.
Protect your camera
If you’ve only got a plastic bag to hand, use it
62 / THE RPS JOURNAL / JANUARY 2017 / VOL 157
Snow, freezing rain, hail or just good old-fashioned rain can shorten the life of your camera in a hurry if you don’t think ahead. Your first step is to protect your camera from the elements, either with a traditional rain
cover if there is precipitation or, at the very least, to use a towel or article of clothing to cover your camera and lens. At a pinch, a plastic rubbish bag will do the trick to keep the wet stuff out of your lens and camera body.
| THE CRAFT | 63
Top tips
1
Keep your batteries in the charger until you are ready to use them – preferably a car charger if you’re driving Place disposable pocket warmers inside a small pouch alongside your batteries Store your batteries close to your body
2 3
Keep your hands and body warm Cold fingers lead to missed shots, wrong settings or dropped cameras. Cold bodies can also lead to missed and blurry shots as you shiver uncontrollably or head back inside to warm up. A hat is your first line of defence, along with warm gloves and multiple layers. Gloves can be the
type with a mitten over the fingers that folds out of the way, or the fingerless kind. Some photographers are known to take a pair of gloves and cut off the shutter finger and thumb to aid in the tactile feedback they are used to. Without warm, controllable fingers your images will suffer.
Don’t let the cold strip you of power
Protect your batteries Batteries are an afterthought for most of us. However, once the temperature drops below zero the life of those batteries starts to deteriorate – cold
cells useful life can be cut in half. To avoid poor performance your goal will be to keep your batteries as warm as possible, for as long as possible.
this slow process to take hold. Another option is to put your camera and lens in a plastic freezer bag, then place it in the cold environment. This method can be quicker but a little less secure. The idea is to give gear as much time in
the cold temperature to reduce abrupt changes. Some photographers will store their gear in the boot of their car while driving to their location. Others place their entire camera bag in the fridge the night before heading out.
Give gear time to adjust
The route to staying cool, calm and collected
Hot air holds more moisture than cold air, often a lot more. When you move from hot to cold, that moisture sticks to your camera and lens, inside and out. To alleviate this problem you will need to gradually acclimatise your gear.
A camera bag is an excellent choice as the padding inside gives just enough insulation to let the cold air slowly seep inside your bag and gear. However, you will need to leave your bag in a cold environment for up to an hour or more for
VOL 157 / JANUARY 2017 / THE RPS JOURNAL / 63
MEMBER All-American adventure Join the Travel Group on a tour of the Rocky Mountains this October
T
he Travel Group has arranged a US photography tour from the Rocky Mountains in Colorado to Yellowstone National Park, and back again. Participants will have the chance to capture the region’s rich, autumnal scenery during the October trip. This includes classic landscapes, taking in golden aspens and cottonwoods, and rugged mountain geysers and hot pools, as well as the very active and visible wildlife – moose, elk, pronghorn and bison
– in Yellowstone and the Grand Teton mountains. The group will also visit ghost and mining towns, and the famous USAF Chapel at Colorado Springs. This is a private tour with an itinerary specially designed for photographers. The party will be small, so booking early to avoid disappointment is advised. The estimated tour cost, subject to currency fluctuations, is £2,250 plus flights. For further details and booking forms contact Keith Pointon LRPS, or turn to page 72.
| GUIDE | 65
GUIDE
YOUR RPS EVENTS ! COURSES PROGRAMME
JAN!FEB"MAR
GO TO
RPS.ORG/EVENTS FOR THE LATEST UPDATES
Participants will have the opportunity to photograph spectacular landscapes and a range of wildlife Top: Moulton Barn dawn light by Roger Reynolds HonFRPS Left: Bison in Road, Fountain Flats by Roger Reynolds HonFRPS
VOL 157 / JANUARY 2017 / THE RPS JOURNAL / 65
66 | GUIDE |
WORKSHOPS
Hear from the experts and hone your skills
Introduction to Lightroom
Macro and art photography
Saturday 21 January / 10:00-16:30
Thursday 9 February / 10:00-16:30
`` £95/£71 Society
`` £55/£41 Society members `` Fully booked `` Amersham
members `` Bath HQ
Printing with Lightroom `` £95/£71 Society
Portraiture photography and getting the most from your subject
`` Learn how to get the best
`` £115/£90 Society
Sunday 22 January / 10:00-16:00
members
results from your printer and Adobe Lightroom. Suitable for beginners `` Bath HQ
Studio portraiture Sat 28 January / 10:00-17:00
`` £165/£140 Society
members `` A workshop for beginners that covers all that’s needed to take great images in a studio environment `` Lacock
Friday 10 February / 9:30-17:00
members `` A morning in the studio explores the practicalities, skills and knowledge needed to take great portrait shots. The afternoon will be spent shooting with various light sources and light setups in the studio `` Amersham
Saturday 28 January / 10:00-17:00
`` £85/£63 Society
Theatrical and creative dance lighting `` £120/£95 Society members
`` Learn how to create
`` Bath HQ
members
theatrical-style images in a studio setting `` Surrey
Introduction to Photoshop
Two-day wedding workshop
Sunday 29 January / 10:00-17:00
Sat 11 – Sun 12 February / 10:00-17:00
`` £95/£71 Society members `` Bath HQ
`` £165/£140 Society
Two-day Photoshop workshop Sat 4 – Sun 5 February / 10:00-17:00
`` £165/£140 Society members `` Fully booked `` Bath HQ
Friday 17 February / 10:00-16:30
`` £95/£71 Society members
`` Techniques that can be
used to help every photographer connect more fully with the present moment, the goal being to help restore peace and balance in our bodies and minds `` Amersham
Creative techniques in Photoshop Friday 24 February / 10:00-16:30
`` £115/£90 Society members
`` Amersham Architecture photography: Holme Pierrepont Hall Friday 24 February / 10:00-16:30
Saturday 11 February / 10:00-17:00
Introduction to your digital camera
Introduction to mindfulness, meditation and how these link to photography
members `` Lacock
A beginner’s guide to product photography Thursday 16 February / 10:00-16:30
`` £115/£90 Society members `` Amersham
Broaden your horizons with a landscape calendar workshop
`` £99/£75 Society
The techniques are suitable for pregnancy and maternity photography `` Lacock
year offers wonderful opportunities for taking great photographs `` Bath HQ
Cinematic Hollywood beauty lighting made simple
Photoshop essentials for creative photographers
Saturday 25 February / 10:00-17:00
Thursday 9 March / 10:00-16:30
`` £115/£90 Society
`` £115/£90 Society
`` International model Carla
`` Amersham
members
Monaco will reveal how to use lighting to get stunning and beautiful results `` Surrey
Creative eye photography Sunday 26 February / 10:00-16:30
`` £95/£71 Society members `` Bath HQ How to photograph children and babies Sunday 26 February / 10:00-17:00
`` £120/£95 Society members Lacock
members
Night shoot Saturday 11 March / 18:00-22:00
`` £35/£26 Society members `` Explore the wonders of night-time photography at this hands-on evening photography workshop `` Bath Abbey
Shooting for stock Monday 13 March / 10:30-16:30
`` £65/£48 Society members
`` Bath HQ Art figure painting with light
members
Movement photography
an amazing country house and gardens and explore composition, lighting, lens choices, artificial light and fill-in flash – all to add mood/drama to your interiors, with guidance throughout `` Nottingham
`` £95/£71 Society members `` In this new workshop
Art nude photography `` £120/£95 Society
The landscape photographers’ calendar workshop
`` Suitable for
`` £55/£41 Society
auto button mode? Do you want to get more creative with your camera and understand its buttons and menu functions? If yes, this is the workshop for you `` Bath HQ
`` The purpose of this
Studio portraiture
`` One place left `` An opportunity to access
Saturday 25 February / 10:00-17:00
members
photographers wishing to learn about controlled lighting and working with a nude model to producing high-quality photographs.
Saturday 4 March / 10:00-16:30
you’ll first learn how to use different sorts of deliberate camera movement, with and without flash, to produce interesting, more creative images `` Bath HQ
Sunday 5 March / 10:30-16:30
members
course is to inspire the participant to recognise that each month in the
Saturday 18 March / 10:00-17:00
`` £120/£95 Society members
`` Leigh, Surrey Introduction to your digital camera Saturday 25 March / 10:00-17:00
`` £85/£63 Society members
`` Are you shooting only in
Sat 25 – Sun 26 March / 10:00-17:00
`` £165/£140 Society members
`` A workshop for beginners that covers all you need to know about taking great images in a studio environment `` Lacock, Wiltshire
Introduction to Photoshop Sunday 26 March / 10:00-17:00
`` £95/£71 Society members
`` This workshop
concentrates on areas of Photoshop that are key for all levels of photographers. Our goal is to teach you how to use the tools, concepts and workflows needed to succeed and develop good practice `` Bath HQ 66 / THE RPS JOURNAL / JANUARY 2017 / VOL 157
| GUIDE | 67
REGIONS
`` Mike Sharples ARPS, as above
CENTRAL
`` £3 Society members `` Smethwick Photographic
Meet photographers and view work in your area
‘An evening with Laurie Campbell’ presented by Laurie Campbell
Learn to make a photobook with Gerry Badger Image: Berlin 2010 by Gerry Badger
Thursday 16 March / 19:30-22:00
MIKE SHARPLES ARPS, 07884 657535 MIKES.SHARPLES(VIRGIN.NET
‘My passion or obsession’ by Graham Hodgkiss ARPS Thursday 19 January / 19:30-22:00
`` £3 Society members `` Smethwick Photographic
Society, Churchbridge, Oldbury, Birmingham B69 2AS `` Mike Sharples ARPS, as above
‘Through my viewfinder’ by Warren Alani ARPS Thursday 2 February / 19:30-22:00
`` £3 Society members `` Smethwick Photographic
Society, Churchbridge, Oldbury, Birmingham B69 2AS `` Mike Sharples ARPS, as above
‘A trio of processes, remembered and reinvigorated’ by Ray Spence FRPS Thursday 9 February / 19:30-22:00
`` £3 Society members `` Smethwick Photographic
Society, Churchbridge, Oldbury, Birmingham B69 2AS `` Mike Sharples ARPS, as above
‘Nudes night’ by Tim Pile Thursday 16 February / 19:30-22:00
`` £3 Society members `` Smethwick Photographic
Society, Churchbridge, Oldbury, Birmingham B69 2AS `` Mike Sharples ARPS, as above
Winter meeting members’ day Saturday 25 February / 10:30-16:00
`` £8 entry, £5 ploughman’s
lunch `` Rollright group meeting `` The Village Hall, Main Street, Long Compton CV36 5JS `` Andreas Klattt, andreas@ klatt.tv
Society, Churchbridge, Oldbury, Birmingham B69 2AS `` Mike Sharples ARPS, as above EAST ANGLIA IAN WILSON ARPS, 07767 473594 IAN(GREENMEN.ORG.UK
Photo workshop, Wymondham Sunday 12 February / 10:30-16:30
`` £15/£10 Society members `` Informal workshop for those
considering a Society Distinction
`` Wymondham Dell Bowls Club, Norwich Road, Wymondham NR18 0NT `` Ian Wilson, as above
Distinctions advisory day Saturday 4 March / 10:30-16:30
`` £20/£15/£10 spectators `` Distinctions advisory day `` Foxton Village Hall, Hardman Road, Foxton CB22 6RN
`` Ann Miles FRPS,
ann@pin-sharp.co.uk
Sunday 19 March / 10:30-14:00
`` £10 `` A day of learning more
LONDON JUDY HICKS AND NEIL CORDELL LONDONEVENTS(RPS.ORG
‘Kingdom of the ice bear’ by Pam Lane ARPS and Eddy Lane ARPS
Breathing London project
Thursday 2 March / 19:30-22:00
Until Monday 17 April
`` £3 Society members `` Smethwick Photographic
`` Over all the London
Society, Churchbridge, Oldbury, Birmingham B69 2AS `` Mike Sharples ARPS, as above
‘The big picture show’ presented by Ron Tear ARPS Thursday 9 March / 19:30-22:00
`` £3 Society members `` Smethwick Photographic
Society, Churchbridge, Oldbury, Birmingham B69 2AS
138 Upper Richmond Road, Putney SW7 2RL `` London Web, Londonweb@ rps.org
Lightroom training day with Ian Wilson ARPS
INFO(MOSULLIVANPHOTO.COM
boroughs, all over London, London W2 2UH `` Judy & Jen, greenlondon@rps.org
ARPS fine art one-to-one Distinction review Saturday 7 January / 10:00-16:30
`` £50/£40 Society members `` We are again able to offer an ARPS Distinctions review day. This review will be for the fine art category and will be on a
London Region AGM and keynote talk
`` The Prince of Wales,
STEWART(STEWARTWALL.COM
MICHAEL O’SULLIVAN
63-64 Margaret Street, London W1W 8SW `` London Distinctions, londondist@rps.org
Monday 9 January / 19:00-21:00
STEWART WALL ARPS, 07955 124000
EIRE
LondonBookworms@rps.org
Regular meeting of the SW London Group
EAST MIDLANDS
about Adobe Lightroom `` Whatton Jubilee Hall, Church Street, Whatton in the Vale NG13 9EL `` Stewart Wall, as above
one-to-one basis
`` Nikon Centre for Excellence,
Getting started with macro photography at the Nikon School
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
Thursday 26 January / 18:30-21:00
`` £5 non-Society members `` Wetherby Preparatory School, 48 Bryanston Square, London W1H 2EA `` London Events, londonevents@rps.org
London Naturally walk Sunday 29 January/10:30-12:30
`` Morning walk in Holland Park `` london-naturally@rps.org Regular meeting of the SE London Group
Friday 13 January / 10:30-16:30
Tuesday 31 January / 19:00-21:00
`` £129/£99.99 Society
`` £5/£3 Society members `` Greenwich Gallery, Peyton
members
`` This informative and
Place, London SE10 8RS
interactive entry-level workshop is for anyone interested in learning how to shoot close-up and macro images `` Nikon Centre for Excellence, 63-64 Margaret Street, London W1W 8SW `` London Events, londonevents@rps.org
`` London Cave, londoncave@
London Region street walk
Inner Circle, Regent’s Park NW1 4NS `` London Events, londonevents@rps.org
Saturday 14 January / 9:45-13:00
`` Greenwich tbc, followed by
lunch/meet-up at The Greenwich Gallery, Peyton Place `` London Cave, londoncave@ rps.org
The Bookworm Club Wednesday 18 January / 18:30-21:00
`` The Crusting Pipe, 27 The
Market, Covent Garden, London WC2E 8RD `` London Bookworms,
rps.org
Make a photobook workshop with Gerry Badger Sat 4 – Sun 5 February / 10:00-17:00
`` £190/£165 Society members `` Weekend workshop teaching how to make a photobook
`` Regent’s University London,
London Region street walk Saturday 11 February / 9:45-13:00
`` Followed by lunch `` Greenwich Gallery, Peyton Place `` London Cave, londoncave@ rps.org
Regular meeting of the SW London Group
VOL 157 / JANUARY 2017 / THE RPS JOURNAL / 67
68 | GUIDE |
COUNCIL REPORT ! OCTOBER 2016 MINUTES OF COUNCIL
`` The president reminded the trustees about the need for their deliberations to remain confidential. Trustees should be able to express their opinions freely. Council asked that the meeting minutes be anonymised unless there was good reason, or a specific request from a trustee, to attribute them to an individual.
SOCIETY FINANCE `` The treasurer reported that the third-quarter management accounts were being produced. Cash flow was satisfactory. The Society’s investments had continued to appreciate and now stood at £5,970,000, which included the development
fund set aside for the new building. Income was positive and ahead of budget. `` A meeting was being held with the Investment Committee on 14 November to discuss the building project. `` The treasurer was asked to report back in detail on the staff pensions. REGIONS
`` It was agreed that the
regions needed to be considered in detail, particularly as the recruitment of volunteers was becoming more difficult.
REQUEST FOR AN EXTRAORDINARY GENERAL MEETING `` The request for an EGM was discussed. The proposers would be
contacted over the timing and process. GOVERNANCE `` The report of the governance review chaired by Douglas May was considered in detail. Each recommendation was reviewed and the following was noted: `` It was agreed to implement electronic voting; `` The recommendation to continue with the current method was considered but council wished to review further a possible rotational system of election; `` The recommendation that co-options be opened to all members of the Society was agreed; `` The recommendation that trustees’ skills and experience be better
identified was agreed;
`` Individual reviews of
trustees and committee chairs were agreed; `` It approved the recommendation that standing committees be formalised; `` There was an extended discussion around the role and composition of the advisory board, which would be considered further at the November meeting, where the Society’s legal advisors, Stone King, would be asked for their views; `` Council noted that the Society did not currently have a policy on equality. STRATEGIC PLAN
`` The strategic plan was signed off and would be updated with an introduction from the president and chief
See the exhibitions section for more details on the Society’s International Print Exhibition 159 tour Image: Abrigo Corner by Tom Blachford 68 / THE RPS JOURNAL / JANUARY 2017 / VOL 157
executive, and published on the website. The chief executive was asked to start developing an operation plan with the staff. ANY OTHER BUSINESS
`` The Southern Region
had potential interest in a replacement organiser. Del Barrett was asked to discuss this with the region. `` The revised science committee terms of reference were approved. `` A discussion took place around the need for co-options and the number of council meetings. `` Amelia Christmas would be asked to present her report on Society marketing to council in December.
| GUIDE | 69 Tuesday 14 February / 19:00-21:00
`` The Prince of Wales, 138
Upper Richmond Road, Putney SW7 2RL `` London Web, Londonweb@ rps.org
The Bookworm Club Wednesday 15 February / 18:30-21:00
`` The Crusting Pipe, 27 The
Market, Covent Garden, London WC2E 8RD `` London Bookworms, LondonBookworms@rps.org
Distinctions advisory day – LRPS
`` Regular monthly meeting for
members and guests interested in street photography `` London – to be confirmed `` London Cave, londoncave@rps.org
Sunday 26 February / tbc
`` Regent’s Canal from Mile End to Limehouse `` Details to be confirmed `` london-naturally@rps.org
Regular meeting of the SE London Group Tuesday 28 February / 19:00-21:00
`` £5/£3 Society members `` Please note new date, the last Tuesday of the month `` Greenwich Gallery, Peyton Place, London SE10 8RS `` London Cave, londoncave@rps.org
London Region street walk Saturday 11 March / 9:45-14:00
NORTHWALES(RPS.ORG
Sunday 15 January / 10:30-16:00
`` The Prince of Wales, 138
`` £15/£10/£5 students `` John Herlinger, managing
Upper Richmond Road, Putney SW15 2SP `` London Web, Londonweb@rps.org
The Bookworm Club Wednesday 15 March / 18:30-21:00
London Naturally walk
MARTIN BROWN LRPS, 01691 773316
Tuesday 14 March / 19:00-21:00
`` The Crusting Pipe,
londondist@rps.org
NORTH WALES
Print workshop: ‘Capture to output’
`` £25/£20/£15 spectators `` Ideas Store, 321 Whitechapel Road, London E1 1BU
rps.org
Regular meeting of the SW London Group
Saturday 18 February / 10:30-16:30
`` London Distinctions,
`` London Cave, londoncave@
27 The Market, Covent Garden, London WC2E 8RD `` London Bookworms, LondonBookworms@rps.org
Morning in Richmond Park with the London Naturally Group Sunday 26 March / 10:30-13:00
`` The group presents an
informal Sunday stroll in Richmond Park. All details to be confirmed, but please note this date in your diary `` London – to be confirmed `` London Naturally, london_naturally@rps.org
Regular meeting of the SE London Group Tuesday 28 March / 19:00-21:00
`` £5/£3 non-members `` Please note new date, the last Tuesday of the month
`` Greenwich Gallery, Peyton Place, London SE10 8RS
NORTHERN IRELAND
GO TO
RPS.ORG/EVENTS FOR THE LATEST UPDATES
RICHARD CORBETT 07805 381429 RICHARD(RICHARDCORBETTPHOTOGRAPHY.COM SCOTLAND JAMES FROST FRPS 01578 730466/07881 856294 JAMES.FROST11(BTINTERNET.COM
Distinctions advisory day – Licentiate, and all five Associate categories Saturday 14 January / 10:30-16:00
`` £20/£15/£10 spectators `` Bridge of Allan Church Hall,
director of Fotospeed and The Fine Art Print Room, will share his knowledge on printing, mounting and framing `` Llandudno Junction Community Club, Victoria Drive, Llandudno Junction LL31 9PG `` Martin Brown, as above
Keir Street, Bridge of Allan FK9 4NW `` James Frost FRPS, as above
Scottish members’ exhibition, print selection and region AGM
Annual general meeting
Saturday 4 March / 10:30-16:00
`` Annual general meeting of
`` £8 `` Join in the selection of the
`` Glasdir North Wales
`` Bridge of Allan Church Hall,
Sunday 26 February / 14:00-17:00
the North Wales Region
Scottish members’ exhibition
Conference Centre, Plas yn Dre, Llanrwst LL26 0DF `` Martin Brown, as above
Keir Street, Bridge of Allan FK9 4NW `` James Frost FRPS, as above SOUTH EAST
NORTH WEST DR AFZAL ANSARY ASIS FRPS, 07970 403672
TERRY McGHIE ARPS, 01323 492584
AFZALANSARY(AOL.COM
SOUTHEAST(RPS.ORG
Annual general meeting
NORTHERN
Sunday 5 February / 10:00-10:30
GERRY ADCOCK ARPS, 01661 830882
`` Free, Society members only `` The Haven Centre, Hophurst
GERRY(GERRYADCOCK.CO.UK
Northern Documentary Group meeting Thursday 19 January / 10:30-12:30
`` Kibblesworth Village
Millennium Centre, Grange Terrace, Gateshead NE11 0XN `` Gordon Bates, docne@rps.org
The London Naturally group has planned a stroll around Richmond Park on 26 March
Lane, Crawley Down, West Sussex RH10 4LJ `` Terry McGhie ARPS, as above
Members’ day Sunday 5 February / 11:00-16:30
`` £10/£7.50 Society members `` An opportunity for members
and non-members to display examples of their work and talk about their photographic interest and experience `` The Haven Centre, Hophurst Lane, Crawley Down, West Sussex RH10 4LJ `` Terry McGhie ARPS, as above
LRPS advisory day Saturday 4 March / 10:30-16:30
`` £20/£15 Society members
bringing prints, £10 spectators
`` Intended to provide
guidance to members and non-members who are considering applying for the LRPS Distinction `` Kings Centre, 27 Edison Road, Eastbourne, East Sussex BN23 6PT `` Terry McGhie ARPS, as above SOUTH WALES MIKE LEWIS, 07855 309667, 01446 710770 MIKEGLEWIS101(BTINTERNET.COM SOUTH WEST MICK MEDLEY, 01626 824865/07980 073808 RPSSWREGION(GMAIL.COM
VOL 157 / JANUARY 2017 / THE RPS JOURNAL / 69
| GUIDE | 71 Annual ‘blow the cobwebs away’ Monday 2 January / 10:30-15:30
`` A day in Hayle to blow
away the Christmas and new year blues `` Graham & Carol’s chalet, Towans, Phillack, Hayle TR27 4AE `` Graham Hodgson, graham. hodgson@artslive.org.uk
West Cornwall group meeting Wednesday 18 January / 18:45-21:00
`` Bi-monthly meeting of the West Cornwall group
`` The Copper Room, Heartlands, Robinson Shaft, Dundance Lane, Pool, Redruth TR15 3QY `` Vivien Howse, 01326 221939, vivien939@btinternet.com
Will Cheung FRPS talk Sunday 5 February / 10:30-16:00
`` £15 Society members `` A day’s talk by Will Cheung FRPS
`` The Dolphin Hotel, Station
Road, Bovey Tracey TQ13 9AL `` Mick Medley, as above
Fellowship advisory day Sunday 12 February / 10:30-16:00
`` £30 Society members `` Advisory day for potential Fellowship applicants
`` The Dolphin Hotel, Station
Road, Bovey Tracey TQ13 9AL `` Martin Howse ARPS, 01326 221939, mghkh@btinternet.com
South West Region AGM and panel showing Sunday 26 February / 10:30-16:00
`` Regional AGM and
showing regional members’ successful panels `` The Dolphin Hotel, Station Road, Bovey Tracey TQ13 9AL `` Mick Medley, as above
Biannual weekend away Friday 3 – Sunday 5 March / 16:00-14:00
`` The South West Region weekend away
`` Tudor Arms Freehouse,
Shepherds Patch, Slimbridge GL2 7BP `` Mick Medley, 01626 824865, rpsswregion@gmail.com
Evening lecture with Andrew Cooper Friday 31 March / 19:00-21:30
`` £10/£5 Society members `` The Dolphin Hotel, Station
Road, Bovey Tracey TQ13 9AL `` Mick Medley, 01626 824865, rpsswregion@gmail.com
David Clapp – professional landscape photography unveiled Sunday 29 January / 10:00-16:00
`` Clapp is presenting a
showcase and workshop on his professional photography. He will unveil his intricate use of computer technology. `` Clyst St Mary Village Hall, Clyst St Mary, Near Exeter EX5 1BG `` Dennis Knowles, dennisknowles123@btinternet. com
The South West region will hear from Will Cheung FRPS next month Image: Will Cheung FRPS
members
`` Various digital techniques to produce stunning images `` Woosehill Community Hall, Emmview Close, Woosehill, Wokingham, Berkshire, RG41 3DA `` Laurie Pate, digthamesvalley@rps.org
SOUTHERN(RPS.ORG
A talk with Jeremy Walker and the use of filters
Advisory day
Sunday 15 January / 11:00-16:00
How I achieved my Distinction Sunday 29 January / 10:15-16:15
`` £25/£15 Society members `` Learn about the process of
applying for a society Distinction – the criteria and specialist categories, and see how others achieved theirs `` Otterbourne Village Hall, Cranbourne Drive, Otterbourne, Winchester SO21 2ET `` Lilian Hobbs LRPS, 07785 264684, lmh@dbevolution.co.uk
DI Group Thames Valley: digital adventure with Colin Harrison FRPS `` £15/£12/£8 group
SOUTHERN
demonstrate his work with examples, followed by a discussion into the techniques and use of filters for landscape photography `` Hamworthy Club, Magna Road, Wimbourne BH21 3AP `` Dave Peckham, 07434 170644, davepeckham@mac.com
MARK.BUCKLEY,SHARP(TISCALI.CO.UK
Sunday 15 January / 10:00-15:30
DAVID ASHCROFT LRPS, 07710302684
`` £25/£15 Society members `` Walker will talk about and
your travel photography in 2017
THAMES VALLEY MARK BUCKLEY,SHARP ARPS, 020 8907 5874
Sunday 22 January / 10:00-16:00
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
`` Amersham Community
Centre, Chiltern Avenue, Amersham HP6 5AH `` Kathy Chantler, 01296 483469/07738 112775, kathychantler@gmail.com
DI Group Thames Valley: digital image evolution with Mike McNamee FRPS Sunday 19 February / 10:00-15:30
`` £15/£12/£8 group members `` Digital imaging and the evolution of the creative image from conception to print `` Woosehill Community Hall, Emmview Close, Woosehill, Wokingham, Berkshire, RG41 3DA `` Laurie Pate, digthamesvalley@rps.org
`` Runnymede-on-Thames
Hotel, Windsor Road, Egham TW20 0AG `` Richard Lewis, travel@rps.org
DI Group Thames Valley: Paul Sanders – ‘Pictures on a page and the mind’s eye’ Sunday 26 March / 10:00-15:30
`` £15/£12/£8 group members `` Paul Sanders, the journey from picture editor of The Times to landscape photographer `` Woosehill Community Hall, Emmview Close, Woosehill, Wokingham, Berkshire, RG41 3DA `` Laurie Pate, digthamesvalley@rps.org WESTERN DAVID NORFOLK ARPS, 07771 515273 WESTERN(RPS.ORG
LRPS and ARPS advisory day Sunday 8 January / 10:00-16:30
`` £20/£15/
£10 non-Society members
`` Fenton House, 122 Wells Road, Bath BA2 3AH
`` Michelle Whitmore, michelle@ michellewhitmore.co.uk YORKSHIRE MARY CROWTHER ARPS, 07921 237962 PHOTOBOX50(GMAIL.COM FACEBOOK: BIT.LY/RPSYORKSHIRE
Distinctions advisory day Saturday 11 March / 10:30-16:30
Springboard to success Saturday 25 March / 9:30-17:00
`` £45/£35 group members `` An opportunity to improve
`` £20/£15/£10 spectators `` A Licentiate Distinctions advisory day in Wakefield
`` New Brookhouse Club,
VOL 157 / JANUARY 2017 / THE RPS JOURNAL / 71
72 | GUIDE | 221 Barnsley Road, Wakefield WF1 5NU `` Robert Helliwell ARPS, 01904 500231, bobhelliwell@clara.co.uk
Yorkshire print exhibition 2017 Closing date 31 March
`` Free to enter `` See website for details `` Mary Crowther ARPS, as above
CREATIVE BARRY COLLIN LRPS CREATIVECHAIR(RPS.ORG
Creative Group AGM and print & PDI exhibition selections 26 February 2017 / 10:30-17:00
`` Whittlesford Memorial Hall,
Mill Lane, Whittlesford, Cambs CB22 4NE DIGITAL IMAGING
Members’ day
JANET HAINES
Saturday 8 April / 10:30-16:30
DIGCHAIR(RPS.ORG
`` £7/£5 Society members `` New Brookhouse Club, 221 , Barnsley Road, Sandal, Wakefield WF1 5NU `` Robert Helliwell, 01904 500231, bobhelliwell@clara.co.uk
SPECIAL INTEREST GROUPS
Explore more aspects of photography and digital imaging ANALOGUE
RICHARD BRADFORD ARPS ANALOGUE(RPS.ORG ARCHAEOLOGY AND HERITAGE RODNEY BERNARD THRING LRPS, 01276 20725 RODNEY.THRING(NTLWORLD.COM AUDIO VISUAL HOWARD BAGSHAW ARPS, 01889 881503 HOWARD.BAGSHAW(NTLWORLD.COM CONTEMPORARY PETER ELLIS LRPS, 07770 837977 WORDSNPICSLTD(GMAIL.COM
DI Group Thames Valley: digital adventure with Colin Harrison FRPS Sunday 15 January / 10:00-15:30
`` £15/£12/£8 group members `` Various digital techniques to produce stunning images
`` Woosehill Community Hall, Emmview Close, Woosehill, Wokingham, Berkshire RG41 3DA `` Alan Bousfield, digthamesvalley@rps.org
David Clapp – professional landscape photography unveiled Sunday 29 January / 10:00-16:00
`` £10/£8/£6 group members `` Clapp will present a showcase and workshop on his professional photography. He will unveil his intricate use of computer technology `` Clyst St Mary Village Hall, Clyst St Mary, near Exeter EX5 1BG `` Dennis Knowles, dennisknowles123@btinternet. com
DI Group Thames Valley: ‘Digital image evolution’ with Mike McNamee FRPS
Sunday 19 February / 10:00-15:30
`` £15/£12/£8 group members `` Woosehill Community Hall, Emmview Close, Woosehill, Wokingham, Berkshire RG41 3DA `` Alan Bousfield, digthamesvalley@rps.org
GO TO
RPS.ORG/EVENTS FOR THE LATEST UPDATES
JENNYFORD2000(YAHOO.CO.UK
Visit to the Pitt Rivers Museum’s photographic collections, Oxford Tuesday 7 February / 14:00-16:00
`` £5 non-group members `` Pitt Rivers Museum, South Parks Road, Oxford OX1 3PP
Digital Imaging Group annual general meeting 2017
`` Geoff Blackwell ARPS,
0114 266 8655, gblackwell@fastmail.fm
Sunday 5 March / 10:00-16:00
`` Smethwick Photographic
IMAGING SCIENCE
Society, The Old School House, Churchbridge, Oldbury B69 2AS `` Janet Davies, digsecretary@rps.org
KEN MACLENNAN,BROWN KEN.MACLENNAN(BTINTERNET.COM LANDSCAPE TIM PARISH LRPS LANDSCAPE(RPS.ORG
DI Group Thames Valley: Paul Sanders – ‘Pictures on a page and the mind’s eye’
MEDICAL DR AFZAL ANSARY ASIS FRPS, 07970 403672 AFZALANSARY(AOL.COM
Sunday 26 March / 10:00-15:30
Medical Group AGM and a joint RPS/IMI London and South East Region lecture: ‘Surviving trauma past and present’
`` £15/£12/£8 group members `` Paul Sanders: the journey from picture editor of The Times to landscape photographer `` Woosehill Community Hall, Emmview Close, Woosehill, Wokingham, Berkshire RG41 3DA `` Alan Bousfield, digthamesvalley@rps.org
Friday 20 January / 18:30-21:00
`` The Gordon Museum of
Pathology, Hodgkin Building, Guy’s Campus, London Bridge, London SE1 1UL `` Afzal Ansary ASIS FRPS, as above
DOCUMENTARY MO CONNELLY LRPS, 01590 641849
NATURE
DVJ(RPS.ORG
RICHARD REVELS FRPS, 01767 313065
Northern Documentary Group meeting
RICHARD.REVELS(TALKTALK.NET
Thursday 19 January / 10:30-12:30
TRAVEL
`` Northern Documentary
KEITH POINTON LRPS, 01588 640592
Group meeting
BAGPOINT(AOL.COM
`` Kibblesworth Village
Millennium Centre, Grange Terrace, Gateshead NE11 0XN `` Gordon Bates, docne@rps.org HISTORICAL JENNIFER FORD ARPS, 01234 881459
Find out more about the Travel Group’s 2017 Rocky Mountain photo tour
Springboard to success Saturday 25 March / 9:30-17:00
`` £45/£35 group members `` An opportunity to
improve your travel photography in 2017 `` Runnymede-on-Thames Hotel, Windsor Road, Egham TW20 0AG `` Richard Lewis, travel@rps.org
RPS Travel Group AGM Saturday 25 March / 16:15 -17:00
`` Runnymede Hotel,
Windsor Road, Egham, Surrey TW20 0AG `` John Speller, j.speller525@btinternet.com
Return pilgrimage to Jerez Tuesday 11 – Monday 17 April
`` £1,925 `` Hotel Casa Grande, Plaza las
Angustias, 3 Jerez de la Frontera, Spain `` Colin Howard, colin.howard@ mac.com
Rocky Mountain Gold 2017 – photo tour 72 / THE RPS JOURNAL / JANUARY 2017 / VOL 157
74 | GUIDE | Salon Niedersachsen Closing date: 19 March `` `` germanphotocup.de `` RPS 2017/04
2-19 October
`` £2,250 `` Denver, Colorado, United States of America
32nd International Photosalon STROM Closing date: 25 March `` `` fotostrom.eu `` RPS 2017/15
VISUAL ART VIVECA KOH FRPS, 07956 517524 VIVECA.KOH(GMAIL.COM
Winter meeting members’ day
1st Aranyak Coochbehar International Digital Salon 2017 Closing date: 7 April `` `` aranyakcoochbehar.org `` RPS 2017/17
Saturday 25 February / 10:30-16:00
`` £8 and £5 ploughman’s lunch
`` Winter meeting of the Rollright group
`` Long Compton, The Village Hall, Main Street, Long Compton CV36 5JS `` Andreas Klattt, andreas@klatt.tv
EXHIBITIONS
LESLEY GOODE, EXHIBITIONS MANAGER 01225 325720, LESLEY(RPS.ORG
Check the Society website to find out the latest from Benelux and all our other overseas chapters
RPS International Print Exhibition 159 – Brighton
1st digiRAP International Photography Award Closing date: 8 January `` `` digirap.sg `` RPS 2017/08
Until Sunday 8 January
`` Now in its 159th edition,
this exhibition showcases a diverse range of photographic work selected from a worldwide open call `` University of Brighton, 154-158 Edward Street, Brighton BN2 0JG
Maitland International Salon of Photography Closing date: 16 January `` `` maitlandsalon.myphotoclub. com.au/
RPS International Print Exhibition 159 – Taunton
`` RPS 2017/02 49th Howarth Colour Salon 2017 Closing date: 17 January `` `` sophowrah.net `` RPS 2017/03
Saturday 14 January – Saturday 11 March
`` Museum of Somerset,
Taunton Castle, Castle Green, Taunton TA1 4AA
PATRONAGE
The following sal ons/exhibitions have RPS-approved patronage:
GO TO
RPS.ORG/EVENTS FOR THE LATEST UPDATES
OVERSEAS CHAPTERS `` AUSTRALIA Elaine Herbert ARPS, eherbert @alphalink.com.au `` BENELUX Richard Sylvester richard.sylvester@ skynet.be Didier Verriest studio visit Saturday 4 February / 10:00-16:00
Sint-Veerleplein 5, Ghent, Belgium
10th NBPC Salon of Photography 2017 Closing date: 3 January `` `` nbpcraiganj.org `` RPS 2017/07
Salon Photo de Riedisheim Closing date: 29 January `` `` spr-photo.fr `` RPS 2017/10
104th Southampton International Exhibition Closing date: 12 February `` `` southampton internationalexhibition.co.uk
`` RPS 2017/01
German International DVF-Photocup 2017 Salon BadenWüttemberg Closing date: 19 March `` `` germanphotocup.de `` RPS 2017/04 German International DVF-Photocup 2017 Salon Hessen Closing date: 19 March `` `` germanphotocup.de `` RPS 2017/04 German International DVF-Photocup 2017
Sydney Harbour International Closing date: 16 April `` `` sydney-harbourinternational.org.au/
`` RPS 2017/09
155th Edinburgh International Exhibition of Photography 2017 Closing date: 21 June `` `` edinburghphotosalon.org/ `` RPS 2017/12 45th PSNY International Salon of Photography 2017 Closing date: 24 June `` `` psnyusa.org/ `` RPS 2017/13 Sydney International Exhibition of Photography Closing date: 28 August `` `` siep.org.au `` RPS 2017/14
Royal Photographic Society members around the world
`` CANADA `` 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 `` DUBAI
74 / THE RPS JOURNAL / JANUARY 2017 / VOL 157
1st Sandven Image House International Photography Award Closing date: 3 February `` `` sandvenimagehouse.com `` RPS 2017/11
47th HKCC International Salon of Pictorial Photography 2017 Closing date: 13 April `` `` hongkongcameraclub.com `` RPS 2017/16
Mohammed Arfan Asif ARPS, dubai@rps.org `` GERMANY Chris Renk, germany@rps.org `` HONG KONG Shan Sang Wan FRPS, shansangwan@ yahoo.com.hk `` INDIA Rajen Nandwana, rajennandwana@gmail.com `` INDONESIA Agatha Bunanta ARPS, agathabunanta@gmail.com `` ITALY Olivio Argenti FRPS, info@rps-italy.org
`` JAPAN TOKYO Yoshio Miyake, yoshio-raps@nifty.com `` MALAYSIA Michael Chong ARPS, michaelcsc1985@gmail.com `` MALTA Ruben Buhagiar, info@rubenbuhagiar.com `` NEW ZEALAND Mark Berger, rps@moothall.co.nz `` SINGAPORE Steven Yee Pui Chung FRPS, peacock @sandvengroup.com
`` SRI LANKA Romesh de Silva, romesh@access.lk `` SWISS CHAPTER Richard Tucker ARPS, tucker42@bluewin.ch `` TAIWAN Joanie Fan Hui Ling ARPS, djpassionfoto@gmail.com `` USA ATLANTIC CHAPTER Carl Lindgren, lindgren.carl @gmail.com `` USA PACIFIC CHAPTER Jeff Barton, rps@vadis.net
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LAST CALL FOR ENTRIES MEMBERS’ BIENNIAL EXHIBITION
2017
This essential event on the RPS membership calendar is still open for submissions CLOSING DATE: 10 January 2017 CASH PRIZES The exhibition will tour the UK from March For more details and to enter online visit rps.org/mb2017
‘Recognition by selectors from such an internationally renowned society is an honour. It has given me the opportunity to present my work to a global audience’ Steve Jones LRPS 2015 gold award winner
SHOWCASE 76 | GUIDE | MEMBER
Open borders
Janet Haines ARPS hopes the Benelux Chapter’s exhibition at Fenton House will widen viewers’ critical perspective
B
ased in Brussels, the Benelux Chapter acts as a centralised point of contact for Society members across Belgium, the Netherlands and Luxembourg. Throughout January and February, chapter members will exhibit their work at Fenton House to emphasise the breadth and artistic scope of photographers in the area. Chapter joint organiser Janet Haines ARPS reveals what visitors can expect from the exhibition and how she hopes they will be inspired to adopt some of the photographers’ idiosyncrasies in their own work.
What distinguishes the Benelux Chapter? It boasts an eclectic mix of members, including locals, British expats, Canadians, two very keen Frenchmen and more. It’s a real melting pot of photographic cultures. What can visitors expect from the Fenton House exhibition? It is an excellent opportunity for visitors to view a diverse range of photographic styles. Even though our members are European, the
differences in approach between UK, Dutch and Belgian photography are stark. The exhibition effectively demonstrates the differences in photographic techniques utilised across the region. From first sight, spectators may feel that the exhibition is a bit of a mishmash, but the more you engage with the different works on show, the more you’ll be tempted to reference these wide-spanning influences in your own works. It makes for interesting viewing and it’s quite stimulating to analyse the differences in the creative visions of our members – especially when they have captured similar scenes in completely polarised manners.
What are the standout images? There are two absolutely stunning long-exposure landscapes by Frank Geraedts ARPS. Also, Jan Rof ARPS has submitted a really beautiful nude with an overlay. There’s a lot of emotion in it – an approach that is somewhat atypical for Dutch photographers, who are usually much more invested in
76 / THE RPS JOURNAL / JANUARY 2017 / VOL 157
Subway by André Meyer-Vitali
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contemporary work. Neither of these individuals has the idiosyncratic approach of Dutch photographers; instead they more reflect the techniques favoured on the UK photographic scene.
Given that accepted photographic tastes and norms change from country to country, was it a challenge to remain objective when selecting images for exhibition? Definitely. It’s hard not to be influenced by the favoured practices in the UK. However, you have to consider the different photographic
approaches deemed favourable in Benelux and try to remain as unbiased as you can. It’s difficult, but a really worthwhile process that helps sharpen your critical eye. As a globally recognised organisation, I think it’s important the Society continues to hone this approach when judging Distinctions. It’s important to ensure that all manner of photographic perspectives are fairly critiqued and are not awarded purely because they fall within the confines of UK familiarity.
Top: Caravan Rear by Armando Jongejan FRPS Above: Street Scene by Jeroen Dorrestein Right: The Green Beetle by Vincent Klijn Left: Subtle Scape by Fernada Relvas
VOL 157 / JANUARY 2017 / THE RPS JOURNAL / 77
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CANON EF-S NON FULL FRAME LENSES 10-18 F4.5/5.6 IS STM . . . . . . .£179 18-55 F3.5/5.6 IS STM no box £169 18-135 F3.5/5.6 IS U Nano . . . £448 18-135 F3.5/5.6 IS STM no box £349 24 F2.8 STM . . . . . . . . . . . . . . . . £138 CANON EF FULL FRAME LENSES 8-15 F4 L USM Fisheye. . . . . . . £979 11-24 F4 L USM . . . . . . . . . . . .£2649 16-35 F2.8 L USM MKIII . . . . .£2249 16-35 F4 L IS USM. . . . . . . . . . . £877 17-40 F4 L USM . . . . . . . . . . . . . £539 20 F2.8 USM . . . . . . . . . . . . . . . . £447 24 F1.4 L II USM. . . . . . . . . . . .£1478 24 F2.8 IS USM . . . . . . . . . . . . . . £429 24 F3.5 LII TSE. . . . . . . . . . . . . £1598 24-70 F2.8 L II USM. . . . . . . . .£1897 24-70 F4 L IS USM. . . . . . . . . . . £747 24-105 F3.5/5.6 IS STM . . . . . . £368 24-105 F4 L IS USM MKII. . . .£1049 28 F2.8 IS USM . . . . . . . . . . . . . . £387 35 F1.4 USM LII . . . . . . . . . . . .£1798 35 F2 IS USM. . . . . . . . . . . . . . . . £397 40 F2.8 STM . . . . . . . . . . . . . . . . £168 50 F1.2 L USM . . . . . . . . . . . . .£1249 50 F1.4 USM . . . . . . . . . . . . . . . . £328 50 F1.8 STM . . . . . . . . . . . . . . . . £108 70-200 F2.8 IS LII USM. . . . . .£1848 70-200 F2.8 non IS L USM. . .£1097
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£4499
BRONICA ETRS 645 USED 40 F4 MC ..............................£149 50 F2.8 E...............................£149 75 F2.8 PE ............................£149 105 F3.5..................................£99 135 F4 PE M- box ..............£249 150 F3.5 E ..............................£99 150 F3.5 PE M- Box...........£149 200 F4.5 PE..........................£199 E14 or E42 ext tube ea......£49 120 RFH ..................................£69 Polaroid Back .......................£39 AEIII prism ...........................£199 Plain prism ............................£59 Rotary prism .........................£99 Angle viewfinder E...........£129 Winder early .........................£79 Speed Grip E.........................£39 Tripod adapter E .................£39 Winder early .........................£49 Metz SCA 386 .......................£49 BRONICA SQ 6x6 USED SQA + 80 + back + prism .£249 40 F4 S ..................................£299 50 F3.5 PS ............................£299 50 F3.5 S...............................£149 110 F4.5 PS macro ............£399 135 F4 PS M-.......................£229 150 F3.5 S ..............................£79 150 F4 PS ................... £149/199 180 F4.5 PS..........................£399 200 F4.5 PS M- box ..........£199 2x PS converter M- ...........£179 135N back ...........................£119 SQA Polaroid back..............£59 SQAi 120 RFH .......................£79 SQA 120 RFH ........................£49 SQAi prism late ..................£299 45° Prism box .....................£129 Plain Prism S Boxed ...........£69 AE Prism Early ......................£79 ME Prism Finder ..................£69 Metz SCA 386 .......................£49 Pro shade S ...........................£59 Lens Hood 65-80.................£20 SQAi Motorwinder ...........£149 Speed grip S .........................£69 CANON DIGITAL AF USED 1DX MKII body ................£4599 1DX body box ..... £2299/2999 1D MKIV body ..... £1299/1499 1D MKIII body ....................£699 7D body ...............................£499 5D MKIV body box ........£2899 5D MKIII b/o box £1499/1799 5D MKII body ........................£799 5D MKI body box ................£499 60D body ................................£399 50D body ................................£299 30D body ................................£129 500D body .............................£199 450D body .............................£149 G3X............................................£479 EVF-DC1 for G3X .................£169 BG-E2...........£39 BG-E2N .....£49 BG-E4 box..£69 BG-E5 ........£49 BG-E6...........£89 BG-E7 ........£89 BG-E8. .........................................£69 BG-E9 box .................................£79 BG-E11.....£169 BG-E13 ....£119 BG-E16 box ............................£149 CANON AF USED EOS 1V body M- box .......£699 EOS 3 body M- box ..........£299 EOS 1n body.......................£149 EOS 30/5 body each ..........£69 EOS 650 body ......................£39 EOS 600 body ......................£39 EOS 50E/300V body each £29 EOS 500N/1000 b/o each £29 10-18 F4.5/5.6 IS STM......£159 10-22 F3.5/4.5 U ................£279 16-35 F2.8 USM LII............£899 16-35 F2.8 USM LI.............£749 17-40 F4 L ............................£449 17-55 F2.8 EFS IS USM ....£449 17-85 F4/5.6........................£199 24 F3.5 TSE MKI box.............£749 24-70 F2.8 L USM box .........£799 24-85 F3.5/4.5 USM..............£149 24-105 F4 L...............................£599 28 F1.8 USM box ...............£259 28 F2.8 ..................................£129 28-90 F3.5/5.6 ......................£79 28-135 F3.5/5.6 IS USM ..£199 50 F1.2 L USM box............£999 50 F1.4 USM........................£239 50 F2.5 macro ....................£149 55-250 F4/5.6 EFS .............£139 60 F2.8 USM EFS mac ......£279 70-200 F2.8 IS USM LI......£999 70-200 F2.8 USM L ...........£799 70-200 F4 U L .....................£399 70-300 F4/5.6 L IS U£699/849 70-300 F4/5.6 DO IS U.....£399 70-300 F4.5/5.6 IS USM ..£299 75-300 F4/5.6 MKII .............£99 85 F1.8 M-............................£219 100 F2.8 USM box.............£319 100-400 F4.5/5.6 L IS U... £899 135 F2 L M- box.................£549 180 F3.5 L mac .................... £899 300 F2.8 LI IS U..................£2999 300 F4 L IS USM box ......... £849 400 F4 DO ISII L U ............£5799 400 F5.6 L box ..................... £799 500 F4 LI IS USM...............£4499 Lifesize converter..................£99 12mm ext tube II box .........£59 25mm ext tube II box .........£99 1.4x extender MKIII ..........£179 2x extender MKIII..............£249 2x extender MKII ................ £219 2x extender MKI ................£169 Teleplus 2x DG conv ..........£89 Kenko ext tube set DG ......... £89 PB-E2 drive M- box...........£199 PB-E2 drive fits EOS1/3 ...£149 SIGMA CAF USED 10-20 F4/5.6 HSM box .£219 12-24 F4.5/5.6 EX DG ..........£399 17-70 F2.8/4 DC .....................£129 18-125 F3.8/5.6 OS DC .....£149 18-200 F3.5/6.3 HSM OS..£149
24-70 F2.8 HSM....................£469 28-135 F3.8/5.6 ...................... £99 50 F1.4 EX DG Art................£499 50 F1.4 EX DC........................£249 50 F2.8 EX macro ............... £149 50-500 F4/6.3 EX DG .......£399 70-200 F2.8 EX DG ..........£399 105 F2.5 EX DG OS box ..£269 120-300 F2.8 DG OS Sport box ..........................£1899 120-300 F2.8 EX DG .........£749 120-400 F4/5.6 DG ...........£399 150 F2.8 EX DG OS mac ...£499 150-500 F5/6.3 HSM ..........£499 150-600 F5/6.3 DG OS ........£999 170-500 F5/6.3 APO DG.....£299 180 F3.5 EX DG HSM mac.£399 1.4x or 2x EX DG conv ea ..£149 1.4x or 2x EX conv ea ............ £99 Kenko Pro 300 1.4x conv..... £99 Kenko ext tubes....................... £79 OTHER CAF USED TAM 18-270 F3.5/6.3 VCII .£169 TAM 28-75 F2.8 XR Di ......£199 TAM 28-300 F3.5/6.3 PZD .£399 TAM 70-300 F4/5.6 ............... £99 TAM 90 F2.8 ...........................£249 TAM 150-600 F5/6.3 USD £649 TAM 200-500 F5/6.3...........£449 CANON FLASH USED ST-E3 transmitter box .....£189 ST-E2 transmitter ................£79 MR-14EX ringflash ............£349 MT-24EX ringflash ............£549 380EX ......................................£69 430EXII..................................£169 550EX ....................................£149 580EX box ...........................£179 600EX RT box .....................£279 CONTAX 645 AF USED 45 F2.8 ..................................£499 CONTAX 35mm AF USED 90 F2.8 ..................................£299 CONTAX MF USED 28-70 F3.5/4.5 MM ...........£169 FUJI DIGITAL USED X-Pro2 body box ............£1099 X-T1 body graphite box .£499 X-T1 body black....... £449/499 X-T10 body box .................£379 X-E2s body silver...............£369 10-24 F4 ...............................£599 16-55 F2.8 box ...................£699 18-55 F2.8/4 XF .................£399 27 F2.8 XF box ...................£199 35 F1.4 R box ......................£399 50-230 F4.5/6.7 XC box ..£169 55-200 F3.5/4.8 R ..............£449 60 F2.4 macro box............£429 1.4x converter ....................£269 X-T1 vertical grip...............£129 HASSELBLAD XPAN USED Centre filter 49mm.................£129 HASSELBLAD 6x6 USED 500C body chrome ..........£199 WLF late ...............................£110 WLF chrome late.................£99 WLF early ...............................£49 Sports viewfinder ...............£69 Chimney.................................£89 A12 chrome latest ............£299 A12 late blk/chr .................£129 Polaroid back tatty .............£79 50 F4 CF FLE .......................£849 80 F2.8 CF ............................£479 140-280 F5.6 CF.................£799 150 F4 chrome...................£199 250 F5.6 CF .........................£399 Ext tube 21, 55 each ..........£39 Vivitar 2x conv .....................£49 Pro shade 6093....................£99 Lens hoods various ..... £20/50 LEICA SLR USED R7 body black ....................£299 R5 body black ....................£179 LEICA OPTICS USED Televid APO 77 + eyepiece£799 Televid 77 + 20x60 ...........£649 Trinovid 10x42 ...................£649 Ultravid 8x32 HD ..............£849 LIGHTMETERS USED Minolta Flashmeter V ......£199 Polaris .....................................£99 Sekonic L308 ........................£99 Sekonic L408 ......................£149 Sekonic L478DR ................£279 MAMIYA 645 MF USED 645 Prol TL + 80 + prism + winder box ......................£399 Plain prism (645 Super) ....£39 Polariod Back HP401 .........£29 Polaroid back .......................£29 120 Insert...............................£20 HA401 120 RFH Box...........£49 120 Back.................................£39 Winder ....................................£79 45 F2.8 N ..............................£199 55-110 F4.5 box.................£299 120 F4 macro .....................£269 150 F2.8 A............................£199 150 F3.5 N .............................£79 150 F3.8 NL leaf.................£299 210 F4 N M- ..........................£79 Ext Tube 1, 2, 3S each .......£29 Teleplus 2x converter ........£49 Vivitar 2x converter............£39 MAMIYA TLR 6x6 USED C330 F Body + WLF ..........£149 55 F4.5 ..................................£199 65 F3.5 box late .................£199 65 F3.5 serviced.................£149 80 F2.8 late serviced ........£139 180 F4.5 ................................£149 250 f4.5 late serviced.......£249 250 f4.5 early serviced .£179 Paramender ..........................£49 Porrofinder ............................£59 MAMIYA 7 RF 6x7 USED 50 F4.5 L + VF .....................£699 80 F4.5 L M- box................£699 150 F4.5 M- .........................£399 MAMIYA RB 6x7 USED Pro SD + 127 KL + WLF + back M-.............................£649
Pro S + 90 + WLF + back £449 Pro S body ...........................£149 Pro S body scruffy ..............£99 Plain prism late..................£199 WLF.......£79 Chimney........£99 120 645V back .....................£99 50 F4.5 ..................................£199 90 F3.5 KL ............................£299 127 F3.5 KL..........................£299 180 F4.5......................................£149 Pro SD ext tube 2 82mm..... £99 Pro SD ext tube 1 45mm..... £99 Ext tube 2.................................... £49 MAMIYA RZ 6x7 USED RZ ProII + 90 + WLF + 120 RFH ............................£499 RZ Pro body ........................£149 120 RFH Pro II.......................£99 120 RFH Pro I ........................£49 Polaroid back .......................£79 FE701 prism ........................£299 WLF.........£79 Winder II ......£69 50 F4.5 W .............................£249 65 F4 box M- ......................£399 90 F3.5 W M- box ..............£299 180 F4.5 W...........................£199 Pro shade...............................£49 MINOLTA/SONY DIGITAL USED Sony RX10 MKII box.............£899 Sony A7RII body box......£2299 Sony A6300 body .............. £799 Sony A200 body................. £129 Sony VGB30AM .....................£69 Sony VG-C70AM................. £139 Sony HV56AM ..................... £169 SONY NEX USED A6000 body .............................£329 NEX 5 body ..............................£129 FE 16-35 F4 ZA OSS E..........£999 FE 16-50 F3.5/5.6 EZ ............£149 FE 55-200 F4.5/6.3 ................£149 FE 90 F2.8 macro ...................£799 Samyang 100 F2.8 macro .£229 MINOLTA/SONY AF USED Dynax 9 body box ............£299 800Si body ............................£69 7xi body .................................£49 7000i body ............................£39 300Si body ............................£19 20 F2.8 ..................................£199 20-35 F3.5/4.5 M- box .....£249 24 F2.8 AF ............................£199 24-50 F4 .................................£99 24-85 F3.5/4.5 ....................£149 28 F2......................................£299 28 F2.8 ....................................£99 28-80 F4/5.6..........................£39 28-85 F3.5/4.5 ......................£99 35-70 F4 .................................£39 35-70 F3.5/4.5 ........................... £25 35-80 f4/5.6 ................................ £25 35-105 F3.5/4.5 ........................ £99 50 F1.7 AF ................................... £89 50 F2.8 macro .........................£149 75-300 F4.5/5.6 ........................ £99 85 F1.4 ........................................£549 100-300 F4.5/5.6 APO .........£149 VC700 grip.................................. £39 RC1000S/L cord ....................... £15 AW90............................................. £49 MD90 + BP90-M ...................... £79 Angle finder VN........................ £79 SONY LENSES USED 16-80 F3.5/4.5 ZA DT...........£499 18-55 F3.5/5.6 SAM ................ £59 18-200 F3.5/6.3 DT ...............£199 55-200 F4/5.6 DT SSM .......... £69 75-300 F4/5.6 ..........................£129 SIGMA MIN/SONY AF USED 10-20 F4/5.6 EX DC ........... £229 18-35 F1.8 Art...................... £449 28-135 F3.8/5.6 ......................£79 28-300 F3.5/6.3 macro..... £149 50 F1.4 .................................... £149 50 F2.8 EX DG macro ....... £149 55-200 F4/5.6 .........................£69 70-300 F4/5.6 DG OS ......£169 70-300 F4/5.6 APO DG ......£99 150-500 F5./6.3 DG ..........£499 170-500 F5/6.3...................£299 500 F4.5 APO ......................£799 1.4x EX conv .........................£99 TAM 10-24 F3.5/4.5 DiII ..£239 TAM 18-200 F3.5/6.3..........£99 TAM 70-300 F4.5/5.6 Di box......................................£79 TAM 90 F2.8 .............. £179/249 Teleplus 1.4x conv ..............£69 Teleplus 2x conv .................£79 Kenko 1.4x Pro 300DG ....£149 Min 5200i...............................£29 Min 5400HS ..........................£39 Min 5600HSD M-.................£99 NIKON DIGITAL AF USED D4s body box ..................£3699 D4 body box....................£2499 D3X body box .................£1999 D3s body box ...... £1499/1799 D3 body box....................£1199 D2xs body ...........................£399 D2x body .............................£349 D800 body .......................£1399 D700 body box..................£699 D600 body box..................£799 D300s body box ................£429 D300 body box..................£299 D200 body box..................£149 D7000 body .............. £299/349 D5500 body box ...............£479 D5000 body ........................£169 D90 body .............................£199 D50 body ...............................£79 MBD-15 grip .......................£169 MBD-14 grip .......................£179 MBD-12 grip .......................£229 MBD-10 grip M- box ........£149 MBD-10 grip .........................£89 MBD-100 ................................£39 MBD-200 ................................£69 Coolpix P900 compact ...£399 NIKON AF USED F4E body ..............................£299 F4 body ................................£249 F65 body ................................£39
F801 body ...................... £29/59 F601 body .............................£29 F55 body ................................£25 10.5 F2.8 AFS DX box ......£399 10-24 F3.5/4.5 AFS DX ....£549 14-24 F2.8 AFS M- box ..£1099 14-24 F2.8 AFS ................£999 16 F2.8 Fisheye AFD .....£499 16-35 F4 VR.......................£799 16-85 F3.5/5.6 AFS VR ...£399 17-55 F2.8 AFS ......................£499 18-35 F3.5/4.5 AFS ..............£479 18-35 F3.5/4.5 AFD .............£299 18-55 F3.5/5.6 AFS VR..........£99 18-105 F3.5/5.6 AFS VR .....£169 18-200 F3.5/5.6 AFS VRI ....£249 20 F2.8 AF................................£279 24 F2.8 AFD ............................£299 24-70 F2.8 AFS box .............£849 24-85 F3.5/4.5 VR ..................£329 24-85 F3.5/4.5 AFS................£229 24-120 f4 AFS VR ...................£699 24-120 F3.5/5.6 AFD ............£199 28 F1.8 AFS G ..........................£479 28-100 F3.5/5.6 AF G ............. £69 28-105 F3.5/4.5 AFD ............£149 35 F1.8 DX.................................£139 35 F2 AFD .................................£199 35-70 F3.3/4.5 AF .................... £59 40 f2.8 AFS Micro ..............£169 50 F1.4 AFD.........................£199 50 F1.8 AFD...........................£99 50 F1.8 AF ..............................£79 55-200 F4/5.6 AFS VR ........£99 55-200 F4/5.6 AFS ..............£79 60 F2.8 AFS .........................£349 60 F2.8 AFD.........................£249 60 F2.8 AF ............................£199 70-200 F2.8 AFS VRII .....£1349 70-200 F2.8 AFS VRI .........£899 70-200 F4 AFS VR..............£899 70-300 F4/5.6 VR ...............£369 70-300 F4/5.6 AFD ...........£129 70-300 F4 G...........................£79 80-200 F2.8 AFD................£349 85 F1.4 AFD.........................£499 85 F1.4 AFS .........................£329 85 F1.8 AFD.........................£249 85 F3.5 DX M- box ............£269 105 F2 AFD..........................£649 105 F2.8 AFS VR.................£579 105 F2.8 AFD ......................£399 135 F2 AFD box .................£799 180 F2.8 AFD M- box .......£449 200 F4 AF .............................£999 200-400 F4 AFS VRII ......£3799 300 F2.8 AFS VRI ............£2699 300 F4 AFS M- box ...........£699 300 F4 AFS box..................£599 400 F2.8 AFS VR serviced £5899 400 F2.8 AFS non VR.....£3999 600 F4 AFS VR serviced ....£5999 600 F4 AFS II non VR grey serviced ...................£3499 TC14EII. .................................£299 TC20EIII M- box .................£249 TC20EII....£199 TC20E.......£149 SIGMA NAF USED 10-20 F4/5.6 EX DC ..............£239 15 F2.8 EX DG .........................£399 18-50 F2.8 EX DC Mac.........£149 18-200 F3.5/6.3 DC OS ......£199 18-250 F3.5/6.3 DC OS ......£149 24-70 F2.8 EX DG .................£249 28-300 F3.5/6.3 early..........£129 30 F1.4 EX DC ........................£199 35 F1.4 Art...............................£499 50 F1.4 Art M- box...............£499 50-500 F4/6.3 DG.... £399/499 70 F2.8 EX DG ....................£149 70-200 F2.8 OS DG ...........£599 70-200 F2.8 EX DG............£399 70-300 F4/5.6 APO DG......£99 80-400 F4.5/5.6 DG OS ...£399 105 F2.8 EX DG OS ...........£269 105 F2.8 EX .........................£199 120-300 F2.8 DG OS .....£1199 120-400 F4/5.6 DG ...........£399 150 F2.8 EX DG OS mac .....£499 150-500 F5/6.3 DG OS ........£499 1.4x or 2x EX DG conv ea ..£149 1.4x or 2x EX conv each ....... £99 TAMRON NAF USED 10-24 F3.5/4.5 DiII .................£239 11-18 F4.5/5.6 .........................£219 18-250 F3.5/6.3 ......................£149 19-35 F3.5/4.5 ........................... £99 24-70 F2.8 USD.......................£599 28-300 F3.5/6.3 XR Di..........£149 70-300 F4/5.6 ............................ £79 OTHER NAF USED TOK 10-17 F3.5/4.5 ATX ..£249 TOK 11-18 F2.8 ATX Pro..£329 TOK 12-28 F4 ATX DX ......£399 TOK 80-200 F2.8 ATX Pro £299 FLASH / ACCESSORIES USED SB-24 ...............................................£49 SB-25 ...............................................£49 SB-28 ............................................. £69 SB-80DX....................................... £79 SB-500 box ...............................£149 SB-600.........................................£169 SB-800.........................................£129 SB-900.........................................£249 SB-R1C1 kit...............................£499 SD-8 batt pack.......................... £49 SU-800 commander box...£199 DR-3 angle finder.................... £59 MB-10 (fits F90) ........................ £29 MB-23 (fits F4)........................... £69 MC-36 remote .......................... £79 MC-30 remote .......................... £39 MF-23 (date back F4) ............ £79 NIKON MF USED F3 body ................................£199 FM2n body box .................£349 FM2n body chr ..................£249 F301 body .............................£99 20 F3.5 AI .............................£199 24 F2.8 AI .............................£199 28 F2.8 AIS...........................£199 28 F3.5 AIS.............................£99 28 F2.8 E box ........................£69 28-85 F3.5/4.5 AIS.............£199
35-70 F3.3/4.5 AIS.............£129 35-70 F3.5 AIS ......................£99 35-105 F3.5/4.5 AIS ............£79 50 F1.4 AI .............................£199 50 F1.8 AIS pancake.........£139 50 F1.8 E.................................£59 55 F2.8 AIS...........................£199 85 F1.8 AI ...............................£99 105 F2.8 AIS macro ..........£199 180 F2.8 AIS ED scruffy ...£179 500 F4 AIS.........................£1499 500 F8 mirror early...........£279 TC200 ......................................£49 TC301 ....................................£149 SC-17 TTL lead .....................£25 DW-3 WLF find fit F3 .........£99 DW-21 fits F4 ......................£149 Nikon bellows II box ..........£89 OLYMPUS DIGITAL USED E10 MKII body ....................£349 E10 body..............................£279 12-60 F2.8/4 SWD .............£379 14-42 F3.5/5.6 ......................£49 14-45 F3.5/5.6 ......................£79 14-50 F3.8/5.6 ....................£199 14-54 F2.8/3.5 ....................£149 35 F3.5 ....................................£99 35-100 F2 M- box..............£999 40-150 F4/5.6 .......................£49 50 F2 macro ........................£279 25mm ext tube....................£79 FL-36 Flash ..........................£119 OLYMPUS PEN USED Stylus 1F...............................£299 OMD-EM1 body M- box .£499 OMD E-M5 MKII b/o box £599 OMD E-M5 body box.......£299 OMD-EM10 MKII body ....£369 OMD-EM10 body ..............£299 12-50 F3.5/6.3 ....................£149 14-150 F4/5.6 .....................£399 45 F1.8 box .........................£199 40-150 F2.8 Pro .................£949 60 F2.8 ..................................£299 75-300 F4.8/6.7 MKII........£299 1.4x converter ....................£249 FL600R flash box...............£179 HLD-8 grip...........................£149 HLD-7 grip box ..................£109 HLD-6 grip...........................£119 VF-2 viewfinder .................£179 OLYMPUS OM USED OM-4T body .......................£249 OM-1n body chr................£169 OM-2SP body .....................£149 OM-2n body blk or chr ...£149 OM-1n body .......................£149 28 F3.5 ....................................£49 35-70 F3.5/4.5 ......................£79 35-105 F3.5/4.5....................£79 50 F3.5 macro ......................£79 200 F4 .....................................£79 14 or 25 auto ext tube ea £29 PANASONIC DIGITAL USED FZ200 Bridge camera ......£199 G6 body black....................£299 G3 body box .......................£129 GX7 body.............................£399 GX1 body box ....................£149 GF7 body silver box .........£199 GF3 body black ...................£99 GF1 body ................................. £79 12-35 F2.8 ............................£549 14 F2.5 ..................................£199 14-42 F3.5/5.6 ......................£79 14-45 F3.5/5.6 ....................£149 20 F1.7 ..................................£199 35-100 F4/5.6 .....................£199 100-300 F4/5.6...................£349 PENTAX DIGITAL USED Km body ..............................£149 PENTAX 35mm AF USED MZ5N body ...........................£69 10-17 F3.5/4.5 ED .............£239 16-45 F4 ...............................£199 17-70 F4 SDM M- box .....£299 18-55 F3.5/5.6 ......................£29 28-80 F3.5/5.6 ......................£49 50-135 F2.8 SDM...............£379 55-300 F4/5.8 HD DA ED WR ...................................£249 55-300 F4/5.8 ED box......£229 70 F2.8 Limited ..................£349 70-300 F4/5.6 .......................£79 100-300 F4.5/5.6 .................£89 SIGMA PKAF USED 10-20 F4/5.6........................£229 18-250 F3.5/6.3..................£199 TAM 70-300 F4.5/5.6 Di ....£79 PENTAX 645AF USED 645N body ..........................£399 AF500FTZ flash ....................£79 PENTAX 645MF USED 645 + 75 F2.8 ......................£249 645 body + insert .............£199 55 F2.8 ..................................£249 150 F3.5 EX++ ....................£149 200 F4 ...................................£149 300 F4 ...................................£249 1.4x converter ....................£199 120 Insert M- box................£49 PENTAX 67 USED 67 II + AE prism box .........£999 45 F4 latest ..........................£399 105 F2.4 latest ....................£449 135 F4 macro late .............£249 165 F2.8 latest ....................£399 200 F4 latest .......................£169 200 F4 early .............................£99 300 F4 early scruffy ............. £99 Pentax rear conv 1.4x ........ £249 2x rear converter...............£179 Auto ext tubes .....................£49 Vivitar 2x conv .....................£49 TAMRON ADII USED 90 F2.5 SP ............................£149 VANGUARD SCOPES USED Endeavour HD65A............£269 Endeavour HD82A............£339 VOIGTLANDER USED 15 F4.5 + VF M- box .........£269 ZEISS USED Victory Diascope 85 T* FL + 20x60 box .....................£1499
Used Nikon
D4s body box
HOYA Filters NEW STOCK HOYA PRO 1D
£3699 Dazzling levels of speed and low light performance make this a great buy
Used Nikon D4 body box
£2499
Used Nikon D3X body box
£1999
Used Nikon D3s body box
£1499/1799
Used Nikon
Circ ular Polariser 52mm .... £49 67mm..£79 55mm .... £49 72mm..£89 58mm .... £69 77mm..£99 62mm .... £69 82mm£134 UV 37mm .... £30 62mm..£43 40.5mm . £30 67mm..£50 46mm .... £30 72mm..£52 52mm .... £30 77mm..£55 55mm .... £35 82mm..£69 58mm .... £38 Softener A 52mm .... £20 67mm..£39 55mm .... £20 72mm..£39 58mm .... £39 77mm..£49 62mm .... £39 82mm..£49 Star 4 52mm .... £29 67mm..£39 55mm .... £29 72mm..£39 58mm .... £39 77mm..£49 62mm .... £39 Protector 55mm .... £20 67mm..£30 58mm .... £20 72mm..£35 62mm .... £30 77mm..£49 Twin packs: UV + Circ Pol 40.5mm . £49 62mm..£69 49mm .... £49 67mm..£79 52mm .... £55 72mm..£89 55mm .... £59 77mm..£99 58mm .... £65
HOYA
D3 body box
£1199
Used Nikon D800 body
£1399
Used Nikon 14-24mm f2.8 AFS M- box
£1099
Used Nikon
200-400mm f4 AFS VRII
£3799
Used Nikon
Close up +2, 3 or 4 (each) 52mm .... £18 67mm..£25 55mm .... £18 72mm..£27 58mm .... £20 77mm..£27 62mm .... £20 Softener A, Diffuser (each) 49mm .... £15 62mm..£29 52mm .... £20 67mm..£29 55mm .... £25 72mm..£29 58mm .... £29 77mm..£29 Infra Red 62mm .... £59 67mm..£59 77mm .... £69 Variable Neutral Density 67mm ..£119 72mm£129 77mm ..£129 Centre Spot 40.5mm . N/A 58mm..£17 46mm .... N/A 62mm..£17 49mm .... £15 67mm..£17 52mm .... £15 72mm..£20 55mm .... £15 Star 6, Star 8 (each) 52mm .... £20 67mm..£29 55mm .... £20 72mm..£29 58mm .... £29 77mm..£39 62mm .... £29
300mm f2.8 AFS VRI
SIGMA
£2699
UV WR 86mm .............................£99 95mm .......................... £119 105mm ........................ £149 Circular Polariser WR 86mm .......................... £129 95mm .......................... £159 105mm ........................ £199
Used Nikon 400mm f2.8 AFS VR serviced
COKIN £5899
Used Nikon 600mm f4 AFS VR serviced
£5999
P Series Nuance Kits ND1024 10 f stops ...£69.99 ND256 8 f stops ........£69.99 ND32 5 f stops ..........£69.99 P Series Grad ND Kit H270A .........................£54.99 Z Series Grad ND Kit U960................................£99 For full list of filters see WWW.MIFSUDS.COM
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80 | TIMES PAST | FROM THE RPS COLLECTION
Woman of substance Gertrude Käsebier was a pioneering photographer who made her mark in a male-dominated industry
O
ne of the first women to be admitted to the Linked Ring, her name may be unfamiliar today but between 1895 and 1910 Gertrude Käsebier would have been widely known and well respected. Admired in America and the UK, Käsebier was once described by Alfred Stieglitz as the ‘leading portrait photographer’ in the USA. She ran a successful studio and her work appeared in the illustrated magazines
80 / THE RPS JOURNAL / JANUARY 2017 / VOL 157
of the day, selling her images for prices unheard of at the time – £20 in 1894, and $100 in 1899. Born in 1852, she fulfilled her long-held desire to be an artist when she enrolled in 1899 at the Pratt Institute, studying drawing and painting. While there she became fascinated with photography, largely teaching herself. Although still a student she won a photographic competition, which
Gertrude Käsebier was a mother of three when she went to art school, afterwards becoming a photographer
did not please her teachers, who considered photography an inferior art. In 1885 she opened her first studio and in 1886 held her first show comprising 150 images. Enthusiastic about fine-art photography, Käsebier made contact with Stieglitz, beginning a working relationship that was to last until 1908 when he disowned the pictorialist style which he had championed so forcefully. His early admiration was so great that he published six of her photographs, accompanied by highly favourable commentaries, in the inaugural issue of Camera Work. She was a stylish artist and technically accomplished in her handling of platinum, gum bichromate and other processes. Among her most renowned works are portraits of native American Indians, but she is as well known for her images of women. For some, her style idealises and romanticises both femininity and the idea of motherhood, with the mother-child dyad as her characteristic image. The Bride, a delicate Fresson print taken in 1905, is a subtle romantic depiction, showing both her aesthetic and technical mastery of the medium. When she died in 1934 her legacy was simple: she was artistically and commercially successful in what was a very male-dominated world. PETER HARVEY ARPS
ROYAL PHOTOGRAPHIC SOCIETY COLLECTION / SCIENCE ! SOCIETY
‘HER TEACHERS CONSIDERED PHOTOGRAPHY TO BE AN INFERIOR ART’
Pim117 RPS117
RPS117 Pim117
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72 • MPA MASTERS OF PHOTOGRAPHY ANNUAL 2017
Image: Patricia’s blackfaced ewes with windfarm turbines, The Scottish Borders. January 2013 © Sophie Gerrard, from the series, ‘Drawn to the Land’. The National Trust is a registered charity no. 205846