The RPS Journal March 2016 by Think Publishing

RANKIN’S BEST SHOTS

… AND WHY HE’S MORE THAN JUST A FASHION INNOVATOR

MARCH 2016 / VOLUME 156 / NUMBER 3 / WWW.RPS.ORG

STEPS TO SUCCESS

PAUL STRAND RETROSPECTIVE

GREAT DANCE PHOTOGRAPHY MASTERCLASS

HOW HIS LEGACY IS INFLUENCING A NEW GENERATION

ÂŠ JARED PLATT

You will find us on Stand G71 Join us at this years Photography Show to experience the full range of Profoto products You will find our complete OCF system which includes the hugely popular B1 & B2 Also on stand will be the D1, the legendary Pro-8 and the amazingly fast Pro-B4 For product information visit www.profoto.com/uk There will be product demonstrations and informative talks on Light Shaping A selection of photgraphers will also be on stage sharing their work and shooting live For a full on-stand schedule please see The Photography Show website www.photographyshow.com

Profoto Ltd | Unit 21 Mcdonald Business Park, Hemel Hempstead, HP2 7EB| PHONE 01442 204919

| MARCH 2016 | 161

OPENING SHOT

VERACITY AND THE VISIBLE SPECTRUM

W COMING UP

IN FUTURE ISSUES Next month we bring you our special edition looking at the lasting relationship between photography and music, guest edited by the amazing Gered Mankowitz FRPS

elcome to the March edition of the Journal. We wanted this month’s cover to be especially eye-catching for those picking up a copy at the Photography Show. We’ll tone things down a little for the next issue, but in the meantime who better to stop you in your tracks than the remarkable Rankin HonFRPS. For me, this image perfectly represents the bombast of its author. Rising to fame in the 1990s as one of the founders of the magazine Dazed & Confused, Rankin helped shape the visual culture of a generation. He was at the crest of a wave that also brought the rise of Brit Pop and the Young British Artists, such as Damien Hirst, not to mention the ascendancy of celebrity culture. Speaking to the Journal, Rankin claims he is often misunderstood, and his work is more than just a product of an outrageous era. Starting on page 208, he presents his best shots, some of which touch on big issues, such as global inequality, and include surprisingly few celebrities. If Rankin is at one end of an imaginary spectrum, representing the brash playfulness of postmodern culture, then Paul Strand surely sits at the opposite end. Strand’s quiet,

unassuming monochrome images of Scottish islanders and French villagers have come to represent a kind of standard in ‘truthfulness’. Despite him so tightly framing his subjects, I often forget that what I’m being shown is mediated, and Strand manages to take me to a time and a place like no other. Read how his elusive style continues to inspire photographers today. Over on page 200, we find out how the gold standard of truthfulness itself – science – has an aesthetic unconscious all of its own. As Norman Barker ASIS FRPS and Christine Iacobuzio-Donahue explain in their latest book, Hidden Beauty, some of the most appealing images are found in the unlikeliest places, in this case the world of medical science. If, however, you are still sceptical, just check out the awesome placenta on page 201.

ANDREW CATTANACH Acting editor

PATRON AND SPONSORS

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162 | MARCH 2016

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

174 A copperplate gravure image – one of the processes employed by the Analogue Group

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

Advertising sales Daniel Haynes daniel.haynes@thinkpublishing.co.uk 020 3771 7200 Account director Helen Cassidy helen.cassidy@thinkpublishing.co.uk Group account director John Innes

192 | 'HE'S ON MY SHOULDER' We hear how the revered Paul Strand's work and outlook have continued to inspire generations of photographers

© 2016 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.

200 | INSIDE STORY The good, the bad and the yukky: the amazing aesthetics of medical imaging

ISSN: 1468-8670

Cover Chin Up by Rankin HonFRPS

192 Blind Woman, New York – taken by Paul Strand in 1916

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208 | TOP RANKIN The Society's Honorary Fellow reveals why he's more than simply into capturing pretty faces as he chooses his best shots

PAUL STRAND !1890&1976), BLIND WOMAN, NEW YORK, 1916 © PAUL STRAND ARCHIVE, APERTURE FOUNDATION; HENDRIK FAURE

188 | THE LRPS AND ME Nicky Rochussen shares what it took to realise her goal of gaining a Society Distinction

206

International Print Exhibition 159 is now open for entries

THE CRAFT

EVERY MONTH

221 | MUST TRY ) LATEST KIT The Olympus PEN-F, member test and a wealth of new equipment 225 | MASTERCLASS/IN DEPTH Capture the beauty of dance, and how to get great sports images

MATTIA VACCA, FROM HIS S'ARDIA SERIES

228 | MY FAVOURITE CAMERA What's the natural selection for Heather Angel HonFRPS?

200 Agar petri dishes: the aesthetics of medical science

240 | TIMES PAST Bebe Daniels by John Hinde FRPS VOL 156 / MARCH 2016 / THE RPS JOURNAL / 163

164 | BIG PICTURE |

Face By Bruce Gilden

THE PROJECT A lot of people are left behind in America – and around the world – and I found a lot of them are invisible. You know, some of these people I photograph, they’re lonely, people don’t talk to them, people don’t look at them, and if you don’t look at them, how can you help them? But the main reason I do it is because I’m a photographer and I like to photograph.

Magnum photographer Bruce Gilden will speak on 21 March at the Photography Show, Birmingham. His book Face is published by Dewi Lewis

©BRUCE GILDEN/MAGNUM PHOTOS

SUBJECTS I can go into a room filled with 100 tough guys and there may only be one or two that I wanna photograph. They have to have an intensity in the eyes, and something I see in their soul. I showed one lady her picture – and she had seen better days – and I said: ‘Well, what d’ya think?’ and she said: ‘I’m beautiful’. To me, these people aren’t pretty, but they’re beautiful.

APPROACH I have the gift of the gab. I’m good with people on the street, because I come from that. My father was a tough guy. He wore a pinky ring, thick hair, sunglasses, hats, you know, the whole nine yards – he could be in a movie. And I had a tough emotional background. There were things that happened that really upset me, that got in my soul and made me angry and I still carry that around with me today. It’s good for the photography but not always good for the soul.

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Clockwise, from this page: Dewayn, Mandy, Sherri and Lee-Ann VOL 156 / MARCH 2016 / THE RPS JOURNAL / 165

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167

IN NEWS, VIEWS, EXHIBITIONS AND MEMBER INSIGHT

IGPOTY INSIGHT Advice from Ray Spence FRPS 168

GREAT INTERACTIONS Unmissable exhibitions 172

TRADITIONAL TREASURES Spotlight on the Analogue Group 174

FOCUS

The French aeronaut Adolphe Pegoud, from the Society’s Collection

LONDON CALLING FOR RPS COLLECTION

Historic body of work moves to form major international resource

The RPS Collection, which includes iconic images from photographers as diverse as William Fox Talbot, Ansel Adams, Alfred Stieglitz and Martin Parr HonFRPS, is

BOOK NOW!

moving from the National Media Museum in Bradford to join the V&A’s photography collection in London. It will join the V&A’s existing archive of 500,000 photographs to create an International Photography Resource Centre – the single largest collection on ADVISORY DAY ! ARPS

the art of photography in the world. The move comes after a decision by the National Media Museum to put more emphasis on the science, technology and culture of light and sound. Meanwhile, the V&A has confirmed that the RPS Collection will be

retained as a distinct entity. Consultations about the logistics and impact of the move are ongoing. To read more visit bit.ly/rpscollection Read Professor John Hannavy FRPS’s response to the move on page 170

South East Region is hosting an ARPS advisory day on 6 March in The Haven Centre, Crawley Down, West Sussex RH10 4LJ. For more details turn to page 231 VOL 156 / MARCH 2016 / THE RPS JOURNAL / 167

168 | IN FOCUS |

SEEDS OF SUCCESS FOR GARDEN PHOTOGRAPHY Ray Spence FRPS gives advice for those entering this year’s International Garden Photographer of the Year International Garden Photographer of the Year (IGPOTY), a major competition and exhibition run in association with the Royal Botanic Gardens, Kew, is now open for entries until 31 October. Ray Spence FRPS, who has been a judge since 2010 and chose the winners of the Portfolio and Greening the City sections in the 2015 competition on behalf of the Society, offers Journal readers some advice. ‘The best plant and garden photographers from all over the world are

entering, so competition is fierce,’ he says. ‘But enter nonetheless. Try to understand the criteria for each category and be as original as possible. Don’t copy previous winners. Make sure your technique is 100 per cent and if you are identifying plants or wildlife, be accurate.’ See igpoty.com

Mountain Views by Richard Hurst

TRAVEL GROUP AGM AND ‘SPRINGBOARD’ EVENT Society president to award prizes at April get-together The Travel Group is holding its AGM and Springboard to Success symposium on 16 April at Egham in Surrey, with landscape and travel photographer David Noton as the main speaker. Other highlights include Tony Smith’s talk on smartphones in travel photography, while Society president Walter Benzie HonFRPS will set out his vision for the Society and present awards for the group’s annual projected image competition. See bit.ly/travelspringboard

Children of the Long House, Borneo, by Helen Shipley LRPS – Gold Medal winner, RPS Travel Group projected image competition 2015

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| IN FOCUS | 169 Tekapo Lupins by Richard Bloom

FROM THE PRESIDENT

COLLECTION IN GOOD HANDS V&A uniquely placed to preserve exhibits

OBITUARY

SIR KENNETH CORFIELD Sir Kenneth Corfield, founder of British camera maker KG Corfield, died on 11 January aged 91. He designed the Corfield Periflex series, a 35mm, interchangeable-lens camera with a distinctive through-the-lens periscope reflex rangefinder, and subsequently the WA77 and Architect cameras. Sir Kenneth also helped to ensure the survival of the historic Gandolfi camera company and was a life member of the Society.

he Royal Photographic Society’s Collection – consisting of photographs, equipment, a library and archives – has been housed at the National Media Museum (NMeM) in Bradford since 2003 and we have maintained a very good working relationship with the museum. Indeed, a team of our members has been documenting items from the collection over the past few years – and we have held a number of successful events for the Society in the museum itself. As you may have read in the press, the NMeM in Bradford has made the decision to alter its focus quite radically and concentrate on science and technology. This policy shift by the NMeM is in step with the wider Science Museum Group’s stated objectives. It was in January 2016 that Society council was first advised the collection was to leave the museum and that plans were in hand to move it to the V&A Museum in London in order to reach a wider, more eclectic audience. Articles in the press have expressed concern that the north is losing one of its great treasures to metropolitan London. I am sure you will appreciate that the Society cannot involve itself in the political arena, even if it had the power to intervene. Our interest is with the collection, and we expect to be consulted on the move.

We at The Royal Photographic Society will do our utmost to ensure that: 1. The collection is kept together as a whole and not broken up 2. Public access is enhanced and the collection continues to grow 3. Our initial agreement with the Science Museum Group is transferred to the new custodians and honoured in full 4. The Society strengthens its existing links with the V&A Museum in the spirit of the old agreement We are determined that the collection, one of the most important in the world of photography, is preserved for future generations and made available to the widest possible audience. The V&A is uniquely placed to achieve these objectives.

WALTER BENZIE HonFRPS President of The Royal Photographic Society

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offers ÂŁ2,000 in funding for the production of a photographic essay on an overseas social documentary issue.

Images by Kieran Dodds, who received the TPA/ RPS Environmental Awareness Bursary for age 31+

SOCIETY FUNDS DIVERSE PHOTO PROJECTS Opportunities for members and non-members alike If you have a great idea for a photo story but are struggling to fund it, donâ&#x20AC;&#x2122;t forget that the Society offers financial support for a range of projects. Hereâ&#x20AC;&#x2122;s a quick rundown of whatâ&#x20AC;&#x2122;s available â&#x20AC;&#x201C; and if you know a great photographer who isnâ&#x20AC;&#x2122;t a member, tell them too ...

There are two awards worth ÂŁ3,000 available for UK-based applicants aged 16-30 and 31+.

JOAN WAKELIN Run in partnership with The Guardian, this scheme

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

ENVIRONMENTAL In partnership with the Photographic Angle, the Society offers one-year bursaries to support a photographic project that will promote environmental awareness.

Qrt hoz.indd 1

RPS POSTGRADUATE An annual bursary of ÂŁ3,500 is offered as part of the Societyâ&#x20AC;&#x2122;s remit as an educational charity, to support a postgraduate student studying in the UK or abroad. Entries can include digital and traditional photographic media, the art and science of photography and image-based written work. STUDENT FUNDING Funding is also available to enable student photographers to attend selected Society regional and group events. SHORT FILM AWARD !DepicT!" See details on page 174. For full details of these funding schemes, see bit.ly/rpsfunding

LETTERS WRITE TO: The RPS Journal, Think, Suite 2.3, Red Tree Business Suites, 33 Dalmarnock Road, Glasgow G40 4LA or email rpsjournal@ thinkpublishing.co.uk

â&#x20AC;&#x2DC;A RETROGRADE STEPâ&#x20AC;&#x2122; The move of the RPS Collection from Bradford to the V&A saddens me. The relentless dilution of the National Media Museumâ&#x20AC;&#x2122;s once world-leading team of experts by countless redundancies has made an abandonment of its original commitment â&#x20AC;&#x201C; to nurturing an holistic approach to photography â&#x20AC;&#x201C; inevitable. Staff cutbacks and the unrealistic workloads placed on those still in post has made research at Bradford more difficult than it was in the museumâ&#x20AC;&#x2122;s heyday, but it continued to be just about possible thanks to the enthusiasm and dedication of committed historians and archivists such as Colin Harding and his few remaining colleagues. Now, with the technology of photography about to be separated by 200 miles from the images it produced, inclusive handson research is going to be even more challenging â&#x20AC;&#x201C; a retrograde step which, in 2016, is deplorable. Professor John Hannavy FRPS

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24/11/2015 15:11

KIERAN DODDS

170 | IN FOCUS |

365

JANUARY’S ONLINE COMPETITION WINNERS

WINTER LANDSCAPES

ICEBERG LAGOON By Paul Nash On my first ever trip to Iceland I was lucky enough to visit the glacial lagoon Jökulsárlón. We had booked an amphibious vehicle and started our tour around this

magical location, but there was a thick fog across the lagoon. Luckily enough, just as the trip began, the mist began to lift and these majestic structures came into view. The eeriness of the fog

as a backdrop meant it was possible to take a variety of handheld shots. The image was captured using a Canon 5D MkIII, using a 24-105mm f/4L IS USM lens at 40mm, f/5.6, ISO 100.

PETRIFIED TREES By Caron Steele I took this early on a February morning in Yellowstone National Park in 2015. The trees are charred, petrified remains from the big fire that devastated

Yellowstone in 1988. They seem to stand like sentry soldiers guarding the park – stoic, strong and silent. I used a Canon 5D MkIII and a Canon 24-105mm lens at 24mm, 1/1,000sec

at f/6.3, ISO 250. I tried to find an area without footprints and to capture some symmetry in the shadows. I wanted to express the sense of quiet and solitude that seemed to pervade the air.

THE DOG WALKER By Mark Cooper I headed from Salisbury to Cley Hill near Warminster, where snow was forecast, and took a number of images before the blizzard hit. As I was

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

framing the image, I noticed a dog walker entering the scene from the right. None of my bagful of Lee filters was deployed, only a hand over the lens hood. I used a Panasonic

GH3 12-35mm (water resistant) at 35mm, 1/15 sec, f/11 with a tripod. I applied a little Lightroom but no Photoshop trickery here – the rest of it was down to luck.

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172 | IN FOCUS | WHAT NOT TO MISS GREAT INTERACTIONS National Media Museum, Bradford UNTIL 10 APRIL

Photographer Polly Braden spent two years working with the charity MacIntyre, which provides learning, support and care for more than 1,500 children, young

people and adults with a learning disability and/or autism. Her photographs capture the everyday moments, achievements and milestones that organisations such as MacIntyre help make possible. ‘From the friendly chat at the supermarket checkout to that encouraging

smile or cup of tea from a work colleague when you’re having a bad day, these small interactions make a big impact on our wellbeing,’ Braden explains. ‘For people with a learning disability and autism, these interactions are even more fundamental to their quality of life.’ bit.ly/pollybraden

RPS NORTH WEST PRINT EXHIBITION Pyramid Arts Centre, Warrington UNTIL 30 APRIL

Enjoy some of the best prints from Society members in the North West Region. RPS Gold, Silver and Bronze medals and certificates will be issued to the first, second and third-placed prints, as chosen by the judges. bit.ly/rpsnorthwest

HARRY GAMMER!FLITCROFT National Waterfront Museum, Swansea UNTIL 13 MARCH

Recipient of the 2015 Jane Phillips Award graduate residency, his work includes subjects as diverse as the banal ways we deal with death, the photographic industry and submarine communication cables. bit.ly/harrygammer MARCH ONWARDS

IPSWICH AND DISTRICT PHOTOGRAPHIC SOCIETY The Council Chamber, Town Hall Galleries, Ipswich

WOLF SUSCHITZKY’S LONDON The Photographers’ Gallery, London

1$12 MARCH

UNTIL 6 MARCH

Annual exhibition of prints and projected images from one of East Anglia’s biggest photographic societies, founded in 1888 and with more than 100 members. Expect a diverse body of work (closed Sunday and Monday). idps.org.uk

Born in Vienna in 1912, the veteran documentary photographer has long been fascinated by his adopted city of London. This exhibition showcases vintage prints, iconic images and previously unseen work from the 1930s and 40s. bit.ly/wolflondon

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QUARRIED Buxton Museum and Art Gallery UNTIL 10 APRIL

Large-scale colour photographs of the quarries and works around Buxton in the Peak District, taken by Colin Shaw ARPS. ‘Quarries have their own stark beauty, and are an integral part of an inhabited, working landscape,’ Shaw explains. bit.ly/shawquarried

Jerwood/Photoworks Awards 2015 Impressions Gallery, Bradford Until 19 March My Life ... My World Beyond the Image Gallery, Suffolk Until 28 March Saul Leiter: Retrospective The Photographers’ Gallery, London Until 3 April Document Scotland: The Ties that Bind Scottish National Portrait Gallery, Edinburgh Until 24 April Lee Miller: A Woman’s War Imperial War Museum, London Until 24 April

NINA AGNEW

ALSO SHOWING

174 | IN FOCUS |

Gold medal for best print: Jökulsárlón at Midnight by Ian Wilson

NATURE GROUP EXHIBITION AND AGM The Society’s Nature Group, which celebrates its 40th anniversary this year, is holding its AGM and annual exhibition on 9 April at Smethwick Photographic Society in Oldbury, West Midlands. On 14 October at the same venue, the group will hold its

DEPICT! 2016 OPEN FOR ENTRIES The Society funds and supports a wide range of projects, including the DepicT! short film award, in partnership with the Watershed in Bristol. DepicT! challenges filmmakers

anniversary celebrations – which will be opened by Heather Angel HonFRPS, former Society president, who was instrumental in getting the Nature Group started back in 1976. Full details are at rps.org/ special-interest-groups/nature

GROUP FOCUS

ANALOGUE Makers of The Factory, winner of last year’s DepicT! short film award

to make a short film lasting less than 90 seconds. Entries are welcome from around the world, regardless of the size of budget. For more details, visit depict.org

We speak to the group’s newsletter editor Richard Bradford ARPS IN A NUTSHELL Reports of traditional photography’s death have been exaggerated. Recognising this, the Society launched the

Analogue Group in early 2014, providing a home not just for members making gelatin-silver images but any of the processes used since photography’s earliest days. The Analogue Group encourages anyone, skilled or just starting out, and is supported by an experienced committee. Today, the group has more than 140 members.

DOCUMENTARY PHOTOGRAPHER OF THE YEAR Revamped competition open to members and non-members The Society’s Documentary Group is again running its Documentary Photographer of the Year competition

(DPOTY), with a revamped entry process. It is now open to Society members and non-members, and there are colour and monochrome categories. A dedicated microsite is being set up

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within the Society’s main website, and the closing date for submissions is 31 August. For more information see DPOTY.com, or email the organisers at DPOTY@rps.org

Last year’s winning DPOTY image, taken by Mark Phillips

| IN FOCUS | 175 DG’S DIARY

SPACE EXPLORATION The Society’s search for new premises continues and the trustees and staff visited a promising building in Bristol. It was disappointing when it fell through and the search continues. LIGHT YEAR The International Year of Light 2015 drew to a close in January with a ceremony attended by its patron, Prince Andrew. The Light Works exhibition arranged by Gary Evans ASIS FRPS was well received across the UK and can still be viewed at bit.ly/RPSlightworks

Copperplate gravure by Hendrik Faure

GROUP AIMS A key aim is to attract nextgeneration photographers who enjoy the discipline of film processing and printing. Students are still inspired by pinhole photography and simple darkroom techniques. NOTABLE ACHIEVEMENTS We arrange events throughout the year, which have included a hands-on

workshop and an exhibition at Fenton House. Our next workshop (including our AGM) will be on Saturday 7 May. We also publish an acclaimed newsletter, Analogue. This reports on industry and keeps an eye on trends that mainstream magazines may overlook; it also gives members a voice and space for their work – contributions welcome.

DISTINCTIONS SUCCESSES

Well done to members on their recent achievements LRPS 01/15 Andrew Coe, Chichester LRPS 09/15 Nigel Eite, Horsham LRPS 10/15

Barbara Gardner, Norwich Gordon Wilcock, Wotton-under-Edge ASIS ' FELLOWSHIP 01/16

ANALOGUE SKILLS You can choose to combine the best of analogue and digital in a hybrid process: scan your processed film and print digitally, or print a digital negative from your files for contact printing on to silver-gelatine paper. Visit rps.org/specialinterest-groups/analogue

Dr Bhaskar Choubey, Bicester DIRECT FELLOWSHIP 01/16

RISING STARS The judging for the HIPA awards took place in January and was a fascinating experience. There were thousands of images to review and assess. At the end of five days we had reviewed, shortlisted and rated the images to produce the winners. The awards ceremony this month promises to be exciting, and with a top prize of $120,000 it will be a life-changing moment for someone. TOKYO TALES The chairman of the Japan Chapter is Mr Yoshio Miyake and Mr Yoshikazu Hayashi is his predecessor. Apologies to both gentlemen for the confusion in the January issue.

Joe McNally, Connecticut, USA LRPS EXEMPTION 02/16 John Hancock, Dorset Shaun Johnson, Staffordshire Ian Turpin, Cheshire

DR MICHAEL PRITCHARD FRPS Director-General of The Royal Photographic Society VOL 156 / MARCH 2016 / THE RPS JOURNAL / 175

BOOK REVIEWS

| IN FOCUS | 177

THE ALTERING EYE Sarah Greenough Thames and Hudson (£40) As their Desert Island Disc luxury I suspect many Society members would want to take this wonderful collection of photographs from the National Gallery of Art in Washington DC. It’s a beautifully produced guided tour of some of the greatest photographic achievements of the last 150 years, with chapters on how the collection has grown, plus essays on influential artists, from David Octavius Hill to Rineke Dijkstra. GERRY BARNETT

Small school on the prairie – now perhaps a home to wildlife, or more nefarious activities

RANGE FINDERS

The American Midwest as captured by an English couple

ABANDONED ON THE PLAINS Tony and Eva Worobiec RHE Media Ltd (£15.99) Tony Worobiec FRPS will need no introduction to many Society members, being a stalwart of numerous Distinctions panels over the years, and a well-regarded teacher whose courses quickly sell out. Along with his photographer wife Eva, Worobiec has become a specialist in Americana. It’s their fourth book together, and focuses on abandoned houses, cars and other ephemera, scattered over the High Plains – a vast area that spreads from Texas to the Canadian border. Abandoned on the Plains begins with a brief but enlightening introduction, which does a great job of contextualising the images. As the Worobiecs explain, deserted farms and homesteads are a common sight on the High Plains as land is very cheap compared to in the UK, and employment opportunities limited. Once a house or business is abandoned, its value plummets and there’s no appetite for gentrification in these far-flung places. So it’s a happy hunting ground for photographers such as the Worobiecs, who have a keen sense of America’s history and the pleasures of its ruins. As the introduction also

points out, the attitude of locals has changed since the couple started shooting on the High Plains in the mid-90s. The Worobiecs explain that many abandoned buildings started to be used as centres of crystal meth production from the middle of the last decade, making the locals much more suspicious of strangers, and more security conscious. Despite more locks, chains and wary farmers, the Worobiecs still stumbled upon some wonderfully well-preserved interiors, home now only to sheltering racoons. Tony Worobiec teaches composition skills, so it’s no surprise that the images are beautifully put together. I’d certainly urge any readers aiming for a Society Distinction to get hold of a copy and study how the Worobiecs arranged all the elements in the frame. The colours and tones are muted but evocative, giving the collection a timeless feel that’s well suited to this ‘big sky country’. It would have been nice to see more black and white work in Abandoned on the Plains, but it’s a minor quibble; this is a wonderful collection, and should be required reading for any Society member eager to take better travel, documentary and architecture images. GEOFF HARRIS LRPS

THE LEGEND AND THE LEGACY Gillian Greenwood Grays of Westminster (£30) Commissioning a 200-page book about your camera shop may seem like vanity publishing but, as Nikon fans will testify, Grays of Westminster is no ordinary outlet but a mecca for disciples and collectors. With an introduction by Nikon’s president, The Legend … reveals the full story of the shop, with lots of contributions from noted photographers and shots of iconic Nikon gear. GEOFF HARRIS LRPS

BEHIND THE RUNWAY Matt Lever Roads Publishing (£30) This behind-the-scenes look at the fashion industry does a great job of debunking the naïve views of outsiders. Surrounded by the rich and beautiful, fashion photographers also get exposed to meltdowns, bust-ups, expensive outfits ripping, and other disasters. The photography is candid, funny and touching, and Lever reveals just how hard people have to work. Don’t expect any posing guides, however, or lighting tips. JANE NORTON

VOL 156 / MARCH 2016 / THE RPS JOURNAL / 177

FELLOWSHIP SPECIAL WHAT ARE DISTINCTIONS?

Distinctions are standards of achievement recognised throughout the world

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

Three cheers

Roy Robertson HonFRPS introduces some of the Society’s latest Fellows

he Society encompasses a very broad range of photography, and this is, in many ways, highlighted in the successful applications reviewed by the Fellowship Board in November last year. My congratulations go to three new Fellows of the Society. Tony Bramley’s submission, in the Conceptual and Contemporary category, explored, through his photography, the suprematist abstractions developed by the Russian artist Kazimir Malevich. Photographing single scenes and reducing them to their geometry he produced a series of exquisite photographic abstractions, exploring light, colour and shape within the purity of the frame. A very different, and outstanding, submission. In complete contrast was the submission from Susan Hendrick in the Pictorial category. Using macro photography to illustrate aspects of coastal landscape, utilising the colours, textures and shapes in fish, the submission produced a varied and beautiful set of images, which perfectly reflects the intent set out in her statement. The third successful submission, from Terry Donnelly, was in the Creative category. Produced and presented in a style that reflected the isolation, tension and gritty environment in the London Underground, referred to in his statement, the submission again showed a high standard of technical excellence, and a variety of photographic vision brought together in a body of photographic work that fully merited the award of Fellowship. Three very different submissions – three outstanding individual bodies of work.

‘THREE VERY DIFFERENT, OUTSTANDING BODIES OF WORK’

ROY ROBERTSON HonFRPS, FELLOWSHIP BOARD CHAIR

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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

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Left: Suprematist Composition no 1 (Oxford Street, London) Above: Suprematist Composition no 10 (Margate)

CONCEPTUAL AND CONTEMPORARY

Tony Bramley â&#x20AC;&#x2DC;Content was produced from images of a wide range of placesâ&#x20AC;&#x2122; INSPIRATION The inspiration is modern art, and in particular the Russian avant-garde suprematism movement developed by Kazimir Malevich (1879-1935). The term suprematism refers to an art based on the supremacy of pure artistic feeling rather than on the depiction of objects, producing new art from within oneself rather than copying the objective world. TIME TAKEN I started work on the panel in August 2014 and set myself a deadline of April 2015, ready for an advisory day in Nottingham. I also spent five months deciding on a mounting technique that enhanced the compositions. One of my office walls became a testing ground for different options. Finally, it took three days just to mount the prints. TECHNIQUE A single scene is selected, photographed and reduced to its geometry, producing a VOL VOL156 156//MARCH MARCH2016 2016// THE RPS JOURNAL / 179

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Above: Suprematist Composition no 18, 14 and 19 (London); Suprematist Composition no 16 (Crete), below

photographic abstraction that has independence of form. Everything else is insignificant and of no artistic value. The abstracted elements â&#x20AC;&#x201C; geometry, colour, lines, and space â&#x20AC;&#x201C; form the basis of a new composition.

Content was produced from images of a wide range of places, from Greece to local English towns, as well as several trips to London. Three mounts were sandwiched to allow a recessed float mount. The float

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mount compliments the space in the compositions. PROGRESS I believe that my portfolio shows a massive leap in my personal progress, but outside

the regular terms of photography. This is more in the realms of modern and contemporary art. To reduce a photographic image to an abstract requires a totally new way of thinking as a photographer.

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HANGING PLAN

‘A series of exquisite photographic abstractions, exploring light, colour and shape within the purity of the frame’

Suprematist Composition no 15 (Margate) VOL 156 / MARCH 2016 / THE RPS JOURNAL / 181

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PICTORIAL

Susan Hendrick ‘It has been challenging to create the illusion of reality’ INSPIRATION I’ve lived in a coastal village for most of my life. During regular visits to the fish markets, I am drawn to the vibrant colours, textures and shapes of the fish which, I feel, reflect their environment. This inspired me to photograph small parts of the surface of a variety of fish to convey

this in an artistic way, reflecting the forms and colours of the landscape. TIME TAKEN The panel evolved over about two years, due to my constant reassessment. I wanted to achieve the right balance of colour, light and consistency throughout. It has been challenging to create the illusion of reality, looking through a viewfinder on to a 5cm composition – especially when my cat is waiting in the wings. TECHNIQUE I wanted to exhibit the possibilities

of macro photography in visual art. It has given me the chance to extend my imagination, only using the camera. Using macro extremely close reduces natural light, which necessitated the use of small white and black cards and a small mirror to direct the light. PROGRESS I was given a great deal of praise and encouragement when I attained my ARPS. The discipline of producing a panel of 21 images gave me the opportunity to create an imaginative style. I hope it is thought-provoking.

Above: Movement of the fish on surface of sea; below: Sea interacting with cliffs, left, and Eroding cliffs

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The sea bed

HANGING PLAN

‘They reflect the forms and colours of the landscape – the eroding cliffs as they interact with the sea’

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A wide-angle fisheye lens allowed the manipulation of perspective in camera, changing an ordinary view into a dynamic one

CREATIVE

Terry Donnelly ‘I remember maybe using the tube six times, so it didn’t take long’ INSPIRATION The inspiration came from a city break to London during 2014. While using the tube network I became aware of how passengers appeared to be in their own world, with little social interaction among them. The architecture of the underground, especially Westminster, left me aghast as to how imposing and fantastic the environment was. TIME TAKEN I shot 17 of the pictures while using the tube to get around London over two days. I remember maybe using the tube on six occasions, so it didn’t take long. Three of the pictures used were from previous visits, as I needed to use the earlier images to balance the panel. VOL 156 / MARCH 2016 / THE RPS JOURNAL / 185

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This image shows the use of the fisheye lens to create a single-point perspective

TECHNIQUE I shot all the images in the panel with two lenses, a fisheye for altering perspective, and a rectilinear zoom for creating single-point perspective composition. Most of the work was shot wide, to ultrawide, as I wanted to be close to the people in the pictures. The closer I could become allowed me to capture the tension in the picture. The final finishes were applied in Photoshop, where I treated the 186 / THE RPS JOURNAL / MARCH 2016 / VOL 156

images in a way that reflected the gritty look and feel of the tube. PROGRESS This panel shows how I have developed the ability to visualise the type of image I want to shoot, and how to achieve that with the camera. I am a firm believer that creativity is a developed quality, whereas the technical can be taught. Combining both together takes plenty of practice and development.

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Above: a fisheye lens is used to create a two-point perspective, while right shows only a single-point perspective

HANGING PLAN

‘The final finishes were applied in Photoshop, in a way that reflected the gritty look and feel of the tube’

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ROCHUSSEN 188 | INSIGHT | NICKY

How I achieved my Licentiate

Self-portrait, left, and Sydney Opera House

I Last year Nicky Rochussen decided she wanted to achieve a Society Distinction. Here she explains how she got there, taking it one step at a time

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n July last year, I set myself the challenge of gaining a Licentiate Distinction. I had owned a camera since I was 12, but was ready to take my photography to the next level. The whole process took me 14 months, and on the way I learned some vital lessons that have come to shape my photography and develop my eye for judging a good image. It is this process that I’d like to share, to let you know that there are ways and means of making it as easy as possible for yourself. I hope to show you how enjoyable – but no less challenging – it can be, if you take the most direct route. I’ve always been interested in photography, but a couple of years ago my interest intensified. I’d been blogging a photo every day on the image-sharing website Blipfoto, but found myself searching for a new goal. I think it’s important to always have an objective, and to keep developing your practice. A Society Distinction seemed to fit the bill perfectly. My next step was to attend an advisory day, where

individuals show their work to Society panel members and get advice on how to bring their submission up to Licentiate standards. Attendees take with them a panel of 10 photos, plus five extra images, for the advisor to look at and give feedback. At the day, I discovered my first major mistake. I had printed the images on fullgloss paper when I should have used matte or half-gloss instead. The advisor also suggested some adjustments to the order of the panel, swapping in some of the five spare images where necessary. He explained the importance of the hanging plan – the arrangement and order of the 10 images – and how that is fundamental to gaining a Distinction. Up to this point I had assumed a panel was simply my 10 best photos, but the assessors are looking for good-quality images that sit together as a well-ordered body of work. These might not always be your best or even your favourite images. I was told that six or seven of the 10 images were up to scratch, but that I needed to

NICKY ROCHUSSEN

| INSIGHT | 189

Clockwise, from top left: Droplets, Buttermere, Thomas, Yosemite and Aim – all of which went into making up Nicky Rochussen LRPS’s successful submission

take more. So I did the only thing I could, and started shooting more photos. A month before my assessment, I rearranged my panel then submitted it for online advice through the Society’s website. As with an advisory day, you upload your panel so that a Society panel member can give you feedback. Because it’s a

‘LOOKING BACK ON IT ALL, I’M SO GLAD THAT I ATTENDED AN ADVISORY DAY’

digital submission the advisor cannot comment on print quality, but he or she will advise on how the panel is as a body of work and how it might be improved. The advice was very helpful and left me feeling more confident. I changed one more image, then submitted my work for assessment.

I was nervous when I attended my assessment day. I really thought it could go either way, and was preparing myself for possible failure. I thought: ‘If they don’t pass me, I’ll just have to keep going and try again’. The assessors really scrutinised the work. It was surprising how much time they gave to each panel.

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ROCHUSSEN 190 | INSIGHT | NICKY They spent what seemed to be a very long time peering at the monochrome portrait of my son (see previous page). It made me really nervous, and I thought they had found some terrible defect. But after looking at it they turned round and gave positive feedback. And so I passed. My panel was one of the first assessed that day, but I stayed to watch the others because I found it interesting, and enjoyed hearing the judges’ feedback. It was a good learning experience. Looking back, I’m so glad I attended an advisory day and submitted my work for comment online, as this was fundamental to my success. I don’t know how anyone could go through this

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process without attending an advisory day. My next goal is an ARPS, but I realise it’s a much tougher level and it takes time to reach that standard. I’ve booked to go to an Associate advisory day this month, as a spectator. I want to do the next stage, but I’m not rushing into it. I’m taking it one step at a time.

Five-step guide to Licentiate success picture, you’ll probably have an option to hand. ATTEND AN ASSESSMENT DAY Sit in on an assessment day to find out what assessors are looking for. What kind of errors are they picking up on? What kind of positive feedback do they give? This will help you get a feel for what not to do.

The hanging plan is a key element

READ THE GUIDELINES Download a guide to applying for a Licentiate from the Society website. You will find instructions on the technical requirements for your submission, including directions about suitable mounts. Go to rps.org/ distinctions/downloads

HAVE PLENTY OF IMAGES Make sure you start with lots of images – Nicky Rochussen, for instance, began with 100. This will allow you to really work on your hanging plan, swapping in images to help make it as balanced as possible. It will also let you respond to advice more quickly: if you need another monochrome

GET ONLINE ADVICE Once you think your panel is ready, have it checked once more by one of the Society’s experts. Submit your panel, plus five spare images and allow four to six weeks for feedback. To find out more, go to rps.org/distinctions/advice

ATTEND AN ADVISORY DAY It cannot be emphasised enough: attend an advisory day. Knowledge gained from these events is invaluable and will help you develop your eye and improve that all-important hanging panel.

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NICKY ROCHUSSEN

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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

SHUTTERSTOCK

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 15 October 2016 â&#x20AC;&#x201C; registration is open 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 *The Certificate is also available to non-members for a small fee VOL 156 / MARCH 2016 / THE RPS JOURNAL / 191

STRAND RETROSPECTIVE 192 | MASTERWORKS | PAUL

STRANDS As the Victoria & Albert Museum opens its Paul Strand retrospective, Lucy Davies speaks to some of the photographers who have drawn inspiration from the 20th-century master

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PAUL STRAND RETROSPECTIVE

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INFLUENCE VOL 156 / MARCH 2016 / THE RPS JOURNAL / 193

STRAND RETROSPECTIVE 194 | MASTERWORKS | PAUL

PAUL STRAND The American Paul Strand dedicated himself to the photographic arts. Born in 1890, and with a career lasting almost 70 years, his work is important not only because it spans the pivotal years of the 20th century, but because, as a new exhibition at the V&A will underline, he trialled so many different approaches, subjects and technologies. Often he was one of the first to try something: ‘pictures that he made have established their own genres,’ says Martin Barnes, who has curated the show. ‘All kinds of photographers have been following in his footsteps for years, sometimes without knowing it.’ Abstracts, portraits, narrative sequences, pictures that are sharply focused or blurred, pictures that are staged or aspire to be factual, pictures which are an enquiry into the nature of looking – all of these were trialled by Strand.

Previous page: The Family, Luzzara, 1953 (negative); mid- to late 1960s (print) © Paul Strand Archive, Aperture Foundation

Martine Franck (1938-2012) Paul Strand Photographing the Orgeval Garden 1974 © Martine Franck/ Magnum Photos 194 / THE RPS JOURNAL / MARCH 2016 / VOL 156

Such diversity, though, has also led to his being rather sidelined, because he doesn’t have a signature style. A picture from 1915 and one taken five years later can look as if they have been made by different people. His contradictory, even polemic, character is partly due to his education. Strand took up photography when he was 17, under the guiding hand of Lewis Hine, whose extraordinary photos of child labourers in the early 1900s had reform at their heart. Strand was very attracted to this tradition of documenting working-class people and their attendant socialist ideals, but then Hine took his students to 291, the Fifth Avenue gallery owned by pictorialist champion Alfred Stieglitz, and Strand fell in love with that too. ‘He really wrestled with the idea that photography could be both fine art and socially relevant; a precious unique object for an elite and a useful, widely distributed, politically relevant set of pictures,’ explains Barnes. ‘Within his lifetime, he tried everything he could to reconcile these dichotomies.’

‘HE REALLY WRESTLED WITH THE IDEA THAT PHOTOGRAPHY COULD BE BOTH FINE ART AND SOCIALLY RELEVANT’

Following his service in the First World War, Strand moved for a time into film, collaborating on the documentary short Mannahatta with fellow photographer and artist Charles Sheeler, which was a portrait of the New York borough of Manhattan. Throughout the late 1920s he spent time trying to photograph landscape, and travelled to Colorado, Maine, New Mexico and Quebec in pursuit of what he called ‘the spirit of the place’. For most of the 1930s he returned to film, even forming a company to make documentaries addressing social and political issues. Although he achieved some acclaim in the field, it wasn’t until the mid-1940s that he really got into his stride. From this point on he worked on a series of collaborative books, setting up a new model of text combined with image which, once perfected, he put to the test in New England, France, Italy, the Outer Hebrides, Egypt and Ghana. ‘He is working with great curiosity at this stage,’ says Barnes, ‘connecting with communities, looking to portray humanity. I think in these later years he comes to a kind of understanding; certainly there is less of a sense of his being in combat. I’ve always thought of him being like a composer, working in different registers and styles. He does it very consciously, and it makes his work very lively, and, I think, more enriching.’

PAUL STRAND RETROSPECTIVE

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Child, Laxay 2, by Gus Wylie HonFRPS

GUS WYLIE HonFRPS

INSPIRED BY STRAND

I met Strand at the Institute for Contemporary Art, in 1972. He gave me some great advice. He said that to photograph people in a foreign place, you needed some kind of go-between. In his case it was his wife, but I took his advice when, in 1974, I went to the Hebrides. I knocked on the door of the first house in the village and made sure I forged a link.

My chief preoccupation was to get beneath the skin of the place. I think Strand was thinking along the same lines too – he was very much into the idea of the soul of the land being the people. You knew you were in if they invited you for a cuppa – in Gaelic it was a ‘strupag’. And my, the interiors of these places, they just rolled you over. I used to extemporise, I think with Strand it was more ‘Tuesday, half past two’, but either

Milly, John, Jean MacLellen, South Uist, Hebrides – by Paul Strand, 1954

way, most people were delighted to be photographed. One of my favourites of Strand’s is the one of the man in a peaked hat. It’s not just his face. If you

look down, he’d put his brand new boots on to be photographed, and that really moves me. Later, I became curious about how Strand had made

his images. By going down to the crossing that is at the foot of Harris, and near to Eriskay, and carefully aligning the interaction of telegraph wires and

chimney pots I could establish precisely his locations and his working methods. It was interesting to find out that, whereas I was working with a short focal length, so that I could achieve an infinite depth in the landscape (I was very influenced by the paintings of Andrew Wyeth at the time) Strand was working with a medium telephoto. We did things differently, but I think Strand was always there, on my shoulder. He always will be.

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STRAND RETROSPECTIVE 196 | MASTERWORKS | PAUL

Paul Strand (1890-1976) White Fence, Port Kent, New York 1916 (negative); 1945 (print) © Paul Strand Archive, Aperture Foundation

SOPHIE GERRARD

INSPIRED BY STRAND

Strand’s work in the Western Isles is a point of reference for me. What’s striking is the way he combines people with their landscape – they are within and part of it. He is very empathetic, the images are sensitive; his subjects individuals rather than anonymous, objectified types. When making Drawn to the Land, which looks at the Scottish landscape through the women who farm it, both those things aligned. The women would often speak about their relationship with the land as this poetic, tangible thing – a custodianship. They were part of the land without owning it; there to look after it for the next generation. I hope

I conveyed that. Strand had been on the periphery for me – I was aware of him, but not his Scottish work. But when I was working on the Isle of Eigg, I stayed in a caravan that belonged to one of the farmers. It was freezing: just me and the landscape. I had two books – one about island life, Soil and Soul, and another by Strand, so that’s when I really became familiar with his work, and found the resonances with my own. I’m in awe of the rapport Strand managed to build with the islanders. What he managed to show was incredibly beautiful and very real. He purposely avoided the romantic, picture postcard view. The nuances of Scotland’s history, all that politics, conflict and controversy – I think he managed to speak to that.

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From Drawn To The Land, including (below) Deer skull on Sybil’s hill farm, Dalmally, Argyll & Bute, March 2013

PAUL STRAND RETROSPECTIVE

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PETER LINDBERGH INSPIRED BY STRAND

This was a story for Harper’s Bazaar magazine, called A Star is Born. It was in the early 1990s, just when Kate Moss was going up like a rocket. We shot some of the story in Long Island, on a farm. The first in the sequence was her in a field in rubber boots and overalls, ripping cabbages out of the earth. I had in mind this image of an old-fashioned kitchen, with the peeling flowery wallpaper, but when we tried inside the farmhouse the light didn’t work. We tried sticking wallpaper to a piece of wood outside, but eventually I ripped the wallpaper away and photographed her against the grain of the wood. It reminded me of something, but I couldn’t place it. I kept asking my crew, what is it? They looked at me as if I was crazy. I didn’t think about it again, but three years later I came across the Strand picture – it really made me laugh. Even though the whole thing was an accident, Strand has always been a photographer I really love – he has done so much that is beautiful. He and Bill Brandt and the FSA school, the way they used black and white, it was a different interpretation of

reality. I connected to black and white work because it represented being truthful. I have come to think it reacts differently to skin; in some way it goes through it and makes a portrait more believable.

‘STRAND HAS ALWAYS BEEN A PHOTOGRAPHER I REALLY LOVE ! HE HAS DONE SO MUCH THAT IS BEAUTIFUL’

Kate Moss by Peter Lindbergh, above. Paul Strand (18901976) Young Boy, Gondeville, Charente, France 1951 (negative); mid-to late 1960s (print) © Paul Strand Archive, Aperture Foundation

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STRAND RETROSPECTIVE 198 | MASTERWORKS | PAUL Mr Cubbon, Golden Meadow by Chris Killip

Paul Strand (1890-1976) Couple, Rucăr, Romania 1967 © Paul Strand Archive, Aperture Foundation

CHRIS KILLIP

INSPIRED BY STRAND

I came across Strand in the late 1960s; it was my road-to-Damascus moment. I’d been assisting fashion and advertising photographers but his work made me realise you could

photograph for yourself. It fired me up to go back to the Isle of Man, a place I knew and loved, and a place that, like the Hebrides, was on the brink of change. I began the series when I was 22. I was using a 35mm camera with a tripod, and people told me I was crazy – that I might as well use a plate

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camera. I was very resistant, but I hired one anyway, and the moment I looked through the ground glass I knew it had been the right decision. I’m impetuous, and it slowed me down, which suited the subject perfectly. When I look at

VISIT!

Strand’s portraits, it’s their quietness which stands out, the way his subjects were looking at him. A plate camera takes so long to set up that people can prepare themselves. There’s something in the formality of it all that helps.

One day I was working in my father’s pub when the payphone in the bar rang. It was Norman Hall, picture editor of The Times. He said: ‘I’ve got someone who wants to speak to you’, and suddenly I was talking to Paul Strand. He

PAUL STRAND: PHOTOGRAPHY AND FILM FOR THE 20TH CENTURY

was in London, and wanted to see me the next day. I tried to explain I couldn’t afford to come, but he seemed mystified. People were shouting for their pints behind me, the bar was clamouring. I kept saying: ‘I have to go now Mr Strand’.

is at the V&A from 19 March–3 July

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HIDDEN BEAUTY Norman Barker ASIS FRPS and Christine Iacobuzio-Donahue MD explore the aesthetics of medical science

he sciences and the arts share a common creative aesthetic. There is as much beauty in a well-designed experiment as there is in an impressionist painting, despite both having completely different aims and outcomes. The artist and the scientist both study the natural world, and while the artist often represents what she finds there, the scientist tries to discover how it works. Modern philosophy gives validity to the idea that science and art are not essentially different activities but share many common attributes. For instance, artists and scientists are trained in examination and pattern recognition; both participate in a love of creative problem solving. This keen sense of observation is one of the many characteristics that scientists and artists have in common.

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Here we present a visual essay that explores the aesthetics of human disease, bringing together scientific observation with an appreciation of the physical harmony witnessed in even the direst of pathological scenarios. We see beauty in the delicate lacework of fungal organisms invading a blood vessel, as well as the desperate drive of metastasising cancer cells. Beauty in this context, however, is a relative term. In no way is it proposed that disease itself, or the suffering it creates, is aesthetically pleasing. The idea that disease, with all its negative ramifications, can still be beautiful is to us nonetheless intriguing. Ultimately, this series of images will introduce the aesthetics inherent to medical sciences to a wider audience.

Hidden Beauty: Exploring the Aesthetics of Medical Science is published by Shiffer Books

THE PLACENTA

is unlike most of our organs, which are designed to last a lifetime, but the placenta is unceremoniously discarded once its job is done. This organ acts as a mediator between mother and child, carefully regulating the exchange of nutrients and metabolites VOL 156/ MARCH 2016 / THE RPS JOURNAL / 201

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JOIN A SPECIAL INTEREST GROUP TODAY

Whether you are an artist, scientist or photojournalist, there is a Society Group perfect for you When they join the Society, members often choose to sign up to one or more special interest group. These groups cover a variety of different disciplines, including imaging science, documentary, medical,

historical, travel photography, and much more. These groups form an important part of the Societyâ&#x20AC;&#x2122;s activities and group committees arrange regular talks, workshops and get-togethers. What is more, members are

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welcome to join any or all of the groups, and you can join one group for free in your first year of membership. To find out more about the special interest groups available exclusively through The Royal Photographic Society, turn to

the member guide starting on page 229, or visit the Societyâ&#x20AC;&#x2122;s website rps.org/specialinterest-groups So if you are an artist, a scientist, or both, there are plenty of groups ready and waiting for you to sign up.

| MEDICAL IMAGING | 203 THE PAP SMEAR

has allowed us to identify and treat many cervical cancers before they cause harm. Since today there are many effective treatments for cervical cancer, the identification of important changes in the cells seen here represent the ticket to a cure for many women who could otherwise perish from this disease

THE HUMAN BRAIN

is exceedingly complex. It contains roughly 100 billion neurons connected to one another in an elaborate matrix with up to 10,000 connections for each neuron. Neurons communicate with one another by means of long fibres called dendrites and axons, which carry electrical signals to and from other regions of the brain or nervous system

GALLSTONES

are solid crystalline deposits that develop within the gallbladder. More common in women and people of indigenous American descent, gallstones can be comprised of many different primary compounds, which allows for a great deal of variability in colour and texture VOL 156 / MARCH 2016 / THE RPS JOURNAL / 203

204 | MEDICAL IMAGING | EXPLODED SKULL

or disarticulated human skull, this complex model makes a wonderful teaching tool for studying the complex structure of all 22 cranial bones. For generations, students of anatomy and illustration have closely studied how the skull comes together and how bones form

THE AUTHORS

NORMAN BARKER ASIS FRPS is a professor of pathology and art as applied to medicine at the Johns Hopkins University School of Medicine. He is also director of the universityâ&#x20AC;&#x2122;s pathology photography and graphic arts laboratory.

CHRISTINE IACOBUZIO! DONAHUE MD is an attending physician in pathology at the Memorial Sloan Kettering Cancer Center. She is also associate director of translational research for the David M Rubenstein Center for Pancreatic Cancer Research and The Walter B Winston chair in pancreatic cancer research.

PAGETâ&#x20AC;&#x2122;S DISEASE

is a disorder of exaggerated bone remodelling. Throughout life, the normal skeleton undergoes a process by which old bone is removed and replaced by new bone. This is similar to the process of shedding old dead skin in order to replace it with new skin 204 / THE RPS JOURNAL / MARCH 2016 / VOL 156

PRINT EXHIBITION 206 | COMPETITION | INTERNATIONAL

Play Nice by Monika Drzewicz

Look Away by Gillian Hyland

YOUR IMAGES TO TOUR UK

Enter the Society’s flagship competition and you could also win a cash prize he Royal Photographic Society’s International Print Exhibition 159 is open for submissions. Entries are welcome from amateurs and professionals, and from all genres and styles of photography, including artistic, documentary, portraiture and natural history – plus landscape and

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photojournalism, which are often under-represented in submissions. The entries will be reviewed by an expert panel of selectors who will be looking for a rich diversity of work for the exhibition. Enter online for the opportunity of winning one of several cash prizes, totalling £4,250, and the chance for your work to go on tour to six venues across the UK.

Early bird: enter before 31 March 2016 for a chance to win a signed copy of Don McCullin: The New Definitive Edition Closing date: Tuesday 31 May 2016 Selection: Wednesday 10 August 2016 Exhibition opens in October at the Photomonth International Photography Festival in London

To enter visit rps.org/ipe159

Fighting Brown Bears by Penny Dixie ARPS

Static Objects by Shan Chen VOL 156 / MARCH 2016 / THE RPS JOURNAL / 207

HonFRPS 208 | BEST SHOTS | RANKIN

Rankin HonFRPS has captured everyone from David Bowie to the Queen. But thereâ&#x20AC;&#x2122;s more to the man than simply celebs and salaciousness BY DAMIEN LOVE 208 / THE RPS JOURNAL / MARCH 2016 / VOL 156

RANKIN HonFRPS

MEN IN PANTS !2000$ This was for a magazine I did called Rank. I was feeling disillusioned with the fashion

industry. I still loved taking fashion pictures, but didn’t feel I was fitting in. This was a joke on a kind of bodyimage fascism.

| BEST SHOTS | 209

I wanted an ironic look at men, but shot in a way that’s aesthetically very similar to how certain male fashion imagery is

created. What’s funny is that it’s an acceptance of body. Shoot them the right way, these guys look really beautiful.

VOL 156 / MARCH 2016 / THE RPS JOURNAL / 209

HonFRPS 210 | BEST SHOTS | RANKIN

SITTING PUSSY CAT !2002$ A guy called Bill Turpin made those great animal outfits. This came from an idea I’d first used in Dazed. I felt the way we treat models in our industry is like livestock. So I did a shoot where the models were actually cows and

sheep. I loved that shoot, so when Selfridges asked me to do an underwear window, I thought it would be funny to do cats and dogs. But it came from a critical look at how we treat models. I’m a big believer in the model as collaborator, not just some kind of prop.

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ankin is considering a picture of a girl called Jasmine. It’s one of a series of portraits he made in the Mugunga refugee camp in the Democratic Republic of Congo in 2008, during a campaign to raise awareness of Oxfam’s work in the war-torn region. While he worked, Jasmine would sit, mimicking the Scotland-born photographer’s London-earned accent, and imitating him by holding an empty

food can to her eye, pretending it was a camera (see page 214). ‘This is one of the only pictures I’m uniquely proud of,’ he says. ‘If I had to say which picture I’m proudest of across my career, this would be in the top five. But, you know: this is never the picture anyone would use to illustrate me, like in an obituary or something. They’d use some f**king celebrity.’ After 25 years of working with image, Rankin is keenly aware of his own, which was largely formed in the bright, brash and heady days of Dazed &

RANKIN HonFRPS

FAKE MICHAEL JACKSON !2001$ Someone told me about their night out: ‘I saw this amazing Michael Jackson lookalike performing, he was incredible. Apart from his nose …’ Right away I wanted

to find him. I photographed lookalikes in my student days: I did Marilyn Monroe on the toilet, a butcher Elvis. They fascinated me, because I couldn’t photograph real celebrities. We found the

| BEST SHOTS | 211

Michael Jackson lookalike, and I decided to do to his face what Jackson was doing to his, except with retouching. It was a Dazed cover – inside, we put the other shot, where he wasn’t retouched. I thought

it made an interesting commentary: on plastic surgery, putting people on pedestals, and manipulating imagery. People still write that I photographed Michael Jackson. I never did.

Confused, the style magazine he co-founded in 1991 with journalist Jefferson Hack. Provocative, in your face, even wilfully obnoxious, it made him the photographer for the 1990s, in the same way David Bailey was for the 1960s, and paved the way for the celebrity portraits – everyone from the Queen and David Bowie to Jude Law and Tony Blair – for which he’s still best known. But while Dazed is popularly remembered for pictures of pop singers, models and celebrities, it deserves also to be acknowledged a little more for VOL 156 / MARCH 2016 / THE RPS JOURNAL / 211

HonFRPS 212 | BEST SHOTS | RANKIN casting company, but when he turned up, I thought, you look really familiar. And I’d met him at a swimming pool 10 years earlier and photographed him then, and I’d used it in my first book. I’M ONLY 13 !2001$ Creative Review was doing a project around the word ‘thirteen.’ And I’d been struck by how young models were getting. Maybe

because I was getting older, but I was struck by how young they were and how old they looked. With hair and make-up, a picture could make them look 10 years older. A simple idea: if I write it on the shirt, you think: no, she can’t be 13. And she was. It makes people question what they’re seeing in fashion shoots – it can make you uncomfortable.

kicking open the door and putting ideas and questions about photography and design into the cultural mainstream, right there on the newsstands. In choosing his best shots, Rankin admits he has purposefully avoided including celebrity work, to pull out a more disparate set of pictures. As he talks through the images, though, it becomes clear that all are unified by the attitude he brings to the job at hand. Time and again, he repeats variations of the same basic philosophy: ‘I’m trying to

‘I’M TRYING TO MAKE SOMETHING THAT ACTUALLY TOUCHES PEOPLE, AND MAKES THEM THINK’

UNDERBELLY !2000$ I had this strange idea for a theme for a Rank shoot: Under–something. Y’know: I did ‘Under the weather’ and ‘Undercover’, which was a girl with a beard. Being of the portly persuasion myself, I thought this was interesting – sometimes you’re putting yourself in pictures ... Funny thing is, that guy, he came through a

212 / THE RPS JOURNAL / MARCH 2016 / VOL 156

make something that actually touches people, and makes them think. ‘I’ve always felt that when you take a photograph it’s important to have two head spaces at once. One is to be critical and analytical. There’s a responsibility when you pick up a camera, about what you’re saying. But at the same time, you want to take something that makes people feel something, have a reaction.’ What comes through most strongly is his sincere love for and knowledge about photography, something also apparent in

RANKIN HonFRPS

| BEST SHOTS | 213

HIGHLY FLAMMABLE !1997$ At this stage, a lot of my approach was to combine elements of conceptual art with fashion photography, but I tried to pepper that with humour. This series came about because, at the time, everybody was wearing really synthetic materials, and somebody said to me: ‘Imagine you put a match to this room, everybody would go up ...’ That struck me as interesting. I started thinking about how I could take a picture of someone on fire. How was it done? I can’t give away my secrets! You have to work it out. Answers on a postcard... VOL 156 / MARCH 2016 / THE RPS JOURNAL / 213

HonFRPS 214 | BEST SHOTS | RANKIN

JASMINE !2008$ I love this picture. My idea was: photograph refugees as human beings – almost like celebrities. Put them against the white background, take it away from the victim mentality, make it about them as individuals. The camp was the scariest place I’ve ever been, but these kids were so full of life and so positive. Nobody moaning. We did an exhibition there in the camp. But this little girl, she had nothing. That little can was her toy. And she held it up and pretended to be me. It was one of those moments that’s a gift, but it also shows the division within an image: she’s got a can she’s pretending is a camera; I’ve got the camera, documenting her.

the three documentaries he made for the BBC in recent years, films at once clever, simple and heartfelt, exploring the history of fashion photography, celebrating the South African township photographers the Bang Bang Club, and extolling the work of LIFE magazine. ‘It’s fantastic to meet your heroes and talk about their work,’ he says. ‘And it helps me creatively. But I do want people to know more about photography – especially today, with smartphones and Instagram. When everybody’s got a camera, it’s important for people to know photography is an 214 / THE RPS JOURNAL / MARCH 2016 / VOL 156

‘IT’S IMPORTANT FOR PEOPLE TO HAVE SOME KNOWLEDGE THAT PHOTOGRAPHY IS AN ARTFORM’ artform and have a bit of knowledge about the history.’ As for the future, he feels he’s reached a point where something different is brewing. ‘I love what I do,’ he says. ‘I love every day, and I’m really happy I get asked to do so many things. But, at the same time, I’ve got a strong feeling I want to do some much more personal

projects, without a big team, or the trappings that come with working in the commercial and fashion worlds. I want to take pictures just for myself. And I’m really mulling over what those pictures are going to be at the moment.’ Finally, a last word on image. ‘You know, when I do these interviews,’ Rankin says as we wrap up, ‘I tend to sound like a wanker, like I take myself so seriously. And honestly, I don’t. A lot of my work has humour in it, because, although I love it and take it seriously, at the same time, I do think it’s all a bit ridiculous.’

Photograph from The Meteorite Hunter project © Alexandra Lethbridge supporting creative excellence Printed on Fujicolor Crystal Archive by Metro Imaging

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PROMOTION 216 | FUJIFILM | ADVERTISING

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he Metro Imaging Mentorship programme launched in 2005. The lab set up the platform because it felt the bridge between graduates completing their education and the industry had broken down. ‘There was no clear communication between industry and that of emerging photographers,’ says Professor Steve Macleod, above, Metro’s creative director. ‘We introduced a scheme that supported graduates as they made the transition from education to industry. We enlisted many industry leaders to advise and support the progress of each mentee. The platform is fully funded and resourced by Metro Imaging and is now established in both academic and non-academic routes into the industry.’

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Woodshedding it in the fenlands – Alastair Bartlett

Alastair bangs the drum for Fujifilm Crystal Archive

t was while touring as a drummer in a band that Alastair Bartlett first realised he had a genuine passion for photography. ‘Eventually it overtook my obsession with music,’ he says, ‘and I decided to head to university to study it full time.’ While there Alastair won the mentorship prize offered by Metro Imaging with Here We Are – a series of images captured around the Cambridgeshire fenlands (above). The award provided a huge boost to his career and not only validated the work he was producing but also enabled him to benefit from a wide selection of expert feedback and tangible material support. ‘Winning the Metro Mentorship Prize was an incredible feeling,’ he says. ‘Photography can be a lonely place and self-doubt can easily creep in: awards and prizes are a great way to let you know what you’re doing is both relevant and appreciated.’

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One of the big benefits of the mentorship for Alastair was the fact that it introduced him to pro lab standards and quality, and in particular it opened his eyes to Fujifilm Crystal Archive paper, which perfectly complemented his imagery. ‘The quality of Fujifilm Crystal Archive is second to none,’ asserts Alastair. ‘My work can be very subtle and the vivid colours of this paper really help to bring out the different tones and hues. I’m still blown away every time my work is output on this paper. There’s just no way to describe that exhilarating feeling when you see a print for the first time. The fact that the paper is so archivally stable is another big plus point for me. People really do look out for that reassurance, and silver-halide technology is one way of guaranteeing this incredibly important factor.’

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Fujifilm Crystal Archive and its 100-year legacy

he’s just 27 and a year on from graduating from her MA in photography at the University of Brighton, but Southamptonbased Alexandra Lethbridge has already achieved a great deal in her nascent career. She was recognised last year as ‘a rising star of British photography’ by The Guardian newspaper and has been featured in several high-profile magazines and online publications. She’s also picked up numerous awards to date, including being shortlisted in 2014 for the Paris Photo Aperture Foundation First Photo Book Award for her first publication, The Meteorite Hunter, a fictional archive based on meteorites. The project also won her the Danny Wilson Memorial Professional Choice Award at the Brighton Photo Fringe in 2014, and with it the opportunity of a year’s mentorship from Metro Imaging. ‘The mentorship with Metro was amazing and really benefited my photography,’ says Alexandra. ‘My two mentors guided me during a turning point of leaving education and trying to figure out how to maintain my practice.’ For any fine-art photographer, quality and consistency of output are key to the whole process, and working so closely with the London lab has helped Alexandra to carefully hone the

Above, from The Meteorite Hunter series by Alexandra Lethbridge

look of the pictures she’s outputting. ‘My work – particularly my last series – is bright and colourful,’ she says. ‘The vibrancy of the images is designed to allude to this kind of fantastical place that is space. Fujifilm Crystal Archive media is

particularly good at vivid colour reproduction and so showcases this brilliantly. ‘It’s also a massive benefit to me that Fujifilm Crystal Archive utilises silver-halide technology and is so archivally stable. To know that you can sell prints with the peace of mind that they will maintain all the qualities that they had when they were first produced is priceless. The fact that Fujifilm Crystal Archive remains stable for well over a hundred years is incredible. This is the stuff of legacy.’

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Why printing on ‘true’ photographic paper is special for Carl

hotography ‘runs big’ in London-based Carl Bigmore’s family. He can recall his grandfather permanently ‘wearing’ a camera around his neck. ‘He shot on transparency film,’ he recalls, so there were always these little pictures lying around that you could hold up to the light. And when you studied them you gained entry into what seemed like another world. That was when I first became interested in photography.’ Tradition means a lot to Carl, which is why he works with silver-halide film and shoots with an antique 1958 Rolleiflex that he was given around 10 years ago. ‘There’s a quality to the images it produces,’ he says. ‘It feels almost painterly, slightly otherworldly, in my mind.’ During his master’s at the London College of Communication, Carl used the Rolleiflex to create the images for his Between Two Mysteries portfolio – an exploration of the Pacific north-west of America through the prism of popular culture (images, right). The series was so successful it went on to win Carl the Metro Mentorship Prize, and it cemented a highly successful relationship between the photographer and the lab. Working with traditional silver film, Carl appreciates the synergy between this product and a genuine silver-halide paper such as Fujifilm Crystal Archive, but he’s also keen to tap into all the advantages that modern digital technology can provide. He scans his negatives and then carries out colour correction and sets tonal balance in Photoshop before sending the files off for printing. ‘While I do enjoy the diversity of papers you get with giclée printing there’s something very special about printing on a true photographic paper,’ he says. ‘In some ways it feels like setting your image in stone. And in a digital age where fewer and fewer images are physically printed out it’s good to be able to work with a paper that’s Carl Bigmore – exploring the so reliable.’

More information: carlbigmore.co.uk

Pacific north-west with a vintage Rolleiflex

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 fujifilm.eu/uk/products/photofinishing/photographic-paper/

CALLENDER FRPS 218 | SHOWCASE | RON

Vero Charles Driffield at Higherfield House

Ahead of the

curve Ron Callender FRPS celebrates the centenary of pioneers Hurter and Driffield at Fenton House

218 / THE RPS JOURNAL / MARCH 2016 / VOL 156

Ron Callender FRPS first became interested in Ferdinand Hurter and Vero Charles Driffield in 1976 when, having just ended a stint as the president of the British Institute of Professional Photography, a friend suggested he examine the work of the 19th-century collaborators. But it wasnâ&#x20AC;&#x2122;t until he discovered Hurter and Driffieldâ&#x20AC;&#x2122;s experimental notebooks, some years later, that Callender registered for a PhD examining their work. In 2004, Callender earned a doctorate for his thesis, and continues to bring the work of Hurter and Driffield to a wider audience through exhibitions, including one this month at Fenton House. Hurter and Driffield began as colleagues in the alkali industry and in their spare time undertook photographic research. Together they developed an exposure calculator called the Actinograph, which was later recognised as a standard measurement when Marion & Co. applied the scale

RON CALLENDER FRPS

| SHOWCASE | 219

A composite image capturing some of the photographic apparatus developed by Ferdinand Hurter and Vero Charles Driffield

Why are they of interest today? As pioneers in the 19th century, they had to conceive a new vocabulary to take their ideas forward and many of these terms survive today. They developed the notion of the characteristic curve (or the H–D curve), which still applies to digital photography.

to its photographic plates, creating the H&D speed system, which was in use until 1939.

Could you begin by telling us about Hurter and Driffield’s relationship to the Society? They had minimal contact with the Society, although some of their fiercest critics were members. In 1893, they were put forward for the Progress Medal, but no award was made that year, and they finally received the accolade five years later. In 1907, Driffield received the Society’s Honorary Fellowship. When Driffield died in November 1915, the Society council, having tried but failed to honour the death of Hurter in 1898, formed a committee, which made three successful proposals to Council: establish an

VISIT!

THE SOCIETY HEADQUARTERS

An Autochrome image taken in 1907 by Vero Charles Driffield

archive of Hurter and Driffield’s documents and apparatus; produce a memorial volume of their published work; and inaugurate a series of memorial lectures.

What will be on show at Fenton House? There will be photographs from the unique picture library I have assembled over the past 40 years. The aim of the show will be to credit the Society for honouring the memory of the pioneers and to acknowledge that the tributes are still going strong 100 years later. The Fenton House display is the fourth to commemorate last year’s centenary, 100 years since the Society fully acknowledged Hurter and Driffield’s work.

The Mr Driffield & Dr Hurter exhibition is on display at Society HQ, Fenton House, 122 Wells Road, Bath BA2 3AH until 30 March. See the Society website for more details VOL 156 /MARCH 2016 / THE RPS JOURNAL / 219

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Olympus PEN-F

Gavin Stoker tries the newest rangefinder-type system camera from Olympus, which it hopes will spearhead a whole new series …

s with the digital PEN in 2009, Olympus is harking back to film’s 1960s/70s glory days for its latest digital reimaging – this time in the shape of the PEN-F. Top of the current range, it sits alongside the existing OM-D line-up. Like those cameras, it retails at around £1,000, body only, and offers a classic-meetscontemporary style; its rangefinder-type top-plate dials sitting alongside an electronic eye-level viewfinder with builtin eye sensor. The latter OLED boasts a sufficiently high 2.36 million-dot resolution to deliver lifelike results and not leave us

feeling that an optical viewfinder might have been preferable. For anyone new to its Micro Four Thirds format, there are two lens kits being offered with purchase of the body: a 17mm in black for £1,199 all-in, or with regular 14-42mm zoom for £100 less. Previous Olympus OM-D and PEN cameras have stuck to 16MP resolutions, but this one ups the ante to 20MP and, says its maker, sports a new sensor. It’s also got no pass-through filter, the manufacturer prioritising overall quality and detail, not just pixel count. That said, it does boast the slight

IN BRIEF: Olympus’s first rangefinder-styled digital camera looks set to regain some of the thunder stolen by Fujifilm’s competing X series Price: £999.99 body only Sensor: 20-megapixel Four Thirds Lens: Micro Four Thirds mount LCD screen: 3-inch, 1,037k dots Weight: 373g body only More: olympus.co.uk

gimmick of a 50-megapixel option – achieved by combining eight sequential images, a feature we first saw on the OM-D E-M5 MkII, which provided 40MP composites. The PEN-F feels substantial, yet portable, while if you’ve used a PEN or OM-D before, there is much that is familiar. Some of that portability comes down its milled aluminium construction, with no visible screws. The tactile front dial harks back to the ISO dial on the original film ‘F’; having an eye on the future and one foot in the past should stand the PEN-F in good stead.

VOL 156 / MARCH 2016 / THE RPS JOURNAL / 221

222 | THE CRAFT | 2

LATEST KIT

Nikon D5 £5,199.99

Top-of-the-range full-frame digital SLR succeeds the D4/D4S nikon.co.uk

1 This 20.8-megapixel

pro-grade range topper features a 153-point AF system, what’s said to be the highest expanded sensitivity in Nikon’s history (up to ISO 3,280,000 equivalent), and a newly implemented ability to shoot 4K films; a first for the brand. For the pro market the D5 is aimed at, operational speed is obviously crucial, so other enticing features include 12fps capture when using AE/AF tracking, or up to 14fps with the mirror up. A maximum 200 raw images can be captured in a single high-speed burst, making the D5 seemingly perfect for those photographing movement or sports. If you don’t mind the bulk or the price, it is tricky to see how the bar could be raised much higher.

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and mirrorless camera owners, this flashgun has a guide number of 44 (ISO 100 and 105mm), a motorised 24-105mm zoom, bounce-and-swivel head, integrated 12mm wide-angle diffuser and flip-out bouncereflector card. Specific models offer full TTL (through the lens) support for most camera brands plus ‘high-speed sync’, while in manual mode there are four lighting levels. For cameras with a ‘master’ capability, there is a TTL slave mode, providing wireless TTL flash control. For videographers it features an integrated LED with 100-lux output at one metre, and four switchable levels of light output. It feels like it delivers bang for our buck, plus firmware updates via the integrated USB socket.

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Samsung Portable SSD T3 drive £TBC Mega-capacity hard drive with superfast read/write speeds samsung.co.uk

Fujifilm X series camera owners will be glad to hear it has added a 2x teleconverter lens to its 2016 plans. Nikon is launching an ‘action camera’ range, the first fruits of which will be the ‘KeyMission 360, a wearable, waterproof camera offering 360° video and 4K resolution. It also has new Bluetooth-enabled connectivity software for all its forthcoming cameras: ‘SnapBridge’.

3 Samsung is now focused on

storage media products, the newest of which is its Portable SSD T3 drive, which offers multiterabyte storage – up to 2TB – and follows on from last year’s T1 device. The South Korean giant hopes that, with the rise of 4K content, consumers increasingly rely on external storage solutions, while seeking faster data transfer speeds and larger capacities on multiple devices. Samsung suggests the T3 solves these concerns by enabling blazingfast file transfers (read/write speeds of up to 450MB/s with a USB 3.1 interface up to four times faster than external HDDs (hard disk drives). The device is on sale now for photographers/ videographers wanting more storage in the palm of their hand.

| THE CRAFT | 223 MEMBER TEST 4

Lowepro Whistler BP 350 AW ‘Fitting in my camera gear was a real jigsaw’

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4 Lowepro has had a bunch

of new releases already in 2016, plus several in the pipeline. Its ProTactic range now includes the SH 120 AW, SH 180 AW and SH 20 AW ‘all-weather’ models with integral rain cover. Respectively, each can fit a mirrorless camera, a standard DSLR such as the Nikon D750 with zoom lens attached, or a pro DSLR with 70-200mm lens on the front. There is also space for extras such as tablets, lenses, smartphones, or speedlights. Features include padded, fully adjustable dividers, zip-protected accessory pouches for expanding the amount of equipment you can pack, memory card pockets and water-resistant top-zip opening in the case of the 180 and 200 products for fast access.

Canon PowerShot SX540 HS £299.99

Wi-fi and NFC-equipped 50x optical zoom bridge camera canon.co.uk

5 Featuring a 50x optical

zoom plus the Digic 6 processor from its EOS DSLR range, the SX540 HS is fair value for anyone looking for a longer lens reach without shelling out thousands. Pictures are composed via a 3-inch LCD rather than eye-level finder, however, and the sensor is small at a standard 1/2.3 inches. The 24-1,200mm (35mm equivalent) focal length is backed up with 20-megapixel resolution, wi-fi and NFC (nearfield communication), plus full HD video. Its five-axis image stabilisation makes it as adept for hand-held video as it is stills, while the 5.9fps maximum burst is respectable, if hardly earth shattering. A cheaper model also unveiled, the 42x zoom SX420 IS, delivers standard HD clips.

The bag is extremely well made and very robust. It boasts a useful compartment for shoes and wet gear, and allows you to attach walking poles or tripods. It is very sturdy, but weighs in at 3kg when empty, so it is heavier than I would normally choose. After removing the bag from the packaging I found it to have too many plastic quickrelease buckles. As access to the camera is via the rear flap you have to take the bag off your back and lay it flat on the ground to remove the camera and lenses etc. This isn’t ideal, but it does make you secure from pickpockets. Unfortunately, the extra sturdy double-walled construction eats into carrying capacity, so fitting in my camera gear,

albeit somewhat less than most folks might carry, was a real jigsaw. It left little or no room for my ‘handbag’ requirements and there was no padded pocket for my iPad. The zipped flap that goes over the gear section has to be tucked in at the top with Velcro and this was practically impossible to get in place as there was too little gap between the inner and outer walls. Annoyingly, the Velcro got caught up before it was in position. Overall I found that the bag had too many small pockets and zips. I expected a wellmade bag that would comfortably carry all my gear and be easy to use in the field, but sadly the field test convinced me that I would not swap my current bag for the Whistler BP 350 AW.

The bag’s access via a rear flap makes it secure from pickpockets JANET HAINES ARPS The chair of the Society Digital Imaging Group, Haines sees photography as an absorbing hobby that really took off after early retirement 15 years ago. She currently lives in the Netherlands.

VOL 156 / MARCH 2016 / THE RPS JOURNAL / 223

image © Yiannis Roussakis

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| THE CRAFT | 225

Three steps to heavenly images

Derwood Pamphilon LRPS explains how to capture the beauty of dance on camera

ears ago, the celebrated dance photographer Lois Greenfield revolutionised the world of dance photography by inviting dancers to her studio in Manhattan. Previously, photographers had worked largely at the behest of theatres, documenting performances where they had little or no control of events. By contrast, in the studio photographers are able to capture images with complete control of lighting and background.

My introduction to dance photography came through attending some excellent workshops. Since then I have taken thousands of images, building on what I initially learned, and have had the privilege of photographing top dance companies such as the Mariinsky Ballet. My camera bag contains a Nikon D810 body and Nikon 24-70mm f/2.8, 70-200mm f/2.8 and 85mm f/1.8 lenses which give good low-light performance.

STUDIO SET#UP 1 I prefer a studio with a good-sized infinity cove, giving ample space in which to capture jumps against a uniform background. High-speed flash systems are essential for lighting. These are expensive – often more than £5,000 for two lights – but can be rented for a fraction of this. The crucial parameter is the total flash duration, which should be less than 1/1,500 second. Cheaper systems may appear to have this, but values quoted are often for 50 per cent light emission, which may result in blurring. I typically mount the camera low down on a tripod with cable release and shoot tethered, to get a clear idea of the position captured. Typical exposure values are: shutter 1/200 sec, f/8, ISO 200.

ABOUT THE AUTHOR DERWOOD PAMPHILON LRPS

IT’S SHOWTIME 2 The crucial thing with performance photography is to get an invitation to dress rehearsals or photo calls. Although this may seem obvious, it involves a lot of emails and calls to dance companies and their agents; contacting theatres directly is rarely fruitful. Some photographers use tripods, and a few handhold, but a monopod works best for me – I’m less likely to get it tangled up in the seating. Lighting is

A retired doctor with a passion for dance, Pamphilon specialises in photographing dancers in the studio, on location and in theatre performances

MOVEMENT PHOTOGRAPHY

hugely variable and often, particularly in contemporary dance, very subdued so shooting wide open at high ISO values is the norm. My default settings are shutter 1/320, f/2.8, ISO 3,2004,000. It is essential to be able to operate your camera in darkness and to modify settings according to variations in lighting and speed of movement. I usually shoot a large number of exposures, some in burst mode, to avoid missing key moments. CREATING COMPOSITES 3 I like to make composite images using layers in Photoshop CC to create unusual dance settings. I isolate the dancer using initial quick selection and then eliminate irrelevant pixels with the eraser tool. The backgrounds are often ecclesiastical (tombstones, church interiors) combined with textures photographed elsewhere. Altering layer opacity and blend mode helps to harmonise the elements of the image.

Join a movement photography workshop on 4 September at Society HQ, 10:00-16:30, with tutor Derek Gale. For more details see rps.org/learning/workshops-and-lectures/workshops VOL 156 / MARCH 2016 / THE RPS JOURNAL / 225

IN DEPTH 226 | THE CRAFT | TECHNIQUE

Need for speed

Sports and action photographer Philip Field ARPS explains how he has captured many of skiing and cycling’s major players

n 2008, I took the decision to move to Verbier in the Swiss Alps. I was only planning to stay for six months, but a love of ski and cycle photography soon took its grip on me and I extended my trip to six years. Having snowboarded from an early age, I could navigate a mountain pretty well and soon found myself spending more and more time alongside guides, professional athletes and other photographers. As luck would have it, this included very highly regarded photographers Tero Repo and Yves Garneau. I used this

opportunity to assist them on shoots, where I learned the trade and first noticed a feature in their approach – meticulous planning. Most ski shots you see for big-name brands are staged so, unlike reportage, you have time to get things right. It’s not

‘IT LOOKS GREAT TO SPECTATORS BUT IT’S A NIGHTMARE TO CAPTURE AS A STILL IMAGE’

226 / THE RPS JOURNAL / MARCH 2016 / VOL 156

about racing out on the hill at the first sign of fresh snow and firing off a thousand shots. Instead it was about sketching out an idea with an athlete, talking with their sponsors to see what new skis or clothing they wanted to promote, ascertaining the output for the shot (magazine, billboard, website, brochure etc) and then putting together an action plan. Then, when the snow arrives, you can head out to location and nail the one or two standout images required. Tero was a master at this. I vividly remember returning from an entire day spent

screwed into an ice wall on the Aiguille du Midi in Chamonix while holding lighting equipment for a shoot, to find he’d only taken around 40 shots in an eighthour day – all keepers. It was this approach I’d take forward into my own work. The shot above right was taken for a Swiss ski magazine on up-and-coming skiers. The editor had requested a full-page shot of Tom Berlin so I knew I’d need to shoot in portrait. Tom’s main talent was in freestyle skiing (acrobatics). He’d been given a new ski sponsorship so was keen to find an angle

TECHNIQUE IN DEPTH

| THE CRAFT | 227

From left to right: Arnold Jeannesson is hunted down in the final stages of the Tour de Suisse 2014; Alex Neurohr takes to the air in February 2012; and Tom Berlin performs a freestyle routine that highlights his new sponsor’s logo

that would highlight his skill while promoting his new endorsement. For those unfamiliar, professional skiers such as Tom have no trouble hitting a 50ft jump backwards, rotating two or three times upside down and landing like it’s a walk in the park. That all looks great to the spectator but it’s a nightmare to capture as a still image. Instead, it’s far better to ask the skier to perform one highly stylised trick that they can hold in position for 1-2 seconds. For this shot, Tom and I needed a lot of trust – he would be approaching the jump at full speed while I lay just forward of his landing zone using a wide angle (14mm) so if either of us had second thoughts then a serious accident could have occurred. To start, Tom ran three test runs so we could gauge his exact landing spot. Once happy, I put myself in position and using radios

communicated with Tom to do some simple straight jumps over my head so I could set my focus and framing. Once achieved, it was then time for the main event. After three attempts we got the shot with his skis perfectly crossed, the sponsor logo on the base showing and Tom’s face just in shot to identify him. The central shot (above) is of a skier called Alex Neurohr – this was for the same magazine but due to print deadlines there wasn’t time to organise a private shoot, so I gained a pass to a competition where Alex was competing. It was February 2012 and there was a distinct lack of snow, so much so that the valley floor looked more like summer. Without any communication with Alex before the event and no control over his run, I was keen to find a different angle from all the other photographers who had congregated around the base of the jump. By taking myself

up to the start of the run in, I was able to frame Alex as he soared high above the resort, with the spectators setting the scene in the restaurant below and the naked valley floor in the background. This shot was a hit and was later used by the competition to promote the event. The final shot (above left) is from the Tour de Suisse 2014. I love covering cycling events, having ridden in endurance bike races myself. The usual method for reportage shooting on these events is to shoot from the back of a motorbike. On this occasion, though, I’d been given the opportunity to ride in a team car. At first I thought it a bad choice: there was equipment everywhere and the driver was totally crazy. However, I ended up achieving one of my favourite shots, which was subsequently published in National Geographic. The shot is of rider Arnold Jeannesson from Team FDJ. As we passed him on the last

2km on the final ascent to the finish in Saas-Fee, I could see an opportunity to frame him through the car window with the rider behind closing in like a lion hunting its prey. I always shoot reportage on aperture priority as it allows me to shoot quickly while retaining artistic direction on the depth of field. This is an example where I had just a couple of seconds to spot the scene, quickly adjust my aperture to ensure a nice depth of field with fast shutter speed and then capture the image.

FACT FILE

Philip Field ARPS is an action sports and outdoor commercial photographer based in Bath. His work has been published in numerous publications including National Geographic

VOL 156 / MARCH 2016 / THE RPS JOURNAL / 227

IN DEPTH 228 | THE CRAFT | TECHNIQUE

Nikon D4

MY TOP CAMERA

Wildlife photographer, author and former Society president Heather Angel HonFRPS reveals what makes her a brand devotee

n 1975, Angel was awarded the Society’s Hood Medal for ‘her contribution to the advancement of nature photography through her books, teaching, exhibition work and encouragement of other nature photographers’. And 41 years later she shows no sign of slowing down, having just published her 58th book, Pollination Power, with the Royal Botanic Gardens, Kew. Go to heatherangelphotography. co.uk to find out more about Angel, including workshops, lectures and books.

FIRST PURCHASED When a new model is launched, I don’t rush out to buy it. Instead, I wait for the reviews to appear and only when parts of my existing camera become worn, or when it suffers a disaster, do I take the plunge. PERFORMANCE What I like most about the D4 is the ability to push the ISO to 2,000 – or more – in poor light, which is ideal when I’m shooting fastmoving animals inside a rainforest and still want to get a saleable image. That was quite impossible with early digital cameras. COMPATIBILITY The great thing about Nikon is the compatibility between their lenses and most of their cameras. Having moved up from the Nikkormats, right through the F series and various digital models, I find it very useful to be able to take my lenses with me. PROJECT For my latest book,

228 / THE RPS JOURNAL / MARCH 2016 / VOL 156

Pollination Power, I used the D4 with long lenses to photograph bird pollinators on flowers in South Africa and

Western Australia. However, I have most often used it at the other end of the scale, with the macro 105mm Micro

Nikkor lens, taking focus stacks of three-dimensional flowers – and their visitors – to enhance the depth of field.

MEMBER Heavenly bodies

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229

YOUR RPS EVENTS ! COURSES PROGRAMME

MAR!APR!MAY

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RPS.ORG/EVENTS FOR THE LATEST UPDATES

Above: Night Sky by Dr Lilian Hobbs LRPS

Introduction to astrophotography offered at a discount to members

strophotographer Dr Lilian Hobbs LRPS will share her four decades of experience in capturing celestial images at the Marwell Hotel in Winchester on 3 April. Dr Hobbs has been an astrophotographer for more than 40 years, is president of the Southampton Astronomical Society and her observatory has been featured on the BBCâ&#x20AC;&#x2122;s The Sky at Night. Author of the ETX telescope book, she is also a regular speaker to local astronomy groups. Dr Hobbs will demonstrate how to photograph the stars and constellations, the Moon, planets, comets, meteors and bright galaxies using a DSLR,

video camera or even a GoPro, and with equipment which attendees may already own. Other topics include how to attach a camera to a telescope or spotting scope, and when to capture the best images of particular phenomena. Astrophotography isnâ&#x20AC;&#x2122;t all about night-time work, however, and Dr Hobbs will also reveal how to safely photograph the sun and the transit of Mercury across it in May. Bookings are strictly limited so those interested are advised to reserve early.

Left: Moon by Dr Lilian Hobbs LRPS

Left: M1 Crab Nebula by Dr Lilian Hobbs LRPS

For more information go to rps.org/ events/2016/april/03/introductionto-astrophotography VOL 156 / MARCH 2016 / THE RPS JOURNAL / 229

230 | GUIDE |

REGIONS

Meet photographers and view work in your area CENTRAL

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

`` £10 `` Whatton Jubilee Hall, Church Street,

`` The Nikon Centre for Excellence,

Whatton, Notts NG13 9EL `` Ralph Bennett ARPS, as above

63-64 Margaret Street, London W1W 8SW `` Lorraine Grey, Londondist@rps.org

Advisory day LRPS ARPS Creative and Pictorial

South West London members’ meeting

MIKE SHARPLES ARPS, 07884 657535

SUNDAY 17 APRIL / 10:30$16:00

TUESDAY 8 MARCH / 19:00$21:00

MIKES.SHARPLES(VIRGIN.NET

`` See website for costs `` Whatton Jubilee Hall, Church Street,

`` The Prince of Wales, 138 Upper

Whatton, Notts NG13 9EL `` Ralph Bennett ARPS, as above

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

Fuji X photographer Chris Upton talks about social documentary and travel photography

A Distinctions day for nature photography SATURDAY 2 APRIL / 10:00$17:00

SUNDAY 22 MAY / 10:00$16:00

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

`` £10/£5 concessions/students `` A lecture by Nottinghamshire-based,

of the RPS Natural History Panel

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

`` Foxton Village Hall, Hardman Road, Foxton CB22 6RN `` Ian Wilson ARPS, as above

Trip to Maldon and on the Thames barge, Kitty SUNDAY 10 APRIL / 10:00$17:00

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

EIRE DES CLINTON FRPS, 0035 341 983 7824 DESCLINTON(EIRCOM.NET

Richmond Road, Putney

`` London events, as above Street workshop – Camden High Street and markets SATURDAY 12 MARCH / 10:00$14:00

`` Camden Town Tube, Camden High

Street Side, 176-178 Camden High Street, London NW1 8NH `` London Street, londoncave@rps.org

Getting started with macro photography at the Nikon School SATURDAY 12 MARCH / 10:30$16:30

`` £99 Society members `` Nikon Centre of Excellence, 63-64 Margaret Street, London W1W 8SW

`` London Events, londonevents@rps.org The Bookworm Club WEDNESDAY 16 MARCH / 18:30$21:00

`` The Crusting Pipe, 27 The Market,

Exhibition selection and AGM

LONDON

SUNDAY 8 MAY / 10:30$16:30

DEL BARRETT ARPS

`` £4 entry to each exhibition section `` Foxton Village Hall, Hardman Road,

LONDONEVENTS(RPS.ORG

First Tuesday

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

TUESDAY 1 MARCH / 19:00$21:00

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

EAST MIDLANDS

London SE10 8RS

RALPH BENNETT ARPS, 01636 651277

`` Norman, londoncave@rps.org

RALPH.EMRPS(GMAIL.COM

Covent Garden, London WC2E 8RD

`` London Events, londonevents@rps.org London, Naturally – walk SUNDAY 20 MARCH / 11:00$13:00

`` London Naturally,

london_naturally@rps.org NORTH WALES DON LANGFORD LRPS, 01758 713572 DONCHRISLANGFORD(BTINTERNET.COM

Ladies’ day: Anne Sutcliffe and Ann Miles, both FRPS, and short EM AGM SUNDAY 20 MARCH / 10:15$16:00

Chris Upton ARPS gives a talk on 22 May Image: Thoresby colliery by Chris Upton

LRPS 1:1 Distinctions review SATURDAY 5 MARCH / 10:00$16:30

`` £50/£40 Society members `` Fully booked, contact for waiting list

Annual General Meeting SUNDAY 20 MARCH / 14:00

`` Followed by lecture, Del Barrett ARPS ‘Maybe it’s because I am a Londoner’

`` Craig-y-Don Community Centre,

Queens Road, Llandudno LL30 1TE

`` Don Lanford LRPS, as above NORTH WEST

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

Contemporary North West meeting TUESDAY 29 MARCH / 19:30$22:00

`` Days Inn Charnock Richard M6,

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

Contemporary North West – group exhibition TUESDAY 5 APRIL $ SUNDAY 24 APRIL

`` Lytham Heritage Centre, 2 Henry Street, Lytham FY8 5LE

`` Ian Maxwell, mail@ihmaxwell.com Members’ print exhibition 230 / THE RPS JOURNAL / MARCH 2016 / VOL 156

| GUIDE | 231 UNTIL SATURDAY 30 APRIL

`` Pyramid Gallery, Palmyra Square South, Warrington WA1 1BL NORTHERN GERRY ADCOCK ARPS, 01661 830882 GERRY(GERRYADCOCK.CO.UK

Advisory day for LRPS & ARPS Distinctions SUNDAY 6 MARCH / 10:00$16:00

`` £20/£15/£10 spectators `` Backworth Hall, Tyne & Wear, Backworth NE27 0AH

`` Sandra Taylor, 0191 488 6900, staylorr@hotmail.com

Contemporary North East meeting SATURDAY 19 MARCH / 14:00$17:00

`` TBA, York YO26 5SG `` Patricia Ruddle, 01904 783850, patriciaruddle@btinternet.com NORTHERN IRELAND DAMIAN MCDONALD ARPS, 07902 481691 DAMIANMCDONALD(OUTLOOK.COM SCOTLAND JAMES FROST FRPS, 01578 730466, 07881 856294 JAMES.FROST11(BTINTERNET.COM

Print exhibition selection and AGM SUNDAY 6 MARCH / 10:30$16:00

`` £8 Society members `` Forty images chosen for the

members’ exhibition `` Edinburgh Photographic Society, 68 Great King Street, Edinburgh EH3 6QU `` James Frost FRPS, as above

Scottish members’ print exhibition 2016/17

The South West region will hear from Sue Bishop and Vanda Ralevska Image: Blue morning by Vanda Ralevska

Scottish Region print exhibition 2016/17

RPS-sponsored lecture: Alixandra Fazzina

SAT 28 MAY $ SAT 25 JUNE / 10:30$16:00

WED 23 MARCH / 18:00$19:00

`` Penicuik Community Arts

`` £5/free to Society members

`` Doug Berndt,

`` Jill Craigie Lecture Theatre, Plymouth

and students

Association, Penicuik EH26 9DL

doggier@blueyonder.co.uk

University, Drakes Circus, Plymouth PL4 8AA `` Rod Fry ARPS, rod@rodfry.eclipse.co.uk

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

ARPS advisory day in the South East Region, Pictorial and Travel SUNDAY 6 MARCH / 10:30$17:00

`` £20/£15/£10 spectators `` The Haven Centre, Hophurst Lane,

Crawley Down, West Sussex RH10 4LJ `` David Powell, as above

FRI 18 MARCH $ SAT 16 APRIL / 10:30$16:00

`` Islesburgh Community Centre, Lerwick ZE1 0EQ `` James Frost FRPS, as above

Photo forum Lasswade SUNDAY 10 APRIL / 10:30$16:00

`` £10/£8 Society members `` Photo forum `` Midlothian Camera Club, 7 Polton Road, Lasswade EH18 1AB

`` James Frost FRPS, as above DIG Scotland Centre April meeting SUNDAY 17 APRIL / 13:30$16:15

`` £5 `` Bridge of Allan Parish Church, Keir

Visit to Brede steam engines WEDNESDAY 13 APRIL / 10:00$15:00

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

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

LRPS advisory day in Detling SUNDAY 1 MAY / 10:30$17:00

`` £20/£15/£10 spectator `` Detling Village Hall, Pilgrim’s Way, Maidstone ME14 3EY

Street, Bridge of Allan FK9 4NW `` Doug Berndt, digscotland@rps.org

`` David Powell, as above

Scottish Region print exhibition 2016/17

MIKE LEWIS, 07855 309667, 01446 710770

SOUTH WALES MIKEGLEWIS101(BTINTERNET.COM

A day with Sue Bishop and Vanda Ralevska SUNDAY 10 APRIL / 10:30$16:00

`` £13/£10/£5 group members `` We are delighted to welcome Sue

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

Distinctions advisory day SUNDAY 24 APRIL / 10:30$16:00

`` £10 `` Fully booked for participants, reserve list available

`` The Dolphin Hotel, Station Road, Bovey Tracey, Devon TQ13 9AL

`` Martin Howse ARPS, as above A weekend with Leigh Preston FRPS SATURDAY 28 MAY / 10:30$16:00

`` £15/£10 `` Leigh Preston will be with us for a

weekend of photography and a workshop

`` The Dolphin Hotel, Station Road, Bovey Tracey TQ13 9AL

`` Mick Medley, 01626 824865,

michael.medley@btinternet.com

TUE 26 APRIL $ SAT 21 MAY / 10:30$16:00

`` Rothes Square, Glenrothes KY7 5NX `` Donald Stewart, Donaldstewart@aol.com

SOUTH WEST

SOUTHERN

MARTIN HOWSE ARPS, 01326 221939

PAUL GILMOUR LRPS, 07899 042372

MGHVKH(BTINTERNET.COM

SOUTHERN(RPS.ORG

VOL 156 / MARCH 2016 / THE RPS JOURNAL / 231

232 | GUIDE |

WORKSHOPS

Hear from the experts and hone your skills

From shutter to print WEDNESDAY 2 MARCH / 10:00$15:00

`` £45/£33 Society members `` RPS HQ

Lightroom. Suitable for beginners

How to photograph children and babies

Product photography

`` £95/£71 Society members `` Lacock

`` RPS HQ

SUNDAY 24 APRIL / 10:00$17:00 FRIDAY 22 APRIL / 10:30$16:30

Beginners’ introduction to your digital camera SUNDAY 6 MARCH / 10:00$17:00 SATURDAY 23 APRIL / 10:00$17:00

`` £85/£63 Society members `` RPS HQ Hollywood-style beauty lighting SATURDAY 12 MARCH / 10:00$17:00

`` £115/£90 Society members `` Top professional model Jon will

show how to create interesting but simple beauty lighting techniques `` Leigh

Night shoot SATURDAY 12 MARCH / 18:00$22:00

`` £35/£26 Society members `` Fully booked `` Bath Studio portraiture (two days)

`` £155/£130 Society members `` Enhance your photographic skills in

Introduction to Photoshop

shooting products for publishing on the web or other promotional material. No prior experience needed `` Colerne

SUNDAY 24 APRIL / 10:00$17:30

`` £95/£71 Society members `` RPS HQ Business seminars for photographers (two days)

Art nude photography SATURDAY 23 APRIL/ 10:00$17:00

TUE 26 APRIL $ WED 27 APRIL/ 10:30$16:30

`` £120/£95 Society members `` Lacock

`` £190/£160 Society members `` Essential for those photographers who have recently started out in business or are aspiring to do so on a full or part-time basis `` RPS HQ

Environmental portraiture SATURDAY 23 APRIL / 9:00$18:00

`` £155/£130 Society members `` Approaches to portraiture on

Close-up and macro photography

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

SAT 26 MARCH$SUN 27 MARCH / 10:00$17:00

Coastal landscapes

SAT 21 MAY$SUN 22 MAY 2016 / 10:00$17:00

SATURDAY 23 APRIL / 13:00$20:30

`` £165/£140 Society members `` Lacock

`` £95/£71 Society members `` North Devon

Macro and art photography

THU 28 APRIL / 10:00$16:30 -FULLY BOOKED. WEDNESDAY 25 MAY / 10:00,16:30

`` £95/£71 Society members `` Buckinghamshire Learn the techniques behind macro and art photography, 30 March

Photographing landscape, whatever the weather – Tony Worobiec FRPS SATURDAY 30 APRIL / 10:30$16:00

`` £45/£33 Society members `` RPS HQ

WED 30 MARCH / 10:00,16:30

`` £44/£33 Society members `` Buckinghamshire Creative dance lighting photography

Creative eye SUNDAY 1 MAY / 10:00 $ 16:30

`` £95/£71 Society members Shooting for stock

SATURDAY 9 APRIL / 10:00$17:00

MONDAY 9 MAY 2016 / 10:30$16:30

`` £115/£90 Society members `` Fully booked `` Surrey

`` £65/£48 Society members `` RPS HQ

Wedding photography (two days) SAT 9 APRIL$SUN 10 APRIL / 10:00$17:00

`` £165/£140 Society members `` Learn the fundamentals of lighting, subject positioning and more

`` Lacock

Introduction to Lightroom SATURDAY 16 APRIL / 10:00$16:30

`` £95/£71 Society members `` An introduction to Lightroom’s

organisational, editing and printing tools, which is suitable for beginners `` RPS HQ

Printing with Lightroom SUNDAY 17 APRIL / 10:00$16:00

`` £95/£71 Society members `` Learn how to get the very best

results from your printer and Adobe

232 / THE RPS JOURNAL / MARCH 2016 / VOL 156

Better digital printing SATURDAY 14 MAY / 10:00$16:30

`` £175/£150 Society members `` Tim Daly takes you through a simple and effective workflow for digital printing `` RPS HQ

Photoshop (two days) SAT 21 MAY $ SUN 22 MAY / 10:00$17:00

`` RPS HQ Different landscapes and rural life SATURDAY 28 MAY / 9:00$18:00

`` £155/£130 Society members `` Hartington is an ideal centre for

photographing rural life and exploring the natural and man-made landscape that surrounds it `` Hartington Hall, Hall Bank, Hartington

| GUIDE | 233 Copyright issues for photographers SUNDAY 6 MARCH / 11:30$15:00

`` £15/£10 Society members `` Learn about how copyright works and

the issues facing photographers, followed by an Adobe workshop tutorial on how to protect your online images `` New Greenham Arts Centre, 113 Lindenmuth Way, Greenham Business Park, Newbury RG19 6HN `` David Ashcroft LRPS, 07710 302684, dashcroft9@me.com

Introduction to astrophotography SUNDAY 3 APRIL / 10:00$16:00

`` £45/£30 Society members `` Dr Lilian Hobbs LRPS will show you

how to photograph the stars, constellations, and other celestial bodies using your DSLR, video camera or even a GoPro and with equipment which you may already own `` Marwell Hotel, Thompsons Lane, Colden Common, Winchester, Hampshire SO21 1JY `` Paul Gilmour LRPS, 07899 042372, southern@rps.org

`` Woosehill Community Hall, Emmview

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

THAMES VALLEY MARK BUCKLEY,SHARP ARPS, 020 8907 5874

KEVIN SCHWAEZLER, 07710 172203

SUNDAY 13 MARCH / 10:00$15:30

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

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

Springboard to success SATURDAY 16 APRIL / 9:30$15:30

`` £25/£20 group members `` An opportunity to improve your travel photographs in 2016

`` Runnymede Hotel, Windsor Road, Egham, Surrey TW20 0AG `` John Curgenven, 01420 587453, travel@rps.org

DIG Thames Valley: Tigz Rice – boudoir photography and post-production

MARY CROWTHER ARPS, 07921 237962

SUNDAY 13 MARCH / 10:00$13:00

PHOTOBOX50(GMAIL.COM

`` £5 `` Highnam Community Centre,

Distinctions advisory day

Newent Road, Highnam GL2 8DG `` Bob Train, 07825 325799, photography@bothtrains.co.uk

Laura Pannack SUNDAY 13 MARCH / 10:30$13:30

`` £7 `` Laura Pannack visit and lecture `` 122 Wells Road, Bath BA2 3AH `` Kevin Schwaerzler, as above SUNDAY 20 MARCH / 10:00$13:00

`` £5 `` Parish Room Highnam, Newent Road, Highnam GL2 8DG

`` Bob Train, 07825 325799,

`` £7/£5 society members `` RAF Linton-on-Ouse, Linton, North Yorkshire YO30 2AJ

`` Robert Helliwell, 01904 500231, bobhelliwell@clara.co.uk

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

SUNDAY 17 APRIL / 10:15$11:45

`` Bob Train, 07825 325799,

`` £12/£8 group members

Photography at RAF Linton-on-Ouse

Highnam show-and-tell session and Annie Blick

`` Woosehill Community Hall, Emmview

SUNDAY 15 MAY / 10:00$15:30

bobhelliwell@clara.co.uk

Regional AGM and Insight tour

SUNDAY 8 MAY / 10:00$13:00

DIG Thames Valley: Bernie Raffe – off-camera flash practical workshop plus PDI competition

Museum, York YO26 4XJ

`` Robert Helliwell, 01904 500231,

photography@bothtrains.co.uk

`` £5 `` Parish Room Highnam, Newent Road,

Close, Wokingham, Berkshire RG41 3DA

SUNDAY 6 MARCH / 10:30$16:30

`` £20/£15/£10 advice `` For Licentiate Distinctions (LRPS) `` Starlight Theatre, National Railway

WEDNESDAY 9 MARCH / 10:00$15:00

Highnam show-and-tell session

SUNDAY 17 APRIL / 10:00$15:30

`` Laurie Pate, digthamesvalley@rps.org

YORKSHIRE

Highnam meeting

`` £12/£8 group members `` An insight into the world of boudoir and burlesque photography

well as the creative potential. He will also show his recent work `` Merryfield Village Hall, Ilton, Nr Taunton TA19 9HG `` Dennis Knowles, dennisknowles123@btinternet.com

KEVIN(SCHWAERZLER.AT

MARK.BUCKLEY,SHARP(TISCALI.CO.UK

DIG Thames Valley: Adrian and Jane Lines – including altered reality ... better than the real thing

DIG Thames Valley: Bernie Raffe will give an off-camera flash practical workshop Image by Bernie Raffe

Highnam GL2 8DG

photography@bothtrains.co.uk

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

`` £8/£7/£5 group members `` Davies will look at the technical side of close-up and macro imaging as

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

Self-help group – café session SATURDAY 21 MAY / 10:30$12:30

`` £7/£3 Society members `` VJs Art Bar, Finkle Street, York YO1 8RW

`` Robert Helliwell, 01904 500231, bobhelliwell@clara.co.uk

VOL 156 / MARCH 2016 / THE RPS JOURNAL / 233

234 | GUIDE |

SPECIAL INTEREST GROUPS

CONTEMPORARY

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

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

AGM and Analogue workshop SATURDAY 7 MAY / 10:00$16:30

`` £22.50/£17.50 Society members `` Our first AGM with an Analogue

workshop day including paper negative workshop with Andrew Sanderson & a colour film talk by Dr Tony Kaye FRPS. `` The University of Northampton, Newton Grand Hall, School of the Arts, St Georges Avenue, Northampton NN2 6JD `` Stephen Godfrey, 07812 605837, analogue@rps.org ARCHAEOLOGY AND HERITAGE RODNEY BERNARD THRING LRPS, 01276 20725 RODNEY.THRING(NTLWORLD.COM

Visit to Lichfield Cathedral

PETER ELLIS LRPS, 07770 837977 WORDSNPICSLTD(GMAIL.COM

Contemporary North East meeting SATURDAY 19 MARCH / 14:00$17:00

`` York, TBA, York YO26 5SG `` Patricia Ruddle, 01904 783850, patriciaruddle@btinternet.com

Contemporary North West meeting TUESDAY 29 MARCH / 19:30$22:00

`` Days Inn Charnock Richard M6,

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

Contemporary North West – group exhibition TUESDAY 5 APRIL $ SUNDAY 24 APRIL

`` Lytham Heritage Centre, 2 Henry Street, Lytham FY8 5LE

`` Ian Maxwell, mail@ihmaxwell.com Advisory day LRPS ARPS VA Creative and Pictorial SUNDAY 17 APRIL / 10:30$16:00

`` Whatton Notts, Whatton

Jubilee Hall, Church Street, Whatton NG13 9EL `` Ralph Bennett ARPS, 01636 651277 or 07752 870422, ralph.emrps@gmail.com CREATIVE

THURSDAY 3 MARCH / 10:00$15:00

BARRY COLLIN LRPS

`` This venue has a rich history,

CREATIVECHAIR(RPS.ORG

reflected in its architecture and treasures `` 19a The Close, Lichfield, Staffordshire WS13 7LD `` Ken Keen FRPS, 01735 886036, ken.keen.333@btinternet.com

Visit to Brede steam engines WEDNESDAY 13 APRIL / 10:00$15:00

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

special place that tells the story of the water supply for the Hastings area from the steam days of 1904 `` Brede Heritage Site, Waterworks Lane, Brede, Rye, East Sussex TN31 6HG `` Garry Bisshopp, gb.photo@btinternet.com AUDIO VISUAL HOWARD BAGSHAW ARPS, 01889 881503

DIGITAL IMAGING DENNIS KNOWLES DENNISKNOWLES123(BTINTERNET.COM

DIG Thames Valley: Adrian & Jane Lines - including Altered Reality ... better than the real thing

bryan@stubbsav.com

234 / THE RPS JOURNAL / MARCH 2016 / VOL 156

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

`` £8/£7/£5 group members `` Davies will look at the technical

side of close-up and macro imaging as well as the creative potential. He will also show his recent work `` Merryfield Village Hall, Ilton, Nr Taunton TA19 9HG `` Dennis Knowles, dennisknowles123@btinternet.com DOCUMENTARY MO CONNELLY LRPS DOC(RPS.ORG

Advanced documentary photo essays SATURDAY 12 MARCH

`` £65/£60/£55 group members `` This workshop is intended for those

who have attended a previous documentary photo essays workshop with Ali Baskerville. Places are limited to 10-12 and priority will be given to DG members `` The Impact Hub Birmingham, Walker Building, 50 Oxford Street, Birmingham B5 5NR `` Mo Connelly, as above HISTORICAL JENNYFORD2000(YAHOO.CO.UK

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

DIG Thames Valley: Tigz Rice – boudoir photography and post-production SUNDAY 17 APRIL / 10:00$15:30

`` £12/£8 group members `` An insight into the world of boudoir and burlesque photography

`` Laurie Pate, digthamesvalley@rps.org

Leeds LS18 5HD

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

`` £12/£8 group member `` Wokingham, Berkshire, Woosehill

RPS Great Yorkshire AV day

`` Bryan Stubbs, 0113 266 1448,

SUNDAY 15 MAY / 10:00$15:30

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

JENNIFER FORD ARPS, 01234 881459

`` Woosehill Community Hall, Emmview

SUNDAY 10 APRIL / 10:30$17:00

DIG Thames Valley: Bernie Raffe – off-camera flash practical workshop plus PDI competition

SUNDAY 13 MARCH / 10:00$15:30

HOWARD.BAGSHAW(NTLWORLD.COM

`` Leeds Trinity University, Horsforth,

Street, Bridge of Allan FK9 4NW

`` Doug Berndt, digscotland@rps.org

Close, Wokingham, Berkshire RG41 3DA

AGM (with speakers after lunch) SATURDAY 5 MARCH / 11:30$16:00

`` £5 non-members `` After the AGM hear Walter Benzie

HonFRPS, Colin Harding and Federica Chiocchetti talk about their researches `` National Media Museum, Pictureville, Bradford BD1 1NQ `` Janine Freeston, 01865 516136, janinefreeston@aol.com IMAGING SCIENCE DR TONY KAYE ASIS FRPS, 020 8420 6557

DIG Scotland Centre April meeting SUNDAY 17 APRIL / 13:30$16:15

`` £5 `` Bridge of Allan Parish Church, Keir

TONYKAYE(HOTMAIL.CO.UK LANDSCAPE TIM PARISH LRPS LANDSCAPE(RPS.ORG

| GUIDE | 235 Landscape Group inaugural event, Chichester and West Wittering

and single supplement

`` Includes ancient and modern Japan,

national parks and riding the ‘bullet train’

`` Aline Hopkins,

SATURDAY 2 APRIL / 10:30$19:30

`` Two hours of urban photography,

alinehopkins@btinternet.com

followed by lunch before moving on to West Wittering, where the intention is to do some long-exposure photography and finish with the sunset `` Chichester Cross, Chichester PO19 1HD `` Paul Graber, paul.graber@ntlworld.com

Springboard to success SATURDAY 16 APRIL / 9:30$15:30

`` £25/£20 group member `` Internationally renowned travel and

landscape photographer David Noton will be our main speaker `` Runnymede Hotel, Windsor Road, Egham, Surrey TW20 0AG `` John Curgenven, 01420 587453, travel@rps.org

Dedham Vale/Flatford field trip SUNDAY 17 APRIL / 10:30$18:00

`` £5 non-Society members `` Photo opportunities include

Flatford Mill, Willy Lott’s Cottage, Bridge House and the beautiful meadow scenery along the River Stour `` Flatford Mill car park, Flatford, East Bergholt CO7 6VL `` Paul Graber, paul.graber@ntlworld.com

Using tilt/shift lenses in landscape photography

for nature photography SATURDAY 2 APRIL / 10:00$17:00

`` See website for costs `` With David Osborn FRPS,

Capture Flatford Mill on the Landscape Group’s field trip, 17 April

RPS Travel Group AGM – 2016 SATURDAY 16 APRIL / 15:45$16:30

`` Notice of the RPS Travel Group AGM `` To be held immediately following the spring weekend

chair of the RPS Nature Panel `` Foxton Village Hall, Hardman Road, Foxton CB22 6RN `` Ian Wilson ARPS, ian@greenmen.org.uk

`` Runnymede Hotel, Windsor Road,

AGM and annual exhibition

Cambodia overland photo tours – May/November 2016

Egham, Surrey TW20 0AG

`` Keith Pointon, 01588 640592, bagpoint@aol.com

SATURDAY 7 MAY / 9:30$16:30

`` See website for costs `` A one-day workshop covering the

basic theory of using tilt/shift lenses in landscape photography, with practical sessions both within the classroom and out on location `` Rutland Water, Anglian Water Birdwatching Centre, Egleton, Rutland LE15 8BT `` Tim Parish, timp.parish@gmail.com MEDICAL

SATURDAY 9 APRIL / 10:30,16:00

`` Smethwick PS club rooms, The Old

SAT 21 MAY $ THU 2 JUNE

School, Churchbridge, Aldbury B69 2AS `` Richard Revels FRPS, as above

SAT 12 $ THU 24 NOVEMBER

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

Trip to Maldon and on the Thames barge, Kitty

temples of Angkor and Tonle Sap lake

`` Keith Pointon, as above

SUNDAY 10 APRIL / 10:00$17:00

Special travel advisory day

`` Fully booked, contact for waiting list `` The Hythe, Maldon, Essex CM9 5HN `` Ann Miles FRPS, ann@pin–sharp.co.uk

SATURDAY 4 JUNE / 11:00$16:00

`` £18/£15/£12/£10 Society members/spectators

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

`` An opportunity to hear from the

TRAVEL

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

KEITH POINTON LRPS, 01588 640592 NATURE

BAGPOINT(AOL.COM

RICHARD REVELS FRPS, 01767 313065 RICHARD.REVELS(TALKTALK.NET

Japan – cherry blossom tour

A Distinctions day

`` £3,020 per person excluding flights

WED 23 MARCH $ THU 7 APRIL

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

Royal Photographic Society members around the world

Guo Jing, shangtuf@yahoo.com.cn `` CHINA QUANZHOU Xiaoling Wang, hgudsh@163.com `` DUBAI Mohammed Arfan Asif ARPS, dubai@rps.org `` GERMANY

German Chapter, first quarter 2016 photo competition UNTIL THURSDAY 31 MARCH

Chris Renk, germany@rps.org

German chapter meeting

SATURDAY 9 APRIL / 11:00,15:00

Dortmund U, Zentrum für Kunst und Kreativität, Leonie-Reygers-Terrasse, 44137 Dortmund Chris Renk, germany@rps.org `` HONG KONG Shan Sang Wan FRPS, shansangwan@ yahoo.com.hk `` INDIA Rajen Nandwana, rajennandwana@gmail.com `` INDONESIA Agatha Bunanta ARPS, agathabunanta @gmail.com

`` ITALY Olivio Argenti FRPS, info@rps-italy.org `` JAPAN TOKYO Yoshio Miyake, yoshio-raps@nifty.com `` MALAYSIA Nick Ng, nickng6208@gmail.com `` MALTA Ruben Buhagiar, info@rubenbuhagiar.com `` NEW ZEALAND Mark Berger, rps@moothall.co.nz `` SINGAPORE Steven Yee Pui Chung FRPS, peacock@

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

VOL 156 / MARCH 2016 / THE RPS JOURNAL / 235

236 | GUIDE |

COUNCIL REPORT ! DECEMBER 2015 COUNCIL Council does not usually meet in December and this meeting continued the November meeting. `` Minutes of the previous meeting. The minutes of the meeting held on 17 November 2015 were approved. MATTERS ARISING

`` Walter Benzie reminded Council of

the need for two reviews of its activities and discussed the names of possible participants. The website would be considered and the director-general offered to prepare a brief; Society governance would also be examined and Walter Benzie would prepare a brief. `` Robert Gates reported that it was not possible to issue a CD of the IPE158 exhibition. The terms and conditions for the IPE159 in 2016 would be amended to allow for this in the future. The website showed the whole exhibition and this could be used by chapters in the short term. `` David Cooke reported that the Open University had set up a survey for participants of the OU course. The responses would be available from March. Course participants were eligible for student discounts on Adobe products and a NUS card. `` Del Barrett reported that she had a working party scheduled for 28 January. She had circulated a paper on social media which would feed in to the Society’s strategy and would discuss aspects of it with the director-general. The directorgeneral noted that the staff had received social media training and a similar day could be arranged for group and regional representatives. SOCIETY COMMITTEES

`` Walter Benzie reported on the

outcome of trustees’ discussions regarding the need for departmentbased committees. Council agreed with Walter Benzie’s statement that ‘staff should take responsibility for departments and be left to run them without direct Council involvement’. Any policy changes would continue to come to Council via the directorgeneral and managers would report monthly on operational matters. `` David Cooke agreed to remain an external examiner for the Open University course. Andy Golding would act as an advisor to the education department and would continue to review exemption requests.

`` The awards, investment, science

committees and the DAB would continue to operate. `` Council approved the appointment of Vanessa Slawson as its representative on the DAB. She would sit as a trustee and be involved in its deliberations but would not vote. `` Individual Council members would continue to take an interest in particular areas of the Society and would talk to staff on a regular basis. DISTINCTIONS REVIEW

`` Walter Benzie provided an update on the Distinctions review. He agreed to discuss the member communication with Roger Reynolds. The intention was to release it in January via email, the next eRPS and on the website, and to publish the call in the February RPS Journal. Responses would be required by the end of February. FINANCE

`` Geoff Blackwell reported that there were no immediate concerns with the current quarter. Nick Rogers had started work on the year-end accounts. He was dealing with financial aspects of the database. `` The financial procedures had been circulated and he proposed abandoning FP004 which related to large events. FP001 included a provision for such events. The FP documents would go to Rosemary Wilman for review. `` A legacy of £82,901 from the late William Stuart-Jones had been received and would be added to the development fund. A discussion was held around legacy income and whether the building project could be used to highlight the importance of legacies to the Society. PORTFOLIO FOUR

`` In the light of staff feedback, the

costs associated with producing Portfolio FOUR were reviewed. David Cooke considered that the idea of a yearbook was a good one but it should be reconsidered as part of a fresh approach to the Society’s marketing. Council agreed to postpone the production of Portfolio FOUR until such time as a market for it could be defined and the cost justified. SOCIETY PREMISES

`` Geoff Blackwell reported that he was reviewing various options

236 / THE RPS JOURNAL / MARCH 2016 / VOL 156

regarding the financing of the Bristol property purchase and conversion. The director-general had contacted two architects and had asked one to prepare concept drawings and to provide an indication of the cost of converting the space to the Society’s requirements. These would be available for the January meeting. An appointment had been made with the agents for Council and staff to visit the building on 12 January 2016. GROUPS/REGIONS/CHAPTERS

`` Vanessa Slawson highlighted an

issue with events clashing. Del Barrett agreed to put a proposal to groups and regions to use a planning calendar before they were made live on the website.

STRATEGIC REVIEW AND DEVELOPMENT PLAN `` Council congratulated the staff on the outcomes of their strategy day. The joint trustees/staff meeting had been useful and there was a clear way ahead. A series of action points had been defined at the previous day’s strategy meeting which would be progressed.

were still awaiting review and would be added to the website once completed. STAFF AND HEADQUARTERS MANAGEMENT `` The director-general reported that the offer to an applicant as the Society’s IT support officer and been considered and then declined. The post would be readvertised. Tony Mant’s key tasks were being picked up by other departments. EXHIBITIONS

`` Robert Albright would be opening

the IPE158 at Worcester in January. EDUCATION

`` The schools’ certificate was ready

to be piloted and David Healy would progress this. The university affiliation scheme had undergone a minor revision and Ravensbourne had now been invoiced. Two other universities were interested in participating. THE PHOTOGRAPHY SHOW

`` The Distinctions assessment

AWARDS

which had been held at the NEC for some years was discussed. The new hall and location of the assessments had resulted in a reduced attendance in 2015 and a large increase in the cost of the room had now made it unviable. Council agreed to stop the assessment at the NEC. An additional LRPS assessment would be arranged at Fenton House and the Society would offer portfolio reviews on the stand.

to represent education on the awards committee.

`` Walter Benzie reminded Council

SCIENCE GROUPS

`` A suggestion had been received proposing that the three science groups should work more closely together to give greater weight to their programmes. The science committee would be asked to consider the suggestion.

`` Andy Golding would be asked

DOCUMENTATION `` The Distinction procedures

RPS JOURNAL

that he was keen to see all trustees write on matters of interest to members via the president’s

| GUIDE | 237 Travel Group tour to Soria and Old Castile

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

TUE 27 SEPTEMBER $ MON 3 OCTOBER

column. A schedule was drawn agreed. Council agreed that a PDF and an Issuu link to the Journal would be made available to members. A Society Issuu account would be set up for the use of groups and regions. WEBSITE `` The replacement of the Society’s CRM and email servers would be brought forward to the new year. Council asked that any impact on the website availability be advised to members. NATIONAL MEDIA MUSEUM `` Robert Gates would be visiting the museum volunteers in January. Their documentation of the RPS Collection was proceeding well but the museum’s digitisation work was moving more slowly.

`` £1,875 group members `` Six-day tour to a little-visited

region of north-east Spain with opportunities for landscape, architecture and village life photography `` Hotel Las Nieves, Salduero del Duero, Soria `` Colin Howard, colin.howard@mac.com

PATRONAGE

The following salons/exhibitions have Society-approved patronage:

VIVECA.KAOH(GMAIL.COM

German International DVFPhotocup 2016 Salon Baden-Wuttemberg/Hessen/ Niedersachsen

A day with Sue Bishop and Vanda Ralevska

`` germanphotocup.de/ `` RPS 2016/21

VISUAL ARTS VIVECA KOH FRPS, 07956 517524

CLOSING DATE: 13 MARCH

SUNDAY 10 APRIL / 10:30$16:00

93rd Scottish International Salon 2016

`` £13/£10/£5 group members `` We are delighted to welcome Sue

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

CLOSING DATE: 3 APRIL

`` scottish-photographic-salon.org `` RPS 2016/38 Cheltenham International Salon of Photography CLOSING DATE: 10 APRIL

ANY OTHER BUSINESS `` Del Barrett reported that the London Region was initiating new London-wide projects. She considered that some group, region or chapter projects should be seen as Society initiatives. The region used Meetup to market events very effectively to people in the area and she would demonstrate how to do so at the next regional organisers’ day. `` She asked why the Society collected volunteers’ hours and whether the form requesting this could be simplified. A discussion ensued around the content and format of the Society’s annual report. `` Del Barrett asked whether the website Distinction results could be linked to their online Distinction portfolios. The Distinctions department would be asked to look at this. `` Geoff Blackwell would be attending the Medical Group AGM and lecture on 15 January 2016. The Society’s Hurter and Driffield Memorial Lecture, organised by the Historical Group would be held in London on 26 January 2016. `` The director-general reported that the next all-member survey would be sent out in the new year. `` Vanessa Slawson noted that volunteers’ Week would take place from 1-7 June 2016. The Journal should be notified and consider featuring some of the Society’s volunteers.

Visual Art Group spring weekend

`` cheltenhamcameraclub.co.uk `` RPS 2016/30

FRIDAY 22 APRIL $ MONDAY 25 APRIL

Verne Salon International Photographique Le Catalan 2016

`` See website for costs `` A weekend in Bournemouth to meet with Visual Art members and listen to the guest speakers `` Cumberland Hotel, East Overcliff Drive, Bournemouth BH1 3AF `` David Wood, ARPS, wood.david.j@virgin.net

CLOSING DATE: 11 APRIL

`` perpignanphoto.fr `` RPS 2016/45 1st International Salon Simonida Kosovo

Rollright Visual Art Group spring meeting

CLOSING DATE: 12 APRIL 2016

`` simonidaphoto.com `` RPS 2016/33

SATURDAY 21 MAY / 10:00$16:30

`` £13/£5 `` A day with James Reid ARPS `` The Village Hall, Main Street,

2016 Sydney Harbour International

Long Compton CV36 5JS

CLOSING DATE: 17 APRIL

`` Andreas Klatt ARPS, rpsva@klatt.co.uk

EXHIBITIONS

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

RPS International Print Exhibition 158 – Worcester TUE 16 FEBRUARY $ WED 23 MARCH

`` The Hive, Sawmill Walk, The Butts, Worcester WR1 3PD

RPS International Print Exhibition 158 – Warrington SAT 2 APRIL $ SAT 30 APRIL

`` Warrington Museum & Art Gallery,

Museum Street, Warrington WA1 1JB

RPS International Print Exhibition – Co Dublin WED 11 MAY $ WED 22 JUNE

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

`` sydney-harbour-international.org.au/ `` RPS 2016/08 46th H.K.C.C. International Salon of Pictorial Photography CLOSING DATE: 1 MAY

`` hongkongcameraclub.com `` RPS 2016/43 2nd International Salon of Print and Digital Art Varna CLOSING DATE: 3 MAY

`` printsalonvarna.org `` RPS 2016/36 FOCI International CLOSING DATE: 3 MAY

`` focithane.com `` RPS 2016/39 PSA China Special Theme 2016 CLOSING DATE: 15 MAY

`` salon.psachina.org/EIndex.aspx `` RPS 2016/41 VOL 156 / MARCH 2016 / THE RPS JOURNAL / 237

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14mm F2.8 XF ................ £647 16mm F1.4 XF ................ £685 16-55mm F2.8 ................ £698 18mm F2 XF.................... £349 18-55mm F2.8/4 OIS no box............................... £349 18-135mm F3.5/5.6 XF £549 23mm F1.4 XF ................ £599 27mm F2.8 XF ................ £289 35mm F1.4 XF ................ £366 35mm F2 R WR............... £298

8-15 F4 L USM Fisheye. . . . . . . . . . . . . . . . £899 11-24 F4 L USM . . . . . . . . . . . . . . . . . . . . . £2649 16-35 F2.8 MKII L USM. . . . . . . . . . . . . . . £1059 16-35 F4 L IS USM. . . . . . . . . . . . . . . . . . . . £679 17-40 F4 L USM . . . . . . . . . . . . . . . . . . . . . . £498 20 F2.8 USM . . . . . . . . . . . . . . . . . . . . . . . . . £369 24 F1.4 L II USM. . . . . . . . . . . . . . . . . . . . . £1139 24 F2.8 IS USM . . . . . . . . . . . . . . . . . . . . . . . £419 24 F3.5 L TSE MKII . . . . . . . . . . . . . . . . . . . £1469 24-70 F2.8 L II USM. . . . . . . . . . . . . . . . . . £1379 24-70 F4 L IS USM. . . . . . . . . . . . . . . . . . . . £674 24-105 F3.5/5.6 IS STM . . . . . . . . . . . . . . . £369 24-105 F4 L IS USM no box . . . . . . . . . . . £699 28 F2.8 IS USM . . . . . . . . . . . . . . . . . . . . . . . £388 35 F1.4 USM LII . . . . . . . . . . . . . . . . . . . . . £1699 35 F2 IS USM. . . . . . . . . . . . . . . . . . . . . . . . . £389 40 F2.8 STM . . . . . . . . . . . . . . . . . . . . . . . . . £149

50 F1.2 L USM . . . . . . . . . . . . . . . . . . . . . . . £994 50 F1.4 USM . . . . . . . . . . . . . . . . . . . . . . . . . £236 50 F1.8 STM . . . . . . . . . . . . . . . . . . . . . . . . . . £96 50 F1.8 II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £74 70-200 F2.8 IS LII USM. . . . . . . . . . . . . . . £1479 70-200 F2.8 non IS L USM. . . . . . . . . . . . . £897 70-200 F4 L IS USM. . . . . . . . . . . . . . . . . . . £796 70-200 F4 L USM . . . . . . . . . . . . . . . . . . . . . £438 70-300 F4/5.6 L IS USM . . . . . . . . . . . . . . . £893 85 F1.2 USM L II. . . . . . . . . . . . . . . . . . . . . £1349 85 F1.8 USM . . . . . . . . . . . . . . . . . . . . . . . . . £236 100 F2.8 IS L USM macro. . . . . . . . . . . . . . £618 100 F2.8 Macro USM . . . . . . . . . . . . . . . . . £372 100-400 F4.5/5.6 IS LII U . . . . . . . . . . . . . £1789 200-400 F4 IS L USM . . . . . . . . . . . . . . . . £8499 200 F2.8 II L USM . . . . . . . . . . . . . . . . . . . . £568 300 F2.8 IS L USM II . . . . . . . . . . . . . . . . . £4399 300 F4 L IS USM. . . . . . . . . . . . . . . . . . . . . . £958 400 F2.8 IS L USM II . . . . . . . . . . . . . . . . . £7399 400 F4 DO II IS USM . . . . . . . . . . . . . . . . £6444 400 F5.6 L USM . . . . . . . . . . . . . . . . . . . . . . £884 500 F4 IS L U II . . . . . . . . . . . . . . . . . . . . . £6499 600 F4 IS L USM II . . . . . . . . . . . . . . . . . . . £8894 1.4x III conv. . . . . . . . . . . . . . . . . . . . . . . . . . £299 2x III conv . . . . . . . . . . . . . . . . . . . . . . . . . . . £299

NIKON DX NON FULL FRAME LENSES 10.5 F2.8 DX Fisheye . . . . . . . . . . . . . . . . . £548 10-24 F3.5/4.5 AFS G . . . . . . . . . . . . . . . . . £638 16-80 F2.8/4 AFS ED VR. . . . . . . . . . . . . . . £766 16-85 F3.5/5.6 AFS VR . . . . . . . . . . . . . . . . £389 18-55 F3.5/5.6 AFS VR . . . . . . . . . . . . . . . . . £99 18-105 F3.5/5.6 AFS G no box. . . . . . . . . £179 18-140 F3.5/5.6 AFS VR . . . . . . . . . . . . . . . £379 18-300 F3.5/6.3 AFS VR . . . . . . . . . . . . . . . £548 35 F1.8 AFS G . . . . . . . . . . . . . . . . . . . . . . . . £169 40 F2.8 AFS G macro . . . . . . . . . . . . . . . . . £177 55-300 F4.5/5.6 AFS VR . . . . . . . . . . . . . . . £268 NIKON FX FULL FRAME LENSES 14-24 F2.8 AFS G ED. . . . . . . . . . . . . . . . . £1309 16 F2.8 AFD Fisheye . . . . . . . . . . . . . . . . . . . £624 16-35 F4 AFS VR . . . . . . . . . . . . . . . . . . . . . £828 18-35 F3.5/4.5 AFS G . . . . . . . . . . . . . . . . . £517 20 F1.8 AFS G ED. . . . . . . . . . . . . . . . . . . . . £538 24 F1.4 AFS . . . . . . . . . . . . . . . . . . . . . . . . . £1378 24 F1.8 AFS G ED. . . . . . . . . . . . . . . . . . . . . £579 24 F3.5 PCE . . . . . . . . . . . . . . . . . . . . . . . . . £1464 24-70 F2.8 AFS G ED VR. . . . . . . . . . . . . . £1789 24-70 F2.8 AFS G ED. . . . . . . . . . . . . . . . . £1189 24-85 F3.5/4.5 AFS VR . . . . . . . . . . . . . . . . £399 24-120 F4 AFS G ED VR . . . . . . . . . . . . . . . £599

28 F1.8 AFS . . . . . . . . . . . . . . . . . . . . . . . . . . £494 28-300 F3.5/5.6 AFS VR . . . . . . . . . . . . . . . £647 35 F1.4 AFS G . . . . . . . . . . . . . . . . . . . . . . . £1279 35 F1.8 AFS G . . . . . . . . . . . . . . . . . . . . . . . . £398 35 F2 AF-D. . . . . . . . . . . . . . . . . . . . . . . . . . . £254 50 F1.4 AFS G . . . . . . . . . . . . . . . . . . . . . . . ..£274 50 F1.8 AFS G . . . . . . . . . . . . . . . . . . . . . . . . £155 58 F1.4 AFS G . . . . . . . . . . . . . . . . . . . . . . . £1299 60 F2.8 AFS . . . . . . . . . . . . . . . . . . . . . . . . . . £369 70-200 F2.8 AFS VRII . . . . . . . . . . . . . . . . £1578 70-200 F4 AFS G ED VR . . . . . . . . . . . . . . . £899 70-300 F4.5/5.6 AFS VR . . . . . . . . . . . . . . . £439 80-400 F4.5/5.6 AFS G VR . . . . . . . . . . . . £1579 85 F1.4 AFS G . . . . . . . . . . . . . . . . . . . . . . . £1147 85 F1.8 AFS G . . . . . . . . . . . . . . . . . . . . . . . . £338 105 F2.8 AFS VR macro . . . . . . . . . . . . . . . £619 200 F2 AFS ED VRII . . . . . . . . . . . . . . . . . . £4099 200-500 F5.6 AFS E ED VR. . . . . . . . . . . . £1149 300 F2.8 AFS ED VRII . . . . . . . . . . . . . . . . £3489 300 F4 AFS E PF ED VR. . . . . . . . . . . . . . . £1497 400 F2.8 G E FL ED VR . . . . . . . . . . . . . . . £8199 500 F4 E AFS FL ED VR . . . . . . . . . . . . . . . £7989 600 F4 E AFS FL ED VR . . . . . . . . . . . . . . . £9648 R1C1 CDR. . . . . . . . . . . . . . . . . . . . . . . . . . . . £489 TC14EIII converter. . . . . . . . . . . . . . . . . . . . £428 TC17EII converter . . . . . . . . . . . . . . . . . . . . £289 TC20EIII converter. . . . . . . . . . . . . . . . . . . . £328

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 . . . . . . . . . £139 18-135 F3.5/5.6 IS STM no box. . . . . . . . . £279 24 F2.8 STM . . . . . . . . . . . . . . . . . . . . . . . . . £128

CANON EF FULL FRAME LENSES

SYSTEM

50-140mm F2.8 R OIS £1029 55-200mm F3.5/4.8 OIS XF£466 56mm F1.2 R APD ......... £897 56mm F1.2 XF ................ £679 60mm F2.4 XF ................ £404 90 F2 R LM WR ............... £615 NEW X70 100-400 F4/5.6 OIS WR £1399 1.4x XF TC WR ................. £328 X100T Black/Silver ........ £795 X70 Black/Silver ............. £549 X30 Black/Silver ............. £283 NEW 100-400

16-300 f3.5/6.3 Di II VC PZD £399 150-600 f5/6.3 SP VC USD£747 18-200 f3.5/6.3 Di II VC......... £169 28-300 f3.5/6.3 Di VC USD CAF/NAF/Sony........................ £419 Kenko Converters 1.4x or 2x Pro 300 ea ............ £149 Auto ext tube set ..................... .£99

Family Run Pro Dealership with Friendly, Knowledgeable Staff. Open 7 days per week. Prices inc VAT - correct 12/02/2016. P&P Extra. E&OE. FREE COURIER DELIVERY FOR NEW ITEMS ORDERED ON-LINE (U.K. Mainland only)

Although we are the best stocked dealer in the West Country, we cannot always have every item listed in stock at all times, so we are happy to reserve new & used items for customers planning to visit. Prices correct 12/02/2016 but subject to change without notice. See website for up to date prices. E&OE.

Website altered daily inc. manufacturers cashback & promotions

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QUALITY USED EQUIPMENT. See website for full list. Call us to check condition. 6 Month warranty on most secondhand. Used Canon EOS 1D MKIV body

£1399/1799

Used Canon

EOS 1DX body M- box

£3399

Used Canon 24mm f1.4 LII M- box

£899

Used Canon 24-70mm f2.8 LII M- box

£1199

Used Canon 85mm f1.2 LI USM

£899

Used Canon

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

£699/899

Used Canon

300mm f2.8 LII IS USM

£3999

Used Canon

300mm f2.8 L IS USM

£2799

Used Canon 300mm f4 L IS USM box

£699

Used Canon

400mm f2.8 L IS USM

£3799/3999

Used Canon 400mm f4 DOII mint unused

£5999

Used Canon 500mm f4 L IS USM

£3699

Used Canon

EOS 5D MKIII body box

£1499/1699 BRONICA ETRS 645 USED ETRS body .............................£99 40 F4 MC ..............................£149 45-90 F4/5.6 PE box .........£449 50 F2.8 E...............................£149 100 F4 PE macro ...............£249 105 F3.5..................................£99 135 F4 PE .............................£199 150 F3.5 E ..............................£99 150 F3.5 PE M- Box...........£149 200 F4.5 PE..........................£199 E14 or 28 ext tube each ...£49 120 RFH ..................................£69 Polaroid Back .......................£39 Plain prism ............................£59 Rotary prism .......................£129 AEII Prism...............................£79 Angle viewfinder E...........£129 Winder early .........................£79 Speed Grip E.........................£39 Tripod adapter E .................£39 Winder early .........................£49 Metz SCA 386 .......................£49 BRONICA SQ 6x6 USED SQB complete ....................£399 40 F4 S ..................................£299 50 F3.5 S...............................£149 135 F4 PS M-.......................£249 150 F3.5 S ..............................£79 150 F4 PS ................... £149/199 200 F4.5 PS M- box ..........£199 2x PS converter M- ...........£179 36mm ext tube....................£79 135N back ...........................£139 SQAi Polaroid back.............£79 SQAi 120 RFH .......................£79 SQA 120 RFH ........................£49 45° Prism box .....................£129 Plain Prism S Boxed ...........£69 AE Prism Early ......................£79 ME Prism Finder ..................£69 Metz SCA 386 .......................£49 Pro shade S ...........................£59 Lens Hood 65-80.................£20 SQAi Motorwinder ...........£149 Speed grip S .........................£69 CANON DIGITAL AF USED 1DX body M- box...........£3399 1D MKIV body box ........£1799 1D MKIII body box............£649 7D body ...............................£399 5D MKIII b/o box £1499/1699 5D MKI body box ................£399 650D body .............................£299 600D body .............................£249 450D body box ....................£149 400D body .............................£129 70D body ................................£549 20D body ................................£119 BG-E2...........£39 BG-ED3 .....£39 BG-E5...........£49 BG-E6 ......£119 BG-E7 ..........................................£99 BG-E8 ..........................................£79 BGE-16 .....................................£169 G1X MKII M- box..................£379 G10 compact ..........................£99 SX-60 HS compact box .....£249 SX-50 HS compact ..............£179 CANON AF USED EOS 1HS body ....................£149 EOS 3 + PB-E2 ....................£239 EOS 3 + BP-E1 ....................£199 EOS 3 .....................................£149 EOS 1n body.......................£129 EOS 3 body .........................£129 EOS 600/650 body ea .......£39 10-22 F3.5/4.5 U ................£299 17-40 F4 L ............................£399 17-85 F4/5.6........................£179 18-55 F3.5/5.6 IS EFS .........£89 18-55 F3.5/5.6 IS STM............ £99 18-55 F3.5/5.6 EFS .................. £59 20-35 F3.5/4.5 USM..............£199 24 f1.4 LII M- box ...................£899 24 F2.8 IS USM........................£369 24-70 F2.8 LII M- box ........£1199 24-70 F2.8 box ........................£699 24-70 f4 IS L USM ..................£599 24-105 F4 L...............................£499 28 F1.8 USM box ...............£299 28-90 F3.5/5.6 ......................£79 28-300 F3.5/5.6 L IS U ..£1399 35-135 F3.5/4.5..................£129 50 F1.4 U box .....................£199 50 F1.8 MKI ..........................£119 55-250 F4/5.6 ISII M- box ..£129 60 F2.8 EFS mac .................£229 70-200 F2.8 LI IS box .......£899 70-200 F4 IS U L ................£649 70-200 F4 U L .....................£329 70-300 F4/5.6 IS U ............£279 75-300 F4/5.6 MKIII U ........£99 85 F1.2 L MKI ......................£899 85 F1.8 M-............................£199 100 F2 M- box ....................£279 100-300 F4/5.6 USM ........£129 100-400 F4.5/5.6 L IS U ................................£699/899 135 F2 M- box ....................£599

Used Sony

A7 RII body box

£1999

Used Rollei

Used Nikon

D4s body box

2.8F TLR serviced

£899

£3399

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

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

£999

Used Nikon D4 body box

Used Nikon D3s body box

£2499

£1799

50 F1.4 6 bit .....................£1199 LEICA SLR USED Angle finder R ....................£149 LEICA BINOCULARS USED Trinovid 10x40 ...................£749 Ultravid 8x42 HD................£849 LIGHTMETERS USED Minolta Flashmeter V ......£199 Minolta Spotmeter M......£199 Sekonic L308 ........................£99 MAMIYA 645 MF USED Plain prism (645 Super) ....£39 WLF 645N/1000S/J.............£49 WLF Pro TL etc .....................£79 Polariod Back HP401 .........£29 Polaroid back .......................£29 120 Insert...............................£20 HA401 120 RFH Box...........£49 120 Back.................................£39 Winder ....................................£79 50 F4 shift ............................£399 55-110 F4.5 box.................£299 150 F2.8 A............................£249 150 F3.5 N .............................£79 210 F4 N M- ..........................£79 Ext Tube 1, 2, 3S each .......£29 Teleplus 2x converter ........£49 Vivitar 2x converter............£39 MAMIYA TLR 6x6 USED C330 F Body + WLF ..........£149 55 F4.5 ..................................£199 65 F3.5 box late .................£199 65 F3.5 serviced.................£149 80 F2.8 late serviced ........£139 180 F4.5 ................................£149 250 f4.5 late serviced.......£249 250 f4.5 early serviced .£179 Prism .......................................£99 Paramender ..........................£49 MAMIYA 7 RF 6x7 USED 50 F4.5 L + VF .....................£699 80 F4.5 L M- box................£699 150 F4.5 M- .........................£399 210 F8 + VF box M- ..........£499 Panoramic kit .......................£49 MAMIYA RB 6x7 USED Pro SD + 127 KL + RFH + WLF .......................£549 Pro S + 90 + RFH + WLF .£449 Pro SD comp M- ................£649 Pro S body ...........................£149 Pro S body scruffy ..............£99 WLF ..........................................£79 120 645V back .....................£99 90 F3.5 KL ............................£249 127 F3.5 KL..........................£299 Ext tube 2.................................... £49 MAMIYA RZ 6x7 USED RZ ProII + 90 + WLF + 120 RFH ............................£499 RZ Pro body ........................£149 120 RFH Pro II.......................£99 120 RFH Pro I ........................£49 WLF ..........................................£79 FE701 AE prism .................£179 Winder II.................................£69 50 F4.5 W .............................£199 65 F4 box M- ......................£399 90 F3.5 W M- box ..............£299 127 F3.5 box .......................£299 180 F4.5 W box ..................£199 Pro shade...............................£49 MINOLTA/SONY DIGITAL USED Sony RX100 MKII................ £299 Sony A7 RII body box.....£1999 Sony A7 body...................... £639 Sony A99 body box ........£1099 Sony A77 body box .......... £429 Sony A350 body................. £149 Sony VGB30AM .....................£79 Sony VGC70AM .................. £139 Sony HVL-F58AM .................. £199 Sony HV56AM ........................ £199 Sony HVL-F32X .........................£79 Sony F20AM...............................£59 SONY NEX USED FE 16-35 F4 ZA OSS..............£899 FE 24-70 F4 ZA OSS..............£599 FE 35 F1.4 ZA M- box ..........£999 FE 70-200 F4 GSS ..................£799 MINOLTA/SONY AF USED Dynax 9 body M- box .....£349 9000 body .............................£79 800Si body ............................£69 700Si + VC700 ......................£69 700Si or 7xi body ea ..........£49 Dynax 5 body...........................£39 505Si Super ............................ £25 300Si or SPXi body ea .......£19 20 F2.8 box .........................£249 20-35 F3.5/4.5 M- box .....£249 24 F2.8 ..................................£169 24-50 F4 ...............................£149 28 F2.8 ....................................£99 28-80 F4/5.6..........................£39 28-85 F3.5/4.5 ......................£99 28-100 F3.5/5.6 D ...............£49 35-70 F4 .................................£39 35-70 F3.5/4.5 ........................... £25

35-80 f4/5.6 ................................ £25 35-105 F3.5/4.5 ........................ £99 50 F1.7 AF ................................... £89 50 F2.8 macro .........................£149 75-300 F4.5/5.6 ........................ £99 85 F1.4 box...............................£599 100-300 F4.5/5.6 APO£169/179 500 F8 mirror...........................£349 VC700 grip.................................. £49 VC600 grip.................................. £39 RC1000S/L cord ....................... £15 AW90............................................. £49 MD90 + BP90-M ...................... £79 Angle finder VN........................ £99 SONY LENSES USED 16-35 F2.8 ZASSM box ......... £899 16-50 F2.8 SSM.......................£349 16-70 F4 ZA OSS M- box ....£599 16-80 F3.5/4.5 ZA box.........£369 18-55 F3.5/5.6 SAM ................ £59 18-200 F3.5/6.3 DT ...............£199 18-250 F3.5/6.3 DT ...............£299 24-70 F2.8 ZE SSM ................£749 50 F1.4 box...............................£249 70-300 F4.5/5.6 SSM box...£549 1.4x conv M- box...................£249 SIGMA MIN/SONY AF USED 28-135 F3.8/5.6 ......................£79 28-300 F3.5/6.3 mac ......... £149 50 F1.4 .................................... £149 55-200 F4/5.6 .........................£69 70-300 F4/5.6 DG OS ......£189 600 F8 ...................................£299 1.4x EX DG conv box .......£119 TAM 18-270 F3.5/6.3 DiII PZD box ........................£199 TAM 70-300 F4.5/5.6 Di box......................................£89 TAM 90 F2.8 .............. £199/249 TOK 17 F3.5 ATX Pro ........£299 Teleplus 1.4x conv ..............£69 Teleplus 2x conv .................£79 Kenko 1.4x Pro 300DG ....£149 Min 3600HSD .......................£39 Min 5400HS ..........................£69 Min 5600HSD M-.................£99 NIKON DIGITAL AF USED D4s body box ..................£3399 D4 body box....................£2499 D3s body box ..................£1799 D3 body box...........£999/1299 D2Xs body box ..................£399 D2X body box ....................£299 D810 body box...............£1749 D800E body box ...£999/1199 D800 body box......£999/1199 D700 body box........ £599/699 D600 body M- box ...........£699 D300 body box..................£299 D200 body box..................£199 D7200 body box ...............£599 D7100 body box ..... £399/479 D7000 body .............. £299/349 D5200 body ........................£249 D5000 body ........................£169 D3200 body red ................£149 D3100 body ........................£149 D90 body .............................£199 D80 body .............................£169 D70 body ...............................£79 D70s body .............................£79 MBD-15 M- box .................£169 MBD-10 grip M- box ........£149 NIKON AF USED F4 body ................................£349 F4E body ..............................£299 F4S body .................... £249/399 F801s body ...........................£39 F801 body ...................... £29/59 F601 body .............................£29 12-24 F4 DX............................£449 14-24 F2.8 AFS ................£999 16 F2.8 AFD M- box ............£529 16-85 F3.5/5.6 AFS VR ...£299 17-35 F2.8 AFS ......................£799 17-55 F2.8 AFS ......................£449 18-55 F3.5/5.6 VRII..................£99 18-70 F3.5/4.5 AFS ..............£119 18-135 F3.5/5.6 AFS DX ....£149 18-140 F3.5/5.6 VR DX M- £269 18-200 F3.5/5.6 AFS VRII...£399 18-200 F3.5/5.6 AFS VRI ....£279 20 F2.8 AF...................... £299/329 24 F1.4 AFS G M- box ........£899 24 F2.8 AFD ............................£299 24-50 f3.5/4.5 AF..................£129 24-70 F2.8 AFS box ... £799/999 24-120 F4 VR............................£499 24-120 F3.5/5.6 AFS VR ......£299 28-70 F2.8 AFS........................£299 28-80 F3.3/5.6 G....................... £69 28-85 F3.5/4.5 AF ..................£119 28-100 F3.5/5.6 AF G ............. £69 28-105 F3.5/4.5 AFD box...£149 28-300 F3.5/5.6 VR................£499 40 F2.8 AFS DX M- box.......£149 50 F1.4 AFS .........................£239 50 F1.8 AFD...........................£99 50 F1.8 AF ..............................£79

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

Used Hasselblad

Used Leica

40mm

50mm f4 CF FLE

f4 FLE

£1199

£799

Used Nikon

D3 body box

D800 body box

£999/1299

£999/1199

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

Used Leica

35mm f2 M39 M- box

50mm f1.4 M-

£1799

Used Nikon 14-24mm f2.8 AFS

£999

Used Nikon

24mm f1.4 AFS M- box

£899

Used Nikon

80-400mm f4.5/5.6 AFS

£1199

Used Nikon

85mm f1.4 AFS M- box

£999

Used Nikon 200mm f2 AFS VRI

£2499

Used Nikon

200-400mm f4 AFS VRI

£2999

Used Nikon

300mm f2.8 AFS VRI

£2699

Used Nikon 300mm f4 AFS

£599/699

Used Nikon

400mm f2.8 AFS E FL ED VR

£6999

Used Nikon 500mm f4 AFS VR

£4499

Used Nikon 500mm f4 AFS MKI

£2699/2999

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

THE RPS COLLECTION 240 | TIMES PAST | FROM

Bebe Daniels’ wood-soled sandals

hen the photographer John Hinde FRPS sold his picture postcard company in 1972, he could boast in excess of 50 million sales worldwide. Yet, despite being one of the most popular British

photographers of his time, Hinde had little to no kudos as an artist – he even claimed himself that his postcards had no artistic merit. He was first and foremost a populist who tapped into the post-war holiday boom, and only more recently has the larger photography community

come to accept Hinde as a colour photography pioneer and astute social commentator, lionised by artists such as Martin Parr HonFRPS. Hinde, who was born in Somerset 100 years ago, had an interest in photography from a young age and during

his last year at school, in 1934, he attempted to make his first colour photograph. By 1937 he was an Associate of The Royal Photographic Society (becoming a Fellow in 1943), the same year he enrolled at the Reimann School in London to study photography under Frank Newens, a leader in colour printing techniques. During the 1940s Hinde worked for the publishers Adprint, producing a number of colour photography books, including Britain in Pictures, which documented life during the Second World War. Prints from this publication are among the many Hinde images held in the Society’s Collection. After a period working abroad, and for Chipperfield’s and Bertram Mills’ circuses, where he met his wife Jutta, a trapeze artist, Hinde settled in Ireland where he launched his postcard company. Perhaps the most famous commission from this period is a series of images for Butlin’s holiday parks. Hinde’s great grandfather was James Clark, the founder of C&J Clark Ltd, the highstreet shoemakers, of which his father was the director. So it’s perhaps of little surprise that Hinde went on to take photos for the company’s advertising campaigns. For this advert, American actor Bebe Daniels, who was living in England at the time, poses wearing a pair of Clarks sandals. A Hollywood star from a young age, Daniels went on to appear in the British radio and TV sitcom Life with the Lyons. Despite its pleasing composition, the image of Daniels in a café has an unsettling air – the waiter’s sideways glance, Daniels’ thoughtful expression and the incidental parrot evoking an ambiguous story. ANDREW CATTANACH

240 / THE RPS JOURNAL / MARCH 2016 / VOL 156

ROYAL PHOTOGRAPHIC SOCIETY / NATIONAL MEDIA MUSEUM / SCIENCE & SOCIETY PICTURE LIBRARY

An advertisement for Clarks captured by postcard pioneer John Hinde FRPS

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