The RPS Journal May 2015

DOCUMENTARY PHOTOGRAPHY

DEPICTIONS OF DIGNITY

GILES DULEY HonFRPS ON THE LIVES BEHIND HIS IMAGES

MAY 2015 / VOLUME 155 / NUMBER 5 / WWW.RPS.ORG

YANGTZE CHRONICLE

ANIMAL MAGIC

RPS MEMBER CHARTS CHINA’S LONGEST RIVER

NATURAL HISTORY DISTINCTIONS PORTFOLIOS

© YERVANT

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OPENING SHOT

| MAY 2015 | 321

QUESTIONS OF LIGHT AND SHADE

S COMING UP

IN FUTURE ISSUES Hear how John Swannell HonFRPS goes about his work, plus we showcase just a few of the images from the massive Bleeding London street photography project, on show this summer

ummer is in the air (I say that at the risk of jinxing things). It’s the perfect time to begin looking more closely at the nature of our surroundings; thus, we have a special Distinctions section this issue on natural history photography (from page 340). With both a Licentiate and Associate panel of exceedingly high quality, plus a rundown of what makes great natural history photography from expert David Osborn FRPS, there’s no excuse for you not to train your lens on something wild this month.

Our cover, however, tells a very different story. I have to say that this was one that I deliberated over for some time; the image shows a Nuer woman who lives in South Sudan, just after she had lost her baby in childbirth. Taken to highlight the issues of maternal health in the country, it’s a harrowing image – but it is also extremely powerful. When we make decisions on what images to use for our cover, we want to show the power that photography can have; whether that’s in an image’s beauty, its joy, or something tougher.

Inside, we speak to the man who took the

photograph, Giles Duley HonFRPS, and how he approaches such intimate and moving situations. His view, as he describes to our writer Gemma Padley, is that such images should have a story beyond the closing of the shutter. That’s something I wholeheartedly agree with. Read more on page 368 – and then, if tricky subjects are your bag, continue to page 374 to hear from photojournalist Lynsey Addario on how she, like Duley, puts ethics first, effect second. Let us know your thoughts, too.

Elsewhere, check out the astounding, sparse riverscapes from Society member Yan Preston (page 352) and we review From Darkroom to Daylight, a brilliant new book that reaffirms the joys of analogue alongside those of the digital revolution. Until next time …

CLARE HARRIS Editor

MIKE WILKINSON

PATRON AND SPONSORS

VOL 155 / MAY 2015 / THE RPS JOURNAL / 321

322 | MAY 2015

IN THIS ISSUE The Royal Photographic Society Fenton House, 122 Wells Road Bath BA2 3AH, UK www.rps.org reception@rps.org +44 (0)1225 325733 Incorporated by Royal Charter Patron Her Majesty the Queen President Derek Birch ASIS HonFRPS Vice-President Walter Benzie ARPS Treasurer Geoff Blackwell ARPS Director-General Dr Michael Pritchard FRPS Published on behalf of The Royal Photographic Society by Think Suite 2.3, Red Tree Business Suites, 33 Dalmarnock Road, Glasgow G40 4LA thinkpublishing.co.uk

384 Ana Rocha ARPS gives an insight into her world, taking exceptional images of children

EDITORIAL ENQUIRIES Editor Clare Harris rpsjournal@thinkpublishing.co.uk 0141 375 0504 Deputy editor Andrew Cattanach andrew@thinkpublishing.co.uk

340

Contributing editors Gavin Stoker, Geoff Harris LRPS

Chestnut-mandibled toucans

by Moira Gardner ARPS

Design Matthew Ball, Alistair McGown, Katherine Pentney Sub-editor Sam Bartlett

FEATURES

Advertising Sales Daniel Haynes daniel.haynes@thinkpublishing.co.uk

352 | YAN PRESTON The China-born photographer embarks on a Yangtze adventure

020 3771 7200 Publisher John Innes john.innes@thinkpublishing.co.uk

Every reasonable endeavour has been made to find and contact the copyright owners of the works included in this newspaper.

However, if you believe a copyright work has been included without your permission, please contact the publishers. Views of contributors and advertisers do not necessarily reflect the policy of The RPS or those of the publishers. All material correct at time of going to press.

364 | SIX OF THE BEST Introducing early recipients of the Creative Industries Qualification 368 | SUBJECTS MATTER The human stories at the heart of Giles Duley HonFRPS's documentary work

ISSN: 1468-8670

Cover Giles Duley HonFRPS, Nuer woman in childbirth, South Sudan, 2009

364 How a new Society qualification recognises the creative industries

322 / THE RPS JOURNAL / MAY 2015 / VOL 155

374 | CAPTURING CONFLICT How Lynsey Addario brings home images from the front line

ALESSANDRA EGIDI AND ALBERTO ALICATA; ANA ROCHA ARPS; MOIRA GARDNER ARPS

360 | ART HOUSE Work by the Visual Art Group goes on show at Society HQ

Š 2015 The Royal Photographic Society.

All rights reserved.

THE CRAFT

EVERY MONTH

379 | MUST TRY * LATEST KIT Nikon's D7200, a raft of new gear and the Fuji X100T Member Test

324 | BIG PICTURE The Tour de France, as frozen in time by Jered Gruber

382 | MASTERCLASS/IN DEPTH Our guide makes infant and baby photography seem like child's play

326 | IN FOCUS News from the Society and more

LYNSEY ADDARIO/ GETTY IMAGES REPORTAGE

387 | MY FAVOURITE CAMERA Tom Hunter HonFRPS's pinhole

339 | BOOKS Main review: From Darkroom to Daylight by Harvey Wang 340 | DISTINCTIONS Moira Gardner ARPS and Ray Kilham LRPS shoot Natural History 389 | MEMBER GUIDE What's on where and when

374 Photojournalist Lynsey Addario's image of women in Afghanistan

400 | TIMES PAST Alvin Langdon Coburn VOL 155 / MAY 2015 / THE RPS JOURNAL / 323

324 | BIG PICTURE |

324 / THE RPS JOURNAL / MAY 2015 / VOL 155

Race through Roubaix

By Jered Gruber

THE SHOOT It was during the Tour de France last year, a special stage using some of the cobbles in Roubaix and the riders are Michael Schär, Daniele Bennati and Alberto Contador. It had rained the night before and it was raining that day so it turned what was already a pretty dramatic stage into one of the most amazing days of racing in the last decade. I shoot with my wife Ashley and we were embedded with the Swiss team IAM, and working for some cycling magazines.

APPROACH I try to find a solid long shot and a solid wide shot, and just maximise the time I have to shoot the race – which is generally very little.

In planning where to be, we’ll use a whole lot of Google Street View, looking at every road as much as we have the patience and internet to do so.

EQUIPMENT Each of us has a Nikon D4 and D810. The D4 is great because it’s fast and the D810 is awesome because it’s 36 megapixels.

TIPS A good place to start if you’re shooting a fast-moving bike race is 1,000th of a second in terms of stopping people from moving. Also, find a spot where you can take multiple interesting pictures, as getting a good location is a commodity.

See more work at gruberimages.pro VOL 155 / MAY 2015 / THE RPS JOURNAL / 325

PHOTOGRAPHIC TOURS PHOTOGRAPHIC TOURS TO DESTINATIONS IN THE UK AND OVERSEAS FOR WILDLIFE, NATURE AND LANDSCAPE PHOTOGRAPHY TO DESTINATIONS IN THE UK AND OVERSEAS FOR WILDLIFE, NATURE AND LANDSCAPE PHOTOGRAPHY For the absolute beginner to experienced amateurs and professionals For the absolute beginner to experienced amateurs and professionals

Take the next step up in your photography, contact us for latest tour dates: Take the next step up in your photography, contact us for latest tour dates:

e. hello@NaturalWondersPhotography.co.uk t. 07913 415 701 www.NaturalWondersPhotography.co.uk e. hello@NaturalWondersPhotography.co.uk t. 07913 415 701 www.NaturalWondersPhotography.co.uk

U K , P O L A N D, Z A M B I A , F I N L A N D, C A M A R G U E . . .

U K , POLAND, P O L A N D , ZAMBIA, Z A M B I A ,FINLAND, F I N L A N DCAMARGUE, , C A M A R G U ESLOVENIA, ...

UK, SVALBARD, INDIA...

327

WOMEN IN PHOTOGRAPHY Visual Literacy series kicks off 328

DIGITAL DELIVERY Society and OU launch course 329

MUM, DEMENTIA AND I Annemarie Anang’s call to arms 334

INFOCUS NEWS, VIEWS, EXHIBITIONS AND MEMBER INSIGHT

MANUELA HENAO, FROM BEAUTIES; ELERI GRIFFITHS, FROM THE KIDS NEED SHOES

An image from Manuela Henao’s Beauties project

JOAN WAKELIN BURSARY DEADLINE NEARS Applications still being taken for £2,000 Society award THE CLOSING date to apply for the Joan Wakelin Bursary 2015 is Friday 22 May. The bursary was set up in 2005, in partnership with the Society and The Guardian, in memory of the documentary

INSIGHT

photographer Joan Wakelin HonFRPS. It awards £2,000 to support the production of a photo-essay on an overseas social-documentary issue.

The bursary was last year awarded to Manuela Henao, whose project looked at beauty ideals in the city of Medellin, Colombia.

LYNSEY ADDARIO

‘Being awarded the Joan Wakelin Bursary was a great opportunity,’ says Henao. ‘I felt honoured that the Society and The Guardian trusted in my work and me as a photographer.’

For more information go to rps.org/learning/project-funding

Eleri Griffiths won the Wakelin bursary in 2013 to cover beekeeping in Cameroon

THE RENOWNED PHOTOJOURNALIST REVEALS THE EFFECT MOTHERHOOD HAS HAD ON HER HARROWING FORAYS INTO THE WORLD’S WAR ZONES, PAGE 374 VOL 155 / MAY 2015 / THE RPS JOURNAL / 327

328 | IN FOCUS |

VISUAL LITERACY LECTURES Booking is now open for the Society’s Visual Literacy Lectures, which this year focus on women in photography.

Speakers so far confirmed include Abbie Trayler-Smith, Gina Glover, Eva Stenram, Alixandra Fazzina, Magda Rakita, Monica Allende and many more. Lectures will take place at venues across England. In the first event, Gemma Marmalade will discuss her work at Burton and South Derbyshire College on 6 May. For more, visit bit.ly/ RPSvisualliteracy

VOLUNTEER RECOGNITION SCHEME ABOVE: ABBIE TRAYLER SMITH/ PANOS PICTURES; VANESSA SLAWSON

Scheme heralds members who give their time to aid the Society VOLUNTEERING IS a great way to get more involved with the Society, and the volunteer recognition scheme, introduced last September, is now well established. ‘The scheme recognises those volunteers who give a valuable service and contribute to the overall success of the Society,’ said Society Council Member, Vanessa Slawson FRPS. ‘Volunteers get a certificate and a bronze, silver or gold badge denoting their length of service, in four, eight and 12-year intervals. This service is non-consecutive,

Volunteers Mark Buckley-Sharp, Liz Rhodes and Barry Collin with Derek Birch

however, so you can have a break and still be eligible.

The only stipulation for getting involved is that you’re a current Society member.’

A variety of volunteering roles are eligible for the

328 / THE RPS JOURNAL / MAY 2015 / VOL 155

recognition scheme, from Region and Special Interest Group committee members, to Distinctions panel members.

For more details, see rps.org/ about/organisation/volunteers

Gothic Big Ben by Lynda Morris LRPS

| IN FOCUS | 329 OBITUARY

KEITH PARIS DUGUID FRPS It is with sadness that we report the death of Keith Duguid, of Bearsden, Glasgow, Scotland on 5 March. Keith trained in medical photography at Manchester Royal Infirmary under Dr Robert Ollerenshaw FRPS from 1958 to 1966 and later, in 1981, succeeded Dr Peter Hansell FRPS as head of the department of medical photography and illustration at Westminster Medical School, London. In 1985 he was appointed director of medical illustration at the University of Aberdeen where he ran a highly successful multidisciplinary department. Keith was also the former editor of the Journal of Audiovisual Media in Medicine.

ROBERT LOUDON BROWN ARPS

SOCIETY TEAMS UP WITH OPEN UNIVERSITY

CHRIS HAMMOND ARPS, CALCUTTA FISHERMEN; LYNDA MORRIS LRPS, GOTHIC BIG BEN

Educational collaboration to improve digital image making A new 10-week online photography course has been developed by the Society and the Open University. Called Digital Photography: Creating and Sharing Better Images, it is designed to help students produce and disseminate good-quality images, together with the skills to try for the LRPS Distinction. Society members who complete the course will get an RPS Certificate in Photography and access to a free Distinctions Advisory Day. ‘The course is

also aimed at people who just want to improve their photography,’ said Dr David F Cooke ARPS, chair of the Society’s Education Committee, who led the course development on behalf of the Society. ‘It doesn't assume any background in photography or editing skills, although you will need a basic knowledge of computers as it's all done online.

You learn skills then post images for practice and feedback.’

The course is available worldwide and costs £200. The first presentation is on 6 June.

Full details can be found at rps.org/ online-courses

FROM THE PRESIDENT

NO TIME TO REST ON OUR LAURELS Onwards and upwards is the way to go

T

his year The Photography Show was held in late March at the NEC in Birmingham and it attracted around 30,000 visitors. It is a great opportunity for the Society to talk to members, recruit new ones and to show itself to the wider photography world. This year more than ever before, The RPS Journal helped us recruit more members and encouraged former members to rejoin.

For three of the four show days, Distinctions assessments for Licentiates and travel Associates took place. We are pleased to congratulate successful applicants, and for those who were unsuccessful please review your feedback and try again.

I would like to express my thanks to all of the staff, volunteers and other members who contributed so much during the show.

On a personal note, I was delighted to be invited to see Martin Parr HonFRPS giving his presentation to a very large audience and see so many of his photographs which have appeared in his books published over the years.

Moving ahead, there is

just one month left for submissions to the Society’s International Print Exhibition 158. This is one of the world’s most important photography competitions and provides opportunities for students, amateurs, professional photographers, members and the wider public to participate and have their work seen widely. The exhibition is particularly distinctive in the breadth of subject matter it attracts, together with the range of techniques, from the latest digital to traditional photographic processes.

Choose your own favourite four images to submit and go to rps-international.org to enter before 1 June.

As you will have seen last month, our Treasurer Geoff Blackwell kindly contributed his column, following on from Walter Benzie, Vice-President, who did the same last November. Both shared with you their roles as elected Society officers to support and develop the Society for all our members, along with our Council colleagues. Reports on the Council meetings, together with those for Advisory Board meetings with representatives from the Regions and Groups are included in these Journals.

Later this year you will be able to vote for the new officers and Council and elected representatives on the Advisory Board.

DEREK BIRCH ASIS HonFRPS President of The Royal Photographic Society

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330 | IN FOCUS | NEWS IN BRIEF

NATIONAL AUDIO VISUAL CHAMPIONSHIP The entry process is now under way for the National Audio Visual Championships, to be held from 4–6 September at Staffordshire University. This biennial event was first held in 1980 and is open to all AV and film and video producers resident in Great Britain and Northern Ireland.

For more details, see bit.ly/nationalav

Boy on Cliff Top

by Sian Davey, from IPE 157

PHOTOGRAPHICA This popular camera collectors’ fair will take place on Sunday May 17 at the Royal Horticultural Society’s Lindley Hall, London. The event is open from 10am-4.30pm and will feature some 135 stalls selling secondhand and collectable cameras, consumables and miscellany. Admission is £5.

See pccgb.com or facebook.com/photographicafair HALL MARRIOTT ESSAY PRIZE The panel of adjudicators is pleased to announce the results for the 2015 Hall Marriott Essay prize, awarded for an essay on an aspect of the history of photography by a researcher under 25. The first prize of £150 went to Hannah Williams for her essay reappraising the little-known early Wothlytype process. An edited version will appear in a future edition of The PhotoHistorian, the journal of the Society’s Historical Group. Second and third prizes were awarded to Hamish Irvine and Marina Aguilar, respectively. The closing date for 2016 entries is 30 June 2016.

ANIMATED ACHIEVEMENT

A portrait of Aardman Animations co-founder Peter Lord CBE by Rose Teanby ARPS has been well received by the company famous for producing Wallace & Gromit.

The portrait shows Lord with Morph, Aardman’s first and most enduring character. ‘I wanted to capture the real essence of this close relationship with specific lighting, as if eavesdropping on a private conversation,’ Teanby explains. ‘The lighting was designed to exclude all distraction and focus on their special interaction.’

theimagefile.com/try 0208 166 5688

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| IN FOCUS | 331 365 WINNERS

SHOOTING LIGHT BEST OF FRIENDS, PETER LORD AND MORPH, ROSE TEANEBY ARPS

March’s online competition winners

MARES IN THE MIST

By Nicola Billows LRPS This was taken in March 2012 in the Camargue, southern France. I was on a week’s trip in order to photograph this iconic breed of white horse, indigenous to this area. As

on every other morning we set off before dawn, this time in search of mares with their foals. It was very foggy, with very poor visibility, but as the sun rose the fog slowly lifted, casting the scene in this soft, ethereal light.

BLUE WALTZ

By Kevin Lajoie LRPS It was taken last October, shortly after I had received my pixelstick, which comprises two programmable LED strips that are mounted on a metal frame. The camera was a Nikon D5200 and the location was Vazon Bay, Guernsey. For light painting, I use a wide-angle Nikon 10-24mm as it is easiest to focus. The exposure was about 4.5 minutes, and out of that time frame, the light effect probably took no longer than 30 seconds to create.

ENTER NOW If you’ve been enjoying a return to film, or have recently joined the Society’s new Analogue Group, May’s Members’ Monthly Competition theme is Analogue and is a great opportunity to enter your images and share your results.

Visit rps-365.org

AVESTA

By Steven Kenny ARPS I captured Avesta using available light from a nearby streetlight, creating a tense and suspenseful scene of dread, isolation and voyeurism. The eerie and macabre beauty of the environment reveals the subject’s vulnerability as she walks among the shadows. The photograph was captured at the dead of night and required Avesta to hold a walking pose for a short amount of time to be successfully captured on 120mm film.

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332 | IN FOCUS |

GUARDIANS OF THE ARENG VALLEY Bedgebury National Pinetum and Forest, Kent UNTIL 6 SEPTEMBER

Award-winner Luke Duggleby reveals the rapid forest destruction which threatens critically endangered species and indigenous communities in south-west Cambodia, and a growing local environmental movement led by Buddhist monks. forestry.gov.uk/bedgebury

DEUTSCHE BÖRSE PHOTOGRAPHY PRIZE 2015 The Photographers’ Gallery, London UNTIL 7 JUNE 2015

This year’s shortlisted images from the Deutsche Börse competition are as eclectic as ever, and reflect a

diversity of attitudes towards photography, underpinned by an exploration into new and unexpected modes of presentation. The shortlisted work ranges from Nikolai Bakharev’s ambiguous portraits of Russian bathers on public beaches in the 80s and 90s, to

Zanele Muholi’s personal and political images, and Viviane Sassen’s sculptural, darkly sensual work. The winner of this year’s Deutsche Börse Photography Prize will be announced at a ceremony held at the gallery on 28 May. thephotographersgallery.org.uk

FROM BRADFORD TO BERLIN Forster’s Bistro, Centenary Square, Bradford UNTIL 12 JUNE

Bradford-based member Andy Goodall explores the environment of European cities including Berlin, Rome, Barcelona, Lille, Strasbourg and Siena, and others closer to his Yorkshire home, revealing a vibrant blend of shapes, patterns, styles and cultures. andygoodall.co.uk/exhibitions.php MAY ONWARDS

ALSO SHOWING

ANDRÉ KERTÉSZ IN EUROPE James Hyman Gallery, Savile Row, London 13 MAY % 13 JUNE

This exhibition is the first to focus solely on Kertész’s European work, but spans his whole career. From Hungary in the 1910s it moves on to his pioneering modernist work in Paris during the 1920s and subsequent postwar work. Some images have never been exhibited or published before. jameshymangallery.com

LOOK/15: EXCHANGE Various venues across Liverpool 15 MAY % 31 MAY

Liverpool International Photography Festival’s third edition, LOOK/15, draws from a pool of emerging, mid-career and more established artists and practitioners. This festival works in partnership with the city’s cultural venues to offer a range of activities and exhibitions, and the principal theme this year is ‘Exchange’. lookfestival.com

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URBAN SUBURBAN Canberra Museum and Gallery, Canberra, Australia UNTIL 21 JUNE

Australian member Ted Richards ARPS is part of this major exhibition, which features 11 of his images of Canberra street life in the 1960s. He says: ‘I was a trainee photographer, doing these shots in my spare time with a then revolutionary Mamiya C2.’ museumsandgalleries.act.gov. au/cmag/

Simon Roberts: The Election Project Photofusion, London Until 22 May Salt and Silver: Early Photography 1840-1860 Tate Britain, London Until 7 June Borderlands GRAD Gallery, London Until 16 May Revelations: Experiments in Photography Media Space, Science Museum, London. Until 13 September Still Life Photography Group Show Arts Club, London. Until 31 July

FROM LEFT: TED RICHARDS, BRIAN LOVES VICKI; © RANKIN, FROM THE EXHIBITION ALIVE: IN THE FACE OF DEATH; THE ESTATE OF ANDRE KERTESZ 2015, COURTESY JAMES HYMAN GALLERY, LONDON PRESS IMAGES/DEUTSCHE BÖRSE PHOTOGRAPHY PRIZE 2015/17 APRIL ) 7 JUNE 2015, ARTIST LUKE DUGGLEBY AT GUARDIANS OF THE ARENG VALLEY; ANDY GOODALL, LOU’S SOUP KITCHEN

WHAT NOT TO MISS

Mum at Rest (this image) and, below, Mum with Objects

MEMBER SHEDS LIGHT ON DEMENTIA

Annemarie Anang’s images capture the moving story of caring full-time for her mother

S

ociety member Annemarie Anang has hit the headlines with her exhibition Mum, Dementia and I. A series of photographs that she took of her mother, Elizabeth, are on display at North Middlesex Community Hospital.

The exhibition has been extended to mark Dementia Awareness week, which takes place from 17-23 May. Anang began the project after moving home to care for her mother full-time, following a disappointing experience with local care providers.

‘Over a short period of time she’d had 35 different carers,’ says Anang. ‘I decided to become her full-time carer – I didn’t see there was any other option.’

The images show Anang’s mother in the way only a daughter’s eye can. They include representations of what it’s like to have the condition, with some images blurred or altered to show

Annemarie Anang: ‘I had no other option’

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how dementia sufferers see the world.

For Anang, the images are a chance to bring the growing condition –and the need for better care – to wider attention. ‘Proper social care has been a problem for years, and dementia is on the rise,’

she says. ‘One in 14 people has dementia and it’s increasing.

I’d like the exhibition to tour as long as it can.’

Mum, Dementia and I is on show at North Middlesex Community Hospital until 6 June.

See therealpicture.org

| IN FOCUS | 335

HOW TO GET NOMINATED FOR IPE 158 Richard Billingham gives his tips for the International Print Exhibition Can you tell us about your relationship with the International Print Exhibition?

I’ve known about the exhibition for years and was very pleased to be invited to be a selector for this year’s competition. It sets a certain standard in photography and gives an overview of the sort of images people are making.

How have competitions helped you in the past?

They have got my work noticed and endorsed my practice.

What will you be looking for when selecting?

For me the idea is the main An image from Billingham’s photobook Ray’s A Laugh, published in 2000

DG’S DIARY

TAKE THREE

1

Now in its 158th year, the Society’s International Print Exhibition is the longest running of its kind in the world

Richard Billingham: honesty and truth

thing, and how it is conveyed. I will be looking for honesty and truth in the work.

Do you have any advice for entrants?

Try to make an image that doesn’t look like someone else’s.

Closing date is 1 June To enter visit rps-international.org

2

It was first held in 1854, a year after the formation of The Photographic Society (as the Society was originally known)

3

It has featured work by Roger Fenton, Julia Margaret Cameron, Peter Henry Emerson, Edward Steichen, among others

TIME WELL SPENT Staff have been very busy, receiving training on telephone-answering techniques, while a session on social media, email newsletters and Google analytics will help us better use these tools. The Photography Show also occupied a great deal of staff time, and was a great showcase for the Society. We are already looking forward to the next event in 2016.

RICHARD BILLINGHAM, FROM RAY’S A LAUGH, 2000, COPYRIGHT RICHARD BILLINGHAM, CURTESY ANTHONY REYNOLDS GALLERY, LONDON

OPEN HOUSE Richard Han, our new Chapter Organiser in Sichuan, China, made a surprise visit to Fenton House where he met staff and looked around the building. We had some useful conversations about developing the Chapter.

We are always pleased to meet members visiting Bath.

IN THE EXHIBITION FRAME I would highly recommend Revelations at Media Space, Drawn by Light in Bradford, Salt and Silver at Tate Britain, and the Wellcome Images Awards. These openings also provided an opportunity to meet new and potential supporters of the Society.

The Deutsche Börse Awards at The Photographers’ Gallery is next.

DR MICHAEL PRITCHARD FRPS Director-General of The Royal Photographic Society VOL 155 / MAY 2015 / THE RPS JOURNAL / 335

CHAPTER FOCUS

By Hendi Suwanda ARPS

Left: by Agatha Bunanta ARPS Above: by Hendro Hioe ARPS

WE SPEAK TO CHAPTER ORGANISER AGATHA BUNANTA ARPS

First established The Chapter was established in 2010 in Jakarta, initiated by me, Agatha Bunanta ARPS, as a Chapter Organiser.

Number of members We

currently have 24 active members Objective Our vision is to introduce and promote the Society in Indonesia, to build networking and help our members. We look to encourage and assist our members and potential members to take RPS Distinctions. Since the

establishment of the Indonesia Chapter, we have had two new Licentiates and four new Associates. And there will be many more in the coming years.

Highlights Indonesia is a culturally rich country with more than 13,000 islands and 300 ethnic groups. There are so many photographic opportunities, from

DISTINCTIONS SUCCESSES

Well done to all the Members on their recent achievements LRPS 09/14 Graham Roberts, Yorkshire

LRPS 01/15 Kyle Tallett, Kent Philip Plumb, Matlock Maureen Martin, Devon Carolyn O’Neill, Warwickshire LRPS 03/15 Pash Baker, East Sussex Steven Bonner, Middlesex Rodney John Bunyan, Shropshire Barry Cawdell, Shropshire Barbara Collins, Shropshire Joyce Ferder Rankin, County Antrim Alan Gristwood, Surrey Stephen Harrington, Kent Barry Hoffman,

Hertfordshire Susan Leonard, West Yorkshire Brian John McCarthy, Lincolnshire Donald McClymont, West Yorkshire Edward Mills, West Sussex Peter Newman, Northumberland John Penberthy, Surrey Alan Porter, Norfolk John Sutherland, Nottinghamshire Huw Thomas, Leicestershire Philip Thompson, Derbyshire Julia Wainwright, Middlesex Rob White, East Sussex Charles Barker, Cheshire Jack Bunn, West Yorkshire Kathleen Chantler, Buckinghamshire Anthony Emmot, North Yorkshire

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Clownfish by Pash Baker LRPS

underwater to mountain and landscape to portraiture. A favourite is Bali, where you can photograph landscapes and the many cultural events that happen almost every day. Java is also one a common destination, where you can photograph the famous temple Borobudur as well as the beautiful Mount Bromo.

West Midlands Jason Chor, Selangor Cyril Deretz, London Derrick Holliday, Devon Nellie Ngoo, Singapore Sue Revill, Essex Peter Spong, Buckinghamshire Min Tan, Sarawak

Steve Granger, Hertfordshire Peter Harris, Warwickshire Trevor Hupton, Derbyshire Gary Johnston, Belfast Lesley Kelly, Cheshire Karen Luker, Cheshire John Reginald Russell, Cheshire Robert Watson, Cheshire Steve Whittle, Cheshire

ARPS CREATIVE 03/15 Tatiana Bogracheva, Norfolk Peter Chamberlain, Surrey Judi Dicks, Staffordshire Ken Ness, Angus Chwee Sun Quek, Singapore Maureen Elizabeth, Rush, Yorkshire Steven Whittaker, Angus

LRPS EXEMPTIONS 03/15 Hannah Fountain, Essex Mandip Singh Seehra, Warwickshire Dave Whenham, West Yorkshire

ARPS PICTORIAL 03/15 Sean Cameron, Berkshire Mike Cowling, Suffolk Mary Patricia Crowther, West Yorkshire Paula Horrobin, Suffolk Ka-Ling Catherine Leung, Hong Kong Shiu Kwong Lo, Hong Kong

ARPS TRAVEL 03/15 Warren Alani,

Janice Payne, East Sussex Helen Sheppard, Bristol Teddy Sugrue, County Kerry David Townshend, Northamptonshire John Wickett, Devon King Hin Wu, Hong Kong NATURAL HISTORY 03/15 Sue Adlard, Gloucestershire Justine Carson, California Robert Connelly, Kent Danny Ewers, Buckinghamshire Cathy Fitzherbert, Oxfordshire Moira Gardner, Fife Sarah Kelman, Cambridgeshire Darron Matthews, Staffordshire Clare Price, Essex John Wichall, Hampshire ARPS EXEMPTIONS 03/15 Graham Diprose, Surrey Jamie Murray, Avon Jo Whitehead, Oxfordshire

AGATHA ANNE BUNANTA ARPS; HENDI SUWANDA ARPS; HENDRO HIOE ARPS; PASH BAKER LRPS

Indonesia

BOOK REVIEWS

| IN FOCUS | 339

BRITISH LIFE PHOTOGRAPHY AWARDS PORTFOLIO 1 Compiled by British Life Photography Awards Ilex (£16) This well-produced book contains some 200 images from the award winners, highly commended entries and the longlist of British Life Photography Awards. It is particularly gratifying to see that 50 per cent of the category winners are women, and the images of Heather Buckley and Chrissie Westgate are well represented here. A recommended read for all Society members.

SIMON MADDISON LRPS

American photographer George Tice, taken in 2009 by Harvey Wang

THE DARK ARTS

Documentary photographer sheds light on the power of processes FROM DARKROOM TO DAYLIGHT Harvey Wang Daylight Community Arts Foundation (£30) A documentary photographer, Wang sets out to explore the transition from ‘digital to daylight’ through interviews with some 40 photographers (mainly American) and notable figures in photography, from Elliott Erwitt to Howard Hopwood of Harman Technology, the manufacturer of Ilford film. For those unfamiliar with analogue processes, the early sections of From Darkroom to Daylight will provide an insight into photography’s foundational technology, and just how fascinating, focused and personally rewarding the process of darkroom printing really is. There are no distractions in a darkroom, unlike when editing pictures on a computer.

Like many photographers who still use analogue, I use digital as well. This book exceeded my expectations. It is not a lament on the decline of film.

Instead, it is about master photographers and educators giving you the benefit of years of experience. The interviews are insightful and intelligent, and Wang’s portraits of the contributors are thoughtfully executed and revealing. There

are fascinating pieces of historical information, for example on photo paper and Kodachrome, and on the interface between analogue and digital workflows and creativity. Whichever medium you work in, From Darkroom to Daylight provides profound advice. Here’s Platon talking about the discipline of film, as he recalls photographing Colonel Gaddafi.

‘I think I got one roll of film – that’s all I had of him. I remember getting halfway and I still didn’t have it, and I was aware that I had six frames left. So you don’t waste one.’ In comparison, how many of us fall into “machine-gun” digital photography, where most of our 50 images of the same scene end up being unremarkable?

Wang ends his book with the observation that the darkroom is an opportunity to ‘give yourself the time and space to concentrate, reflect, and master the materials of your craft’.

Thought-provoking words indeed …

As with a photograph, you have to live with a book and look at it regularly to see if it is worth keeping. A reviewer’s readthrough is by necessity cursory, but this is a book I shall definitely order.

Strongly recommended.

DAVID HEALEY ARPS, CHAIRMAN OF ANALOGUE GROUP

ARCADIA BRITANNICA Henry Bourne Thames & Hudson (£18.95) An affectionate collection of notables and oddballs from the UK’s flourishing folklore scene.

As well as morris men and pearly kings and queens, this book features portraits of more outlandish characters such as coconut dancers and witches, all shot in colour against a white studio backdrop. While the costumes come through in full glory, the approach can feel a little repetitive, and some of the more off-kilter compositions and poses are distracting in a different way.

GEOFF HARRIS LRPS

ISABELLA BIRD: A PHOTOGRAPHIC JOURNAL …

Deborah Ireland Ammonite Press (£25) This fascinating volume chronicles the eponymous travel photographer’s last journey to China from 1894-6.

It gives a sense of the courage and determination Bird needed to make this journey alone and develop her images along the way. Bird, born in Yorkshire in 1831, the eldest daughter of a clergyman, deserves a more prominent place in the history of photography, and this book will hopefully go some way to expedite this.

SALLY INGRAM

VOL 155 / MAY 2015 / THE RPS JOURNAL / 339

340 | MAY WHAT ARE DISTINCTIONS?

Distinctions are standards of achievement recognised throughout the world

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

Moira Gardner

ARPS Natural History Costa Rica’s flora and fauna make for a colourful, creative display MY PORTFOLIO SHOWS the diversity of creatures in Costa Rica and how they all play an interactive role in making the country one of the most diverse regions in the world. I love Costa Rica and have visited the country on four occasions. A large section of the country is protected rainforest and cloud forest.

The panel shows the foodchain order, with every creature relying on one another, from birds in the top row, to insects and animals and plants and fungi in the bottom row. By choosing a range of flora and fauna I felt it shows what can be seen in the country.

Working in the rainforest means low light and often rain – as I tend to visit in the rainy season, as the photos are more interesting then.

I knew very little about using a flashgun when I started, but soon learned that a small amount of fill flash can bring a photo to life.

Shots with heavy rain allow you to reduce your shutter speed to get streaks of rain, which I find more interesting than sharp points.

I also enjoy taking walks in the forest when it is dark to look for and photograph macro subjects, and again this requires a good knowledge of flash.

It took me about two and a half years to get this collection of photos. I knew what I wanted to include, but the weather and light did not always oblige.

340 / THE RPS JOURNAL / MAY 2015 / VOL 155

ARPS Evidence of a creative ability and personal style, plus complete control of the technical aspects of photography

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

FEATURE SPONSORED BY

Red-legged honeycreepers

VOL 155 / MAY 2015 / THE RPS JOURNAL / 341

GARDNER ARPS 342 | DISTINCTIONS | MOIRA

FACTFILE

Moira Gardner ARPS was really inspired to take up her camera after going on a photographic trip to the Arctic in 2007 to capture images of polar bears. That trip made her decide to buy an SLR. Photography has now ‘taken over her life’.

This page: a collared aracari Opposite top: green hermits Opposite bottom: red-eyed tree frog 342 / THE RPS JOURNAL / MAY 2015 / VOL 155

VOL 155 / MAY 2015 / THE RPS JOURNAL / 343

GARDNER ARPS 344 | DISTINCTIONS | MOIRA

Clockwise from top left: hummingbird on ginger, emerald basilisk, coprinus, brown-hooded parrots

344 / THE RPS JOURNAL / MAY 2015 / VOL 155

ASSESSOR’S VIEW

DAVID OSBORN FRPS NATURAL HISTORY PANEL CHAIR

HANGING PLAN

‘The panel shows the food-chain order, with every creature relying on one another’

With Moira’s theme we were shown the flora and fauna of Costa Rica’s rainforests, a difficult and often challenging environment to photograph in.

Our initial viewing was positive. The presentation was good and consideration had clearly been given to the panel layout, with portraitformat images enhancing the overall feel and balance.

First impressions are immensely important and there’s no doubt that a wellpresented panel gets the assessors’ attention.

Image quality is paramount and this was good throughout. All of the images were in focus and sharp, correctly exposed with no processing problems.

While all of the images were of the standard required there was no doubt that the birds were the strongest element of the panel. Those photographed in the rain when most folks would have put their cameras away were first class – the rainsoaked aracari and toucan are wonderful; the green hermits a quality action flight shot and the interaction shown between the red-legged honeycreepers simply fabulous.

We’re often asked what makes a successful Associate panel. Simply put, we’re looking for a wellpresented and balanced set of quality images which hold together. Photographing under inclement conditions tests any photographer’s skills and determination, and Moira has certainly shown that she has the ability to produce quality images and to be successful at this level: a well-constructed and balanced selection resulting in a first-class submission.

VOL 155 / MAY 2015 / THE RPS JOURNAL / 345

KILHAM LRPS 346 | DISTINCTIONS | RAY

Ray Kilham LRPS

‘I’ve spent many hours waiting to get the perfect shot’ I HAVE ALWAYS LIKED to challenge myself, push that little bit further. Having achieved some success in national competitions, trying for a Royal Photographic

Society Distinction seemed like the next logical choice.

The collecting of the images took some 18 months of work and more months were spent having the proposed panel assessed, with a number of changes made, including the replacement of some images, and the repositioning of an image or two within the panel.

From a young age, I’ve always enjoyed wildlife and

346 / THE RPS JOURNAL / MAY 2015 / VOL 155

being in the outdoors. When I took up photography, wildlife seemed like the natural choice. The field of wildlife photography can be very challenging, with many hours being spent trying to find your quarry, let alone many hours waiting to get the “perfect” shot.

I have set myself two goals, the first is going for my ARPS, and the preparation for this panel is well under

way. My other goal is to try to achieve greater success in major national competitions.

Think out your subject matter with great detail, and try to think “outside the box”.

Give the selectors something different to look at. I did, and it worked. Take advice, go to assessment days – they are there to help and they work.

Lastly, if at first you don’t succeed, don’t be put off – try, try, try again. You can do it.

FEATURE SPONSORED BY

Above: This bird had just left its perch; the shot was taken by hand. Canon 50D, with Canon 70/200 F4L at 200mm, ISO800, 1/320, f/4 Right: Barn owl in a window, shot using a tripod. Canon 1D MkII, Sigma 800mm F5.6, ISO1,600, 1.40, f/5.6

VOL 155 / MAY 2015 / THE RPS JOURNAL / 347

KILHAM LRPS 348 | DISTINCTIONS | RAY

ASSESSOR’S VIEW

BOB GATES CHAIRMAN OF THE LRPS PANEL

FACTFILE

Ray Kilham LRPS has been interested in nature from an early age. He has recently published his first book, on kingfishers.

See more online at rakphotographic.com

Much has been written about the need for variety in a Licentiate submission, but panel members do not need to see nature, landscape, travel, portrait, architectural and night shots in the same portfolio. It may be the way to go for some applicants but

348 / THE RPS JOURNAL / MAY 2015 / VOL 155

it’s not essential. A successful panel can consist of very narrow subject matter, providing – and this is important – that sufficient variety of approach or technique is used within the set.

It is clear from Ray’s panel that he is passionate about bird photography. He has captured a variety of birds in different situations and

seasons. It is obvious that Ray is competent with his camera controls, knowing when to use an appropriate shutter speed, aperture and focal-length lens. The postproduction was well executed, showing plenty of detail in both shadow and highlight areas, which is especially important in bird photography. Each feather was clearly visible without

FEATURE SPONSORED BY

Main picture: This owl was feeding in the long grass. The shot was taken hand-held.

Canon 1D MkII, Canon 300mm F4L at 300mm, ISO800, 1/320, f/4 Left: This was taken hand-held while I was buried in quite an amount of newly fallen snow. Canon 50D, Canon 70/200 F4L at 200mm, ISO400, 1/800, f/4 Below: Kingfisher, Cambridgeshire.

Canon 1D MkIII with Sigma 800mm F5.6, ISO1,600, 1/500, f/5.6

any hint of the dreaded halos produced by oversharpening.

The overall presentation and impression of the panel is part of the assessment process and Ray’s beautifully printed and mounted panel showed he had carefully considered the position of each image in the layout.

It was a joy to view and deserved to be recommended for the Licentiate Distinction.

HANGING PLAN

‘Beautifully printed and mounted, he had carefully considered the position of each image’

VOL 155 / MAY 2015 / THE RPS JOURNAL / 349

350 | DISTINCTIONS |

A case of natural selection David Osborn FRPS, chair of the Natural History panel, reveals what makes a successful ARPS submission

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WITH NATURAL HISTORY photography, there’s a lot to get right. Not only does an image need to show technical competence, photographers also have to be mindful of the behaviour they are capturing.

How does the Distinctions Panel define natural history photography?

We are looking for images taken in the wild of natural history subjects. We wouldn’t expect to be seeing domesticated animals or cultivated flowers or Victorian-enhanced landscapes. I think we are relatively open minded as long it’s nature and as long it’s a natural history subject.

What do you look for in a successful panel?

A well-presented, balanced set of images that fit together as a panel. Part of the Distinctions process is showing you can build a portfolio according to a specific theme, with photos that hang well together. The

images need to be consistent and that consistency needs to tie in with the photographer’s statement of intent. We wouldn’t expect to see an ARPS panel showing 15 images, 13 of which are birds and two of them butterflies, unless there was good reason for the panel being so disproportionate.

What are the most common mistakes you see photographers making when submitting a natural history panel?

The natural history element is normally good, but the majority of problems are to do with the photography process.

Perhaps there should have been a faster shutter speed or a higher aperture. Sometimes, with today’s complex cameras, too many people use automatic settings and the camera will not be focused on the subject.

Professional photographer David Osborn is chair of the Natural History panel

ATTEND A DISTINCTIONS ASSESSMENT DAY For the latest dates for Distinctions Assessment Days, please visit rps.org/events, email distinctions@rps.org or call 01225 325733 EXPERT ADVICE Turn to our member guide on page 389 to find dates for Advisory Days, where you can gain expert advice on your portfolio

SOURCE TO SEA

Society member Yan Preston travelled nearly 4,000 miles as she documented the course of the Yangtze River. She tells Lucy Davies why this great Chinese adventure means so much to her

352 / THE RPS JOURNAL / MAY 2015 / VOL 155

YAN PRESTON BEFORE SHE became a photographer, Yan Preston was an anaesthetist at one of the top hospitals in Shanghai. In 2003, however, she married an Englishman, and in tandem with uprooting herself from her homeland to move to the UK, she took a chance and reinvented herself. ‘I could have chosen to do medicine again, but really that was my family’s choice for me,’ she

says. ‘Becoming a photographer was the craziest decision I ever made. I had no idea what it would mean.’

Mother River – Preston’s first project – is an epic chronicle of the Yangtze River from source to sea. All 3,914 miles of it. She began the series in 2010 and finished last year, taking nine trips in all and restricting herself to photographing at a series of 63 predetermined, equally

| INTERVIEW | 353

spaced geographical locations some 60 miles apart. This methodology, her ‘point system’, was designed to make her approach her subject with an objective eye. ‘It prevented me from choosing where to go,’ she says, ‘and that meant I usually avoided the hot spots – those sites along the river where every other photographer goes.’

Having moved to the UK, Preston,

VOL 155 / MAY 2015 / THE RPS JOURNAL / 353

PRESTON 354 | INTERVIEW | YAN

XXXXX

now 38, found she missed, and began to question, China. ‘Suddenly I saw things I had taken for granted in a different light. It introduced a critical element which had not been there before. And somehow, being so far away, the river became a symbol of all that.’

At around that time, photographic work about China, but by foreigners such as Edward Burtynsky and Nadav 354 / THE RPS JOURNAL / MAY 2015 / VOL 155

Kander, began to appear on the UK exhibition circuit [see page 273 of April’s Journal for more on Burtynsky’s work]. ‘They were brilliant, but somehow I felt the message was more complicated than the way in which it was being understood over here.

In most cases these photographers were criticising China’s development and, perhaps because I grew up there,

I could see the benefits as well as the disadvantages. I wanted to make a more rounded portrait of China.’

The mythology of the Yangtze is deep and widespread. ‘Traditional Chinese paintings are usually about mountains and water, and actually that custom began by the side of the Yangtze – the whole genre is inspired by that river.

‘Over the centuries those images

have departed further and further from the real Yangtze, but people retain a common feeling about it; like a collective connection. There are poems about the river in our textbooks, people write songs about it – there’s even a picture of it on Chinese currency.’

Before she began her project, Preston’s experience of the river was limited to crossing the headwater en

route to Tibet. Nevertheless, she felt familiar with its geography from a famous documentary series, The Story of the Yangtze River, that aired in 1983 when she was seven. Its theme music was Song for the Long River – the lyrics are printed in the front of Preston’s book. Its refrain reads: ‘We are attached to the Long River, you have the heart of a Mother’, which is where she found her

series title. ‘I liked the idea of the mother providing for her child, as the Yangtze provides for China,’ says Preston.

Before she returned to Chinese soil, she tried out the point system in the UK, first on the River Ribble, in the Yorkshire Dales, and on the River Irwell, near Manchester. She walked each one twice, in nine-mile sections, ‘about as far as I could go with my cameras in a day’.

VOL 155 / MAY 2015 / THE RPS JOURNAL / 355

Her first trip in China was researchbased rather than practical. She spoke to a number of geologists who advised her on how to divide the river into sections.

For her second trip she experimented with photographing at confluence points (where a tributary joins the main river) ‘but I didn’t really like how I felt; I could point the camera but I didn’t really know why I was taking the photo’.

356 / THE RPS JOURNAL / MAY 2015 / VOL 155

At the Three Gorges Dam, for example, ‘I was right next to the river, but I felt I still couldn’t find the river. Now I know that what I wanted to find was the mythical river, and what was in front of me was the real one. It was very painful.

I can only liken it to when you want to find your home, and you can’t.’

On her third trip, the following year, she tried the point system for the first

time, ‘and that was terrible, too, because I felt like I could only see one thing in all of these locations: the pollution or destruction. I wanted something more complicated. I thought: maybe I don’t have the ability to see anything else, so I’m going to set myself free. After that, I tried just wandering along the river, following my intuition, but it wasn’t really going anywhere

YAN PRESTON

and so I reached a crossroads where I decided, either I try the point system again, or I stop altogether. And so in 2013, I went back to the point system, and this time it worked. I knew I would continue whatever the cost.’

Speaking of cost, Preston has been extremely resourceful. Although the first trip was funded by her family (she made it part of her PhD course at

Plymouth University), she also sought and gained contributions from the Arts Council and the Swatch Art Peace Hotel in Shanghai, which offers a residency programme for artists.

In tandem with the body of work that forms the series, she produced a diary of the beds she slept in, alongside postcards to an anonymous recipient.

They make for vivid, sometimes difficult,

| INTERVIEW | 357

PHOTOGRAPHY IN CHINA ‘I want to go back to China – the country is so exciting for a photographer, it’s changing so fast and it’s so raw. I didn’t spend much time with the photography community, though, because I was always on some kind of road trip. But what I did see is that photography is growing rapidly. The whole creative scene is flourishing. It’s definitely on the upcurve and I think it’s a good idea to ride that wave if I can.’

VOL 155 / MAY 2015 / THE RPS JOURNAL / 357

PRESTON 358 | INTERVIEW | YAN

reading. ‘I saw the most beautiful stream flowing like jade,’ reads one. ‘The peach blossoms swung in the wind, scattering confetti over two giant beehives.’

‘I’m so bored now,’ reads another.

‘The landscape along the river has stayed unchanged for six points. It is as if the world has forgotten this stretch of the river … I’m sick of these horrible little hotels, one after another. I’m sick of these horrible restaurants, full of flies in the dishes. Why do I have to do this?’

When asked about these, Preston says: ‘The worst times weren’t these struggles, or when we risked our lives.

The worst was when I felt like I couldn’t generate good images. That I’d tried so hard to get here but I couldn’t see anything I had feelings for.’

At her lowest, near the source, she decided to try interacting with the river.

‘First I held 127 river stones for 10 seconds each. Next I made a red circle on the frozen Yangtze, so I could touch

it in its solid form. Finally – the best bit for me – I swam in the river, and that gave me a real change in perspective.

When I was in the river, looking back at the urban landscapes, which had really scared me before, I realised that from the river things didn’t seem so bad. It all looked quite transient. And contrary to what people say, the river is not dead [from the intense damming along its route] because beneath the surface the currents are strong – the river will live a lot longer than us.’

What did local people think about her project? ‘One of the most rewarding things that happened to me concerned my driver. At the beginning he thought I was crazy. We’d go to these remote places along the river, and he’d say: “Why do you come here? No tourist will ever come here, it’s stupid.” But when we reached the 25th photo location, he looked at the village and said: “Your trip, I understand it now.”’

KIT BAG ‘My Linhof Master Technika - a 4x5 film camera. Three lenses, changing pads, a light meter and lots of film. It’s very difficult to source film in China so I bought it all before I went. In total, it was about 80 boxes of Kodak Portra 160 and 400 – on average I made four different compositions at each point.’

SEE MOTHER RIVER AT: Venice Biennale, Swatch Faces 2015, 9 May – 15 June. China: Three Gorges Museum, Chongqing, 16 May – 5 June Wuhan Art Museum, 21 July – 26 August The Swatch Art Peace Hotel, Shanghai, 12 September – 11 October Yangtze Gold Cruises on-board exhibition, 16 May – 11 October. Exhibitions in China are part of the UK-China Year of Cultural Exchange 2015 Yan Preston adds some height to take one of her shots 358 / THE RPS JOURNAL / MAY 2015 / VOL 155

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ART GROUP 360 | SHOWCASE | VISUAL

ART FOR ART’S SAKE

This month’s Fenton House exhibition comes from the Society’s Visual Art Group THE VISUAL ART GROUP has nearly 1,000 members. Its activities encourage both traditional and contemporary interpretation of a wide range of subject matter, from still-life, landscape and architecture, to portraiture and macrophotography. This month, the group exhibits work by the award winners in its Members’ Print Exhibition.

With an active, enthusiastic membership participating in the group’s activities, a quality magazine that showcases group members’ work, the Visual Art Group also offers an annual print exhibition, and weekends away where members can meet and discuss topics of interest.

Group organisers are keen to establish subgroups around the country so that members can be sure that events are not too far for them to travel to. There is already a flourishing SouthWest Visual Art Group, and others in the pipeline, so get in touch if you are interested in setting one up.

This exhibition of members’ work shows all the Gold and Ribbon-winning entries from the 2010–2015 Members’ Print Exhibition, together with a selection of images which were Highly Commended. As such, it represents a cross-section of group members’ best work.

For more information on the Visual Art Group, go to rps.org/specialinterest-groups/visual-art 360 / THE RPS JOURNAL / MAY 2015 / VOL 155

RUNNING BOY Vic Attfield FRPS This is an area usually frequented by people enjoying the bracing weather, but not on this particular day.

I wanted to convey the rather spooky feeling

of emptiness and neglect in images taken of the same scene over a period of an hour or so. The problem was, hardly anything or anybody came along to fill that essential space

in the image. After years of taking street photography, I have learnt that one needs a great deal of patience in order to capture that split second and get exactly the right image.

GROWN!UP GIRL Dave Hunt ARPS This particular shot is one of a series taken in my own studio where each image explored an emotion or spirit of a young woman.

My aim with this image was to explore the passage of time by looking at a young girl leaving behind her childhood and entering adulthood.

The image had to be simple in its delivery, in a nondescript setting with a single item from her pre-adolescent past, her beloved teddy bear, and her dress hinting at her female sexuality.

VISUAL ART GROUP ASPIRATION BRINGS HOPE Jack Bates FRPS This was created as a single image in a larger panel exploring aspects of life, death and remembrance.

The many hands in that chaotic scrum reflect a pessimistic view of a society unable to lift their eyes from humdrum and obscure daily life; their work, friendships, fights, loves, arguments, sufferings. The brighter hand signifies the hope that through the aspirations of an individual some incremental improvement will be made, so potentially raising the aspirations and life quality for all.

| SHOWCASE | 361

WILD FLOWER MEADOW Nicki Gwynn-Jones FRPS Last year, our local parish council planted a small patch of wild flowers in an open space around the corner from where I live. Traditional flower

and landscape photography does not hold much fascination for me, but I saw the potential for a series of images that would evoke both the random nature of the planting and the experience of a floral landscape.

The challenge for me is to look at image-making from a fresh and unexpected perspective, using just my imagination and my camera.

INACCESSIBLE LADDER Susan Brown FRPS This image was taken at Sennen Cove in Cornwall.

I have been there several times and found it too cluttered. I was unsuccessful in getting a good image. The day I took this there was a good combination of high tides and strong winds, causing the waves to break high over the sea wall, thus obscuring the land mass behind.

The small ladder is of paramount importance to the success of this image.

VOL 155 / MAY 2015 / THE RPS JOURNAL / 361

ART GROUP 362 | SHOWCASE | VISUAL

RED PEPPER ON A WHITE PLATE Neil Scott FRPS This photograph is one of a series of minimalist images I created over the last year. I am always

FRUIT AND FLOWERS Robert Mawer ARPS The urn and jug were gifts from my wife and I was under some pressure to produce a picture utilising them

VISIT!

frontier”, space creates a feeling of serenity and, punctuated by just a fragment of colour, texture or shape, can make for an effective image.

looking to make something out of nothing, and many of my successful images have lots of empty space in them. While not perhaps “the final

after they had been lying about for months. This picture is about textures, the rough surfaces of the urn and jug, the use of a slate background and base contrasting

THE SOCIETY HEADQUARTERS

362 / THE RPS JOURNAL / MAY 2015 / VOL 155

with the smooth skin of the apples and the delicate petals of the tulips. It was taken in makeshift studio at the back of my garage using natural light from a window.

COLOURS OF AUGUST Bill Wisden MBE HonFRPS Once I’d compensated for the viewfinder parallax problem in my new Canon G10, it did excellent close-ups of plants.

One of my snaps of sedum in a crack in the path looked

excellent as a square-format image.

Using Photoshop and plug-in filters, I produced an abstract effect surrounding the image. Most of my work over 50 years has been concerned with composition and design. These images seemed more related to tapestry.

TOWARDS THE LIGHT NO.2 David Stubbs ARPS Towards the Light No.2 is one of three images based on original photographs at the Alhambra Palace in Granada, Spain, and is a compilation of two shots. All have been manipulated in some way to produce the effect I was aiming for.

The location appealed because of the light, the stone texture and the beautiful architecture.

The subject was selected from another shot and copied to a better position by layers and cloning.

THE VISUAL ART GROUP MEMBERS’ EXHIBITION WILL RUN UNTIL 28 MAY AT THE ROYAL PHOTOGRAPHIC SOCIETY, FENTON HOUSE, 122 WELLS ROAD, BATH BA2 2AH

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INDUSTRIES 364 | SKILLS | CREATIVE

MEET THE CREATIVES These six inspiring figures are among the first to receive a new Society qualification. Interviews by Rachel Segal-Hamilton

S

ince its founding in January 1853, the Society has promoted all aspects of photography across art and science. This year, the creative industries get a look-in too, thanks to a new qualification that embraces a variety of 21st-century professions.

The Creative Industries Qualification (CIQ) is particularly relevant for Society members who work in the media, including picture editors, art directors, curators and designers.

However, it is also aimed at educators – teaching everything from fine art to animation, wherever photography and imaging is used.

Those who are successful in the new qualification will receive a Distinction, appropriate to their level. There are four levels: stage 1 (QICI & LRPS) for those with academic qualifications below degree level; stage 2 (GICI & ARPS) for undergraduates with relevant professional experience; stage 3 (AICI & ARPS) for those with postgraduate experience in the creative industries; and stage 4 (ASICI & FRPS) providing the senior professional qualification.

Each application will be assessed by a board which includes Matt Butson, vice-president of Hulton Getty; Roger Tooth, head of photographs for The Guardian/Observer; and publisher Dewi Lewis. The board is chaired by Dr Michael Hallett, an educationalist, photohistorian and former chair of the Society’s Distinction Advisory Board and Education Committee.

To celebrate this new qualification, we’ve rounded up six of its brand-new Fellow to ask how photography forms part of their daily working lives.

Visit rps.org/distinctions/qualifications for more information or contact Andy Moore, Distinctions Manager, at distinctions@rps.org 364 / THE RPS JOURNAL / MAY 2015 / VOL 155

Anthony Holland Parkin, left, says he helps photographers communicate – and fulfil their potential

The talent wrangler Name Anthony Holland Parkin Age 40 Location London Job title Creative director, Getty Images I’m a bit of a talent wrangler – I enjoy working with fellow creatives. On a typical day I might be putting together pitches with photographers in response to client briefs, making a video about one of our projects or curating images for a competition, exhibition or book. I’m proud to edit Year in Focus, an annual photobook, rounding up our strongest imagery of each year.

Producing something that’s part of our legacy is really important to me. My role is to analyse images and help photographers to communicate, not to take the pictures, but I do also shoot, myself – on my Fuji X100s and on my camera phone. I’d like to do more if I had the time.

There are still amazing stories to be told and it’s great to see photographers tackle a subject in a fresh way – which is increasingly difficult, as more content gets shot. I’m fascinated by the inspirations and personal work of successful commercial photographers.

I love supporting photographers to achieve their potential and watching their careers develop.

I find that thrilling.

CREATIVE INDUSTRIES

| SKILLS | 365

Carla Magrelli and her students at work, right

The source of inspiration

ALESSANDRA EGIDI AND ALBERTO ALICATA

Name Carla Magrelli Age 62 Location Rome Job title CEO, Sie Photography.

Producer, Corbis and various photographers. Teacher, Scuola Romana di Fotografia.

PR, Compagnia Italiana Every day is different in my job.

I never get bored. I find it really interesting producing photo shoots, working with photographers, stylists and make-up artists, and helping young professionals develop their skills. I used to work for magazines and newspapers, and each time I needed a picture I had to call photo agencies in Milan. I thought: ‘Why is there no photo library in Rome?’ So I decided to start one – and built Sie from scratch.

Some of the photographers the agency represents are my former students. I hate taking pictures myself – probably because I work with such talented photographers. When I try, I find myself thinking about their work.

Photography is evolving, and so is our taste. I always try to inspire my students to give as much as they can and sometimes I still get surprised by their work. That makes me feel lucky.

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INDUSTRIES 366 | SKILLS | CREATIVE Part of a 1950s planning application for a new sign, Shard End Co-op

Bridget Coaker: ‘I love the challenge’

The news junkie Name Bridget Coaker Age 56 Location London Job title Photo editor, the Guardian, and director of photography, Troika Editions I work cross-platform at the Guardian, sourcing images for the main paper and the website. I go through thousands of agency pictures every day to find imagery for stories we’re covering and respond to breaking news – sometimes commissioning freelance photographers. I love the pace. I’m a news junkie and I like the challenge of finding a picture that speaks to the story. I have no desire to take photographs myself – my skill lies in editing, in pacing and aesthetics.

Troika Editions started as a photo agency but is now an online contemporary art photography gallery. It was born of a real conviction that photography is important.

Through Troika, I could be doing PR for an international photography festival, facilitating talks, or editing a series of headshots. People get hung up on whether straight photography is the “real” photography. But I think photography is fantastically diverse. That’s why it’s so interesting.

Coaker finds web and print images

The treasure keeper Name Jim Ranahan Age 55 Location Birmingham Job title Archivist (photographic collections), Library of Birmingham As an archivist, I treat photographs as records in the purest sense – as carriers of information and evidence of an activity, even if that activity is sometimes fraudulent. My job entails the physical care of the photographic collection, making the photographs accessible for the public by cataloguing them and digitising when resources allow. I deal with vulnerable material such as glass negatives, lantern slides and vintage prints – all of which have different conservation needs.

I’d class myself as a happy snapper but I’ve collected photographic postcards since I was 10. I’m really interested in photographers’ motivations – more prosaic than artistic.

For example, we have a 1930s photo in the collection that was created to measure the intensity of street lighting. With older or Right: Jim Ranahan, left, in October 2014 with Daniel Meadows HonFRPS, whose archives he was collecting.

Top right: Preparing lantern slides

366 / THE RPS JOURNAL / MAY 2015 / VOL 155

unattributed photos, all you have to go on are the images themselves, the processes, and any accompanying notations.

That textual information brings an added richness.

CREATIVE INDUSTRIES

The explorer

Name David James Age 66 Location Worcester Job title Subject leader in digital arts; course leader for the MA in creative digital media, University of Worcester I’m a lecturer and a practitioner. My role isn’t just to impart knowledge but to support and inspire students, and in turn to be inspired by them. That’s a real privilege.

My work’s divided between lecturing, research and course administration. It’s stressful and demanding but very rewarding.

How many jobs offer the chance to work with challenging ideas and to nurture the creative process of talented, motivated individuals, while exploring new boundaries in your own practice?

I designed the master’s course to embrace all fields of digital creativity, as I believe the borders between them are a contrivance.

I apply this approach as a

motion-graphics designer, in a mixed-media context.

Photography is a big component, along with graphic design, video, animation and illustration. I worked in the TV industry as an art director/designer for nearly 30 years before going into teaching and I still freelance. Photography should always move the observer – whether to joy or sadness. What excites me are the psychological insights, the unexpected interpretations – and they come from working with others.

| SKILLS | 367

James, pictured with a student in a sound studio, believes the so-called borders between digital creativity ‘are a contrivance’

David James on a shoot in a TV studio

The storyteller

Name Pete James Age 57 Location Birmingham Job title Curator of photography, Library of Birmingham

‘I convinced them to create a job for me and I’ve been here ever since’

Working with an archive is an immense joy. It poses all sorts of challenges. How do you understand it? How do you curate it? I like layering material together to tell a story about a

particular moment in photographic history. We’ve made some great discoveries.

We found a largely unknown body of work by Bill Brandt. But it’s not just pictures by iconic photographers that I find inspiring. Vernacular, random, anonymous photographs can haunt you too.

I was at the library researching my MA in 1989 when I discovered there was this extraordinary collection of photographs from

across the archive that hadn’t been joined up. I convinced them to create a job for me and I’ve been here ever since. Some days are devoted to exhibitions but others it’s a mix. I could be at a festival, meeting photographers, sorting out negatives for a show or writing an Arts Council report. I take pictures with my iPhone but I’m distinctly not a photographer.

I like to act as a conduit – to connect people, spread ideas and make things happen.

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DULEY HonFRPS 368 | BEST SHOTS | GILES

Stories that change lives He swapped fashion and music for documentary photography.

Giles Duley HonFRPS explains to Gemma Padley why he’s committed to the people in his images

I

n 2011, Giles Duley stepped on an improvised explosive device while photographing in Afghanistan. He lost his left arm and both of his legs, but the incident made him more, not less, determined to continue photography.

The last four years have been a mental and physical struggle, he admits, but he has overcome adversity and continues to work on long-term personal projects – often collaborating with charities and NGOs – to tell untold stories of human suffering the world over.

This summer, he will release a book titled One Second of Light. It features a selection of stories from his long and varied career as a documentary photographer. It is not a retrospective, he stresses, rather an opportunity to share some of the most powerful stories that haven’t been published or widely seen before.

‘I see myself as a storyteller, and one part of my job is hearing and documenting people’s stories,’ Duley says. ‘The second part is making sure that these stories are seen and heard – getting them in front of people who can make a difference. I believe there is a 368 / THE RPS JOURNAL / MAY 2015 / VOL 155

WEDDY AND EUNICE, SUDAN, 2010 I included this as a lot of my work can be quite bleak; I try to show humanity, but often it’s humanity in very difficult circumstances.

Weddy and Eunice are orphans from Kenya and had had heart surgery provided by the charity Emergency [emergencyuk.org].

A few days before I took this picture, they were so sick they could hardly walk.

But to see their absolute joy and love for life … this is a photograph I show people when they say: ‘What difference can I make?’

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DULEY HonFRPS 370 | BEST SHOTS | GILES

370 / THE RPS JOURNAL / MAY 2015 / VOL 155

GILES DULEY HonFRPS

ATAQULLAH, KABUL, AFGHANISTAN, 2012 This is from the first project I did after I had recovered from my injuries and went back to Afghanistan.

Normally when I’m working I can distance myself from what is in front of me, but I kept looking at this seven-year-old boy who had stepped on a landmine while walking to school and

huge responsibility when you photograph people in difficult circumstances and that responsibility is what you do with those photographs.

Too often I see photographers out in the field because they want to take a shot, but the reason for being there should be to help these people, not just because you want to take a photograph.

I’m just as concerned about what happens afterwards.’

Duley, who has photographed in places that include Afghanistan, South Sudan, Nigeria, Kenya, Bangladesh and Ukraine, began taking pictures at the age of 18 after his godfather left him an

lost an arm and a leg, and thought: ‘Life is difficult for me, but why should he have to go through this?’ I keep going back to do what I do for people like Ataqullah, whose story should be told.

AYA BEING CARRIED BY HER SISTER, IMAN, LEBANON, 2014 This is an image of an amazing young girl called Aya who has spina bifida. She’s a refugee in Lebanon

Olympus OM-10 and a copy of Don McCullin’s autobiography, Unreasonable Behaviour. ‘Don’s biography inspired me to become a photographer,’ he says.

‘I wanted to go off and do serious documentary photography, but I got sidetracked and started photographing bands. It was the era of Britpop and although I studied at Bournemouth Art College, I left after six months because I was already working for magazines, living a rock and roll lifestyle.’ By his late twenties, and following a successful few years shooting for the likes of Vogue, Select, GQ and Esquire, Duley had grown tired of what he was doing

| BEST SHOTS | 371

and when I first met her she didn’t seem to have much chance in life. But she was feisty and one of the things she loved was to play hopscotch with her sister, who is holding her here.

I see people as victims of their circumstances, not as victims. It’s great to be able to show Aya laughing and I hope it’s something people can relate to.

Photographer Giles Duley HonFRPS VOL 155 / MAY 2015 / THE RPS JOURNAL / 371

DULEY HonFRPS 372 | BEST SHOTS | GILES WIDOWS IN ANGOLA, 2006 This was one of the first occasions I went into the field to do documentary photography for an extended period of time. Someone told me about an old building in a remote place in Angola where widows of rebel soldiers hide because

they are scared of Angolan government soldiers. The women ran away from me the first time I was there, but I kept going back until they became used to me. I learned to fade into the background; you get the best photographs when people forget you’re there.

WOMAN IN SOUTH SUDAN, 2009 For me, its important that the people I photograph keep their dignity as much as possible. In this photograph, a Nuer woman from South Sudan was in delivery at the moment of her child’s death. I’d met her during a visit by the charity Médecins

Sans Frontières [msf.org.uk], to help highlight the need for better maternal healthcare. She’d given me permission for me to take photos; things deteriorated quickly and I had to help the doctor. I chose to concentrate on her face and tell the story without showing the horror.

‘I WASN’T ENJOYING TAKING FASHION AND MUSIC PHOTOS, SO I WALKED AWAY AND BECAME A CARE WORKER. IT WAS A FEW MORE YEARS BEFORE I PICKED UP A CAMERA AGAIN’ and decided to pack in photography altogether. ‘I was getting quite depressed and wasn’t enjoying it, so I walked away from photography and became a care worker,’ he says. ‘It was a few more years before I picked up a camera again.’

In the next phase of his career Duley embarked on a new path within documentary photography, pursuing his own projects rather than working on commissions from commercial or editorial clients. ‘I’d always felt that I was doing what other people wanted and I was unhappy with my photographs,’ 372 / THE RPS JOURNAL / MAY 2015 / VOL 155

says the 43-year-old. ‘So when I started in documentary photography, I shot how I wanted to shoot.

‘I’m a photographer who deals with the pauses between events and I’m not interested in capturing the most dramatic moments,’ he adds. ‘I’m fascinated by day-to-day happenings, moments of quietness and intimacy – the things that make us human.’

One Second of Light, self-published by Giles Duley HonFRPS, is out this summer.

See gilesduley.com for more details

SAID KARIM, AFGHANISTAN, 2012 This was taken as part of a project looking at the impact the conflict in Afghanistan was having on civilians. It was my first project since sustaining my injuries and was psychologically very challenging. I was still

learning to walk at the time and my nerves weren’t the best. I met Said Karim at a hospital run by the Italian charity Emergency.

He had lost his legs when his car drove over a landmine.

Said’s main concern was how, with his injuries, he would support his family.

ADDARIO 374 | UP CLOSE | LYNSEY

‘I’VE SEEN A LOT OF SUFFERING’

Her autobiography just released, photojournalist Lynsey Addario tells Clare Harris why she’s driven to document the most harrowing stories 374 / THE RPS JOURNAL / MAY 2015 / VOL 155

LYNSEY ADDARIO

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Left: American troops, Korengal Valley, Afghanistan. Above: breast cancer patient Jessy Acen, from Gulu, Uganda

ALL IMAGES LYNSEY ADDARIO/ GETTY IMAGES REPORTAGE

F

or a photographer whose life has flashed before her on countless occasions, Lynsey Addario is very generous with her time. Speaking to the Journal on two occasions, she reveals a life spent in the face of danger and, more tellingly, face to face with humanity.

The legends around Addario’s work are widespread. As her book It’s What I Do hit the shelves earlier this year, tales of her experiences on the battlefields of the world were told, including being taken hostage in Libya as she covered the fighting between rebels and forces loyal to Colonel Gaddafi in 2011. The experience didn’t put her off the work she feels she was made to do. Rather, it cemented her belief that instances of injustice and suffering, in whichever corner of the world, should be revealed.

Perhaps it was destiny that led her to the world of photojournalism; accident,

Pakistani Taliban fighters in Bar Kambar Khel, near the Afghan border, in July 2008 VOL 155 / MAY 2015 / THE RPS JOURNAL / 375

ADDARIO 376 | UP CLOSE | LYNSEY

Above: Sudanese Liberation Army soldiers caught in a sandstorm. Right: Syrian refugees cross into northern Iraq

at least. She was 12, maybe 13, when she got hold of a Nikon FG from her father. A hairdresser, he had been given the camera by a regular client. Spotting it lying around, Addario asked if she could have it. So began a love affair. ‘I started reading about photography and light, how to use the shutter, and taught myself how to take photos,’ she says. ‘If I hadn’t found that camera I don’t know if I’d have started photography.’

Growing up in Connecticut, she began taking pictures of ‘inanimate objects’; flowers, plants. She recalls heading to a local cemetery with her sister, who also enjoyed taking pictures, to photograph the still, peaceful tombstones. It wasn’t until a year in Bologna, Italy, as a student that Addario found the courage to begin photographing people. ‘That year, being in a foreign country, being anonymous, I felt empowered. I was an outsider.’

After university she moved to Argentina, where she became aware of photojournalism. Does she bring that ‘outsider’ sense to the places she visits now? ‘It’s totally different. In a conflict zone, you have to be in and out of there quickly; I always try to be as discreet and agile as I can.’

While she still uses Nikon cameras (although in her early, ‘broke’ years of photojournalism, she would shoot on anything she could get), Addario is less attached to one model than that first FG. ‘I work in places where it’s often dusty and dirty; doing embeds my cameras were really getting trashed.’ Addario has been embedded with US troops in places as treacherous and harsh as Afghanistan’s Korengal region (where photojournalist Tim Hetherington, later killed in Libya, filmed the documentary Restrepo). ‘I’m not a very technical person when it comes to safeguarding 376 / THE RPS JOURNAL / MAY 2015 / VOL 155

my equipment. To me, a camera is a means of expression. It’s the person who clicks the shutter that counts.’

It is on longer-term projects, away from the front line, that Addario is able to get to know the subjects of her stories. ‘I spend time with people – I go up and introduce myself, and I explain what I’m doing, then I’ll talk to them for a while. I’ll spend as much time as I can to help them feel comfortable,’ she explains. Depending on the story, Addario will revisit her subjects, once, twice, even several times. For one project, in which she took pictures of women with breast cancer in Uganda, she spent six days in a row with two women, 10 hours each day. ‘For me it’s much more effective to get a very intimate view of a few women. I try not to be someone who jumps in and then

Lynsey Addario working in the Gaza Strip in 2011, while eight months pregnant with her son Lukas

LYNSEY ADDARIO

‘MY SON HASN’T UNDERSTOOD YET WHAT HIS MOTHER DOES. I’M NOT SURE I WANT HIM TO’ leaves. Of course, if I’m working on the front line I don’t have that luxury.’

The second time we hear from Addario she has just returned from India, covering maternal health issues; something close to her heart. She became pregnant with her son, Lukas, on her return home after the hostagetaking in Libya. Now three, he has augmented her sense of empathy and, crucially, gives her a way to help process what she’s witnessed. ‘I see a lot of dying and suffering,’ she says. ‘I sit with the things I see; I think about them a lot. Also, I’m editing the pictures so what I’ve seen is always present. Last week I was in India photographing

maternal health issues, this week I’m editing the results. Looking at pictures of women in these horrible conditions, how do I switch off?

‘I spend time with my son, my husband. I go to the gym – it’s a way for me to meditate.’ As she speaks, the shouts of young kids having fun in the background are audible. Has she introduced Lukas to the camera? ‘He plays with my camera bag, and we have a Polaroid in the house for fun,’ she says. He hasn’t really understood yet what it is his mother does, she says, before adding, suddenly serious again, ‘I’m not sure I want him to understand.’

Did Addario’s father, who first let her get her hands on a camera, ever regret the introduction? ‘No, not at all,’ says Addario. ‘My parents are incredibly selfless. They encouraged their kids to do what they believed in – even though in my case it would cause them pain.

| UP CLOSE | 377

They’re proud I’ve found that passion, and that I believe in it so strongly.’

It’s a job not many of us could do – but one we’re fortunate that someone does. Without the likes of Addario, Duley, and the great names before them, the world, and our awareness of it, would be far smaller. ‘If I didn’t feel I wasn’t changing things, I wouldn’t do it,’ Addario adds. Let’s hope she, and the rest of her small but crucial cohort, keep on clicking.

WIN It’s What I Do: A Photographer’s Life of Love and War by Lynsey Addario is out now (Penguin) Win a copy – just send your name, postal address and membership number to: rpsjournal@thinkpublishing. co.uk with the word ‘Addario’ in the subject line VOL 155 / MAY 2015 / THE RPS JOURNAL / 377

CALL FOR ENTRIES

Konrad Lars Hastings Titlow (detail) by David Titlow, 2014 © David Titlow

FIRST PRIZE £12,000 CLOSING DATE: MONDAY 6 JULY 2015 ENTER AT NPG.ORG.UK/PHOTOPRIZE

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THE MUST TRY

CRAFT MAY 2015

THE L ATE S T TECHNOL OGY, TECHNIQUE S A ND SK ILL S

Nikon D7200

Full-frame models aside, Nikon’s highest-end APS-C sensor DSLR may fit the bill, says Gavin Stoker

F

or those who don’t need or want a full-frame camera comes the 24.2-megapixel D7200. The traditionally styled DSLR is the latest semi-pro APS-C sensor model; as a weather-sealed body-only option for £939.99 or with 18-105mm VR zoom for £1,119.99.

While not revolutionary, the upgrade of the D7100 comes with a responsive autofocus system that could be classed as pro-grade, in that it is able to acquire subjects down to -3EV, with 51 points covering the

entire frame and 15 cross-type sensors positioned in the centre.

Aiding manual focus, for when you want to switch to “live view” mode, is the larger-than-average 3.2-inch LCD, which is fixed rather than tilt ’n’ swivel. We do, however, get the must of wi-fi and, in a first for a Nikon DSLR, near-field connectivity (NFC) for the sharing of shots.

For video, we get the full HD 1,920 x 1,080-pixel recording option at up to 30 frames per second, although a 1.3x crop mode can boost this to 60fps. It

PRICE: £939.99 SRP (body only) SENSOR: 23.5 x 15.6mm CMOS LENS: Optional, but kit includes 18-105mm zoom for £1,119.99 SCREEN: 3.2-inch, 1,229k-dot LCD display WEIGHT: 765g body only MORE: nikon.co.uk IN BRIEF: Competent if non-revolutionary upgrade of range-topping APS-C DSLR with wi-fi, NFC and better low-light AF response

can also boost continuous stills shooting from 6fps to 7fps, for up to 27 Raw files or 100 lowest-compression JPEGs. Arriving alongside the release of this camera, and useful for those who want to record crisp audio when shooting video, is a ME-W1 wireless microphone at £239.99, which can function from up to 50ft away.

With the D7200 at nearly £1,000, might an older fullframe DSLR be a better bet?

To decide, the newest Nikon is one you must try for yourself.

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380 | THE CRAFT | LATEST KIT

1

3

2

Olympus Stylus SH-2 £249.99

Retro-look-and-feel premium compact with five-axis image stabilisation olympus.co.uk

1 This latest enthusiast-

targeted, Raw file-shooting compact upgrades the Stylus SH-1. Of interest here are a retracting 24x optical zoom with equivalent focal range of 25-600mm in 35mm terms, married to a 16-megapixel resolution, in a classically styled compact body with metal build and leather-look detailing to the faceplate and grip. Five-axis antishake has dribbled down from the brand’s top-end OM-D models, which kicks in for filming full HD videos as well as shooting stills, the former offering both high-speed and time-lapse options.

It comes with built-in wi-fi for sharing shots, plus the rear-plate 460k-dot resolution 3-inch LCD is also a touchscreen to provide a best-of-both-worlds operation.

380 / THE RPS JOURNAL / MAY 2015 / VOL 155

CEWE 3D wall prints From £59.99 to £139.99

GEAR SPY

‘World first’ service making 3D-effect lenticular prints for wall mounting cewe3D.com

2 This service – turning 2D

images into 3D-effect prints for wall mounting – comes from CEWE, and is accessible via Jessops online, with more retail partners to be announced.

Your shot is printed on the back of a sheet made up of several views of your chosen photograph, and blended to form an interlaced image. This is applied to a ridged plastic sheet made up of multiple magnifying lenses, or “lenticules”. The interlaced image is aligned with the lenticules, so that when it is viewed from the front, your eyes see the image from different viewpoints for the desired 3D effect. To use the service, upload your photo and select from five size options of ready-to-hang wall panels. Obviously, some images work better than others.

Rotolight Neo £249

Striking on-camera or on-location continuous LED light rotolight.com After Sony listed two new 16MP and 20MP Four Thirds sensors (the system Olympus and Panasonic use), suggestions now abound that the next Olympus OM-D – probably the E-M1 Mark II – will have 4k capability and a 20million-pixel chip.

No comment yet from any manufacturer.

Your next camera will be a camera drone if Chinese manufacturer DJI, which has launched pre-orders for the 4k-video, 12MP-stills Phantom 3, is to believed. It is predicting sales in the billions as interest in the technology (literally) ‘takes off’, particularly among photographers.

3 Want to play it cool when it

comes to lighting? An LED is the way to go, with this inventive Rotolight alternative to conventional flash. Designed and manufactured in the UK by the Pinewood Studios-based firm, it is 145mm in diameter, with a 50mm depth and weight of 354g. What’s more, it is powerful despite the compact size – delivering the equivalent of a 707-watt tungsten bulb. Power on the move comes from six AA batteries, claimed to provide up to three hours’ usage.

Other features of note include a 50 degree beam angle and a flicker-free continuous lighting source, so making it as suitable for shooting video as taking photographs. It can be used as a key light, for a catch-light effect or when fill-in light is required.

MEMBER TEST 4

Fuji X100T

5

Canon EOS 760D £649.99 body only

Enthusiast-pleasing, affordable DSLR, with wi-fi and NFC connectivity canon.co.uk

4 As with Canon’s EOS M3

launch, the 760D is one of two new DSLRs – its sibling being the 750D – to feature a 24.2-megapixel CMOS sensor and Digic 6 processor. Giving the nod to bridge cameras it features a vari-angle LCD for easier shooting from high or low angles, when capturing either stills or video. The 760D is arguably the one for budding filmmakers, courtesy of a raft of modes, including HDR and a miniature effect that apes tiltshift lenses, while the camera also offers wi-fi and NFC. Rare in this class of camera at this price are the semi-pro features of a top-plate LCD window for quick access to key settings, quick control dial and intelligent viewfinder. Light sensitivity is between ISO100 and ISO12,800.

Fujifilm Fujinon XF 16mm f/1.4R WR £729.99 Fast-aperture addition to Fujifilm’s ‘X’ series-compatible line-up fujifilm.com

5 Here’s some serious glass

compatible with Fujifilm’s ‘X’ series smaller format-system cameras. This impressively fastaperture lens has a fixed focal length equivalent to 24mm in 35mm film terms, while minimum focus distance is 15cm.

As well as being able to achieve striking bokeh effects, another advantage is that the lens is weather and dust resistant and can work in temperatures as low as -10°C, making it a very suitable match with Fuji’s X-T1 camera. With this addition, there is now a quintet of fast-aperture Fujinon lenses for its ‘X’ series compact-system cameras – the others being the XF 23mm f/1.4R, XF 35mm f/1.4R, XF 56mm f/1.2R and the XF 56mm f/1.2 R APD – to flesh out the still fledgling range.

Coming from the era of film, the retro-feel of this sturdy, compact, fixed-focal-length lens camera was rather like shaking hands with an old friend. The sensation was enhanced by the real on-the-lens click-position aperture ring, focus ring and top-plate rotary dial shutter-speed control. The sense of “working with film” continued through the choice of film simulations, which include Fuji Velvia and Provia settings. For this review I chose Provia.

I put the camera through its paces on shoots including landscape, building, interiors, close-up and multiexposures. As this is very much an in-your-hand camera I decided not to use a tripod for any shot.

I found the combined eye-proximity sensor optical/live viewfinder display a great advantage and being able to compose before switching on the

camera is a great saving on battery power.

Did I miss a zoom lens?

Yes, at first, then I very soon got used to moving into the subject area and being more intimately involved with design and composition.

The resolution of the 23mm f/2 lens combined with low-noise-sensor characteristics even at 6,400 ISO were distinct advantages in poor light.

However, because it is positioned so close to the shutter release the video mode button is a little too easy to accidentally trigger.

The “multiple-exposure mode” is actually doubleexposure, so it would be useful to have the option for more images on the frame.

When the “image quality” is set to Raw it’s curious that in multiple- exposure and panorama modes the files are only saved as JPEG and not Raw. Oh, and a longer neck strap would be great.

Ceiling Painting (Great Witley Church): available light, hand-held, f/4 at 1/40th sec, ISO 6,400 REVIEW BY CLIVE HAYNES FRPS

Clive Haynes FRPS teaches photography and Photoshop techniques, and is a former chair of the Society’s Digital Imaging Group. See more online at crhfoto.co.uk

VOL 155 / MAY 2015 / THE RPS JOURNAL / 381

MASTERCLASS 382 | THE CRAFT | TECHNIQUE

How to photograph babies

Kathy Holmes reveals her secrets for getting great shots of infants

W

e all know that babies can be unpredictable.

One minute they’re giggling and smiling and the next they’re crying and bawling. That’s why it’s important that you are quick and efficient when taking photos of little ones.

Here are my top tips for getting those perfect baby photos with minimal fuss.

Before I start on the detail, make sure you establish the best time of day to photograph the baby in question. Speak to the child’s parents or guardians and figure out when in their daily schedule the baby is in the best mood for the kind of photo you want to take. Do you want them sleeping, for instance, or would you prefer the baby awake and smiling? Once you’ve got the optimum time, it’s fingers crossed after that.

WORKSHOP

What not to do

1 This is a shot from a session I did where I just wasn’t getting what I needed from the subject. It happens. You have to be patient and in time get the shot that you’re looking for. It’s unlikely that you want the baby to be crying in your photo, so take a rest and wait for the infant to relax a little.

Not getting the best of your otherwise cute subject is just part of the challenge.

TIPS

Be prepared – print out a check list of everything you need for the shoot

PHOTOGRAPHING BABIES ! CHILDREN

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Set-up

2 For me, it’s important that the set-up is simple, with few things to go wrong or get in the way.

Use one light and few or no props.

Make sure the studio is warm and there is a low-key background that won’t distract from your subject.

Make sure parents are kept close, so the baby doesn’t get too upset by their seeming absence – but don’t let them distract the baby from looking at you and your camera.

Remain flexible, adjust to new challenges and learn to be spontaneous when necessary

ABOUT THE AUTHOR KATHY HOLMES A professional photographer who has been working in the trade for eight years, Kathy also teaches child and baby photography

Lighting

3 One light is all you need. Keep

it close to your subject, making sure that you capture the light in the baby’s eyes – you want to be able to see that glint. With a single light, you’ll get some excellent, strong shadows that will help give your image the impact the subject merits.

If you’re feeling ambitious and would like to introduce more mid-tones, try experimenting with a larger set-up, using a soft box, perhaps.

Make sure the baby is safe. No matter how cute a set-up looks, if it’s dangerous then forget it

KATHY HOLMES WILL HOST A WORKSHOP IN LACOCK, WILTSHIRE, ON 6 JUNE. FOR MORE INFORMATION GO TO RPS.ORG/LEARNING

IN DEPTH 384 | THE CRAFT | TECHNIQUE

Who said I never work with children?

Professional photographer Ana Rocha ARPS explains the methodology behind her exceptional pictures of youngsters

384 / THE RPS JOURNAL / MAY 2015 / VOL 155

have always been fascinated by the world that children inhabit. It’s one of freedom and infinite possibilities – full of dreams and imagination, even in the face of hardships, such as loss and family break-up. It underpins my whole approach to child photography.

So great is my fidelity to this world that, when I am commissioned to photograph kids, I spend a considerable amount of time interacting with them – to get an insight into their universe. What I learn from this period of research then feeds directly into the finished product.

Before becoming a full-time photographer 10 years ago, I worked as a sociologist and

researcher, looking at aspects of child homelessness, as well as exploring how the concept of childhood was first developed. It was this experience of working with children that inspired my methodology as a photographer and, even now, when I’m photographing kids I remain deeply committed to each child and their world.

I see myself as a storyteller who creates images of the child’s universe.

Essential component

In order to work in such depth, it’s important to build trust. I start by setting up an informal meeting before each session, which is an essential component of my workflow. It

TECHNIQUE IN DEPTH

| THE CRAFT | 385

CLOCKWISE FROM LEFT: Pure Love; Sibling Drama; The Fox

ABOUT THE AUTHOR ANA ROCHA ARPS

A photography enthusiast since the age of 12, Ana has been a professional photographer for 10 years. She specialises in family photography, creating deep, powerful images

is crucial to discuss with the parents their expectations, to observe the dynamic of each family and, most importantly, to sit down with each child and play for a little while.

I spend a good amount of time chatting with the child about their routine, how they see their family and how they play. It’s useful to observe the connection they have with their toys and with their parents, and how they weave these aspects into their imagination. In the end, I leave with enough data to design a custom photography session. Back at the studio, the information is analysed and then sketched into a kind of map, which will be the core structure of the session.

This creative process is intense and very detailed. It allows me to create an environment where the child feels comfortable to share their stories and for me to translate them into meaningful images.

Best reward

Given the complexity and detailed components of my workflow, I accept commissions from a very limited number of families each year – 28, to be precise.

The editing process is also intense and detailed. It reflects the specific narrative, arrived at through consultation with the child, and I spend a good amount of time enhancing the images to

really show their story. My work is exclusive. There’s something really enjoyable about producing a small, consistent body of work every year. The best reward comes from knowing that each image produced will make sense to the kids. They often ask their parents to watch the slideshow a number of times during the year, which for me is the best feedback I could receive.

In my 10 years as a professional photographer, I have seen the market evolve – new cameras, editing, presets and so forth.

In the area of newborn photography, I see a high concentration of photographers working with

props and poses. In the field of child photography, most concentrate on straight portraiture, capturing what the child looks like and portraying “happy” families.

The market is thus saturated with homogenous images like this. The great majority of professionals concentrate on capturing a moment in time, while very few take the time to produce a body of work that is truly representative of the world that the child inhabits. Which raises the question, when every child has his or her own story to tell, why photograph each one the same?

For more information, visit anarochaphotography.com

VOL 155 / MAY 2015 / THE RPS JOURNAL / 385

LOCAL FAMILY, NEWBIGGIN-BY-THE-SEA, NORTHUMBERLAND BY DAMIEN WOOTTEN (BRONZE AWARD, 2014 EXHIBITION)

CALL FOR ENTRIES INTERNATIONAL PRINT EXHIBITION 158 CLOSING DATE 1 JUNE 2015 Open to student, amateur and professional photographers worldwide rps.org/ipe158

Reduced entry fee for RPS Members

| THE CRAFT | 387 M Y FAV O U R I T E C A M E R A

Handmade 5x4 pinhole camera

Tom Hunter HonFRPS on his bespoke device that’s perfect for meditative moments My favourite camera is a handmade mahogany 5x4-inch pinhole camera. It was made for me in 2003 by my former tutor at the London College of Printing, Paul Smith, in exchange for a print.

I was immediately intrigued by this beautiful, lightweight box but didn’t have the time to explore its possibilities until I took up a residency at the Irish Museum of Modern Art, Dublin, in 2006.

During my residency I was drawn to the bathing places of Dublin Bay by the writings of James Joyce in Ulysses, who described the sea as ‘a grey sweet mother? The snotgreen sea. The scrotumtightening sea’.

With this in mind I cycled to the Forty Foot and took the plunge into the icy March waters.

Once revived on a rocky outcrop I set up the pinhole camera on a tripod at the water’s edge. The pinhole’s long exposure combined with its vignetting qualities enabled me to capture a mood and feeling from the dark, ominous sea and skies and to create a series of images that allude to our journey from the primeval swamp. I capture these scenes on 5x4 transparency film. This is made possible by having a 5x4 back from an old De Vere camera integrated with the back of the pinhole camera.

Since that time I have continued using this camera in

AUTHOR PROFILE TOM HUNTER HonFRPS Tom Hunter is an award-winning and internationally acclaimed artist. His work has been exhibited nationally and internationally in major solo and group shows

my home environment of Hackney, photographing in churches, synagogues, mosques and chapels, exploring the multiple layers of cultural identity which have left historical footprints. I set up my camera centrally in these spaces, removing my cloth from the pinhole and leaving the atmosphere to filter through for up to 30 minutes. This practice has allowed me to work both peacefully and meditatively in a respectful and unintrusive manner, where the image is not grabbed, not flashed and not audible. The pinhole camera has

been an antidote to my normal way of working, which involves portraying people. With this camera I have the freedom to work alone, to explore and not get bogged down with the burdens of representation.

In some ways it doesn’t matter which camera you use or which lens – it’s your ideas and your intentions that count.

Hunter will be speaking at the Shadows Symposium at Camberwell College of Art, London, on 18 May. He will also talk at Photo London on 22 May, at Somerset House

THE GREEK ORTHODOX CHURCH Taken by Hunter with the pinhole camera in his home environment of Hackney VOL 155 / MAY 2015 / THE RPS JOURNAL / 387

MEMBER A day for digital

| GUIDE | 389

GUIDE

YOUR RPS EVENTS ! COURSES PROGRAMME

MAY!JUN!JUL

Above: Model-work session in the Bowens studio

GO TO RPS.ORG/EVENTS FOR THE LATEST UPDATES

Below: Landscape by Joe Cornish HonFRPS

The Digital Imaging Group’s forthcoming expo has all angles covered

T

he Digital Imaging Group is to hold its one-day exposition, sponsored by Epson, at the University of Warwick later this year, presenting a diverse selection of activities and talks in an easily accessible area of the campus.

Acclaimed photographer Joe Cornish HonFRPS is one of the keynote speakers offering an insightful look into the process of capturing landscapes.

Joining him is Steve Caplin, who will be contemplating photo manipulation, alongside Eddie Ephraums speaking on the art of photography.

The event, which is aimed at all levels of photographer, gives an opportunity to brush up on Adobe and printing skills, plus the chance to shoot a model and watch a professional at work in the Bowens studio.

Between the talks and workshops attendees have the chance to visit the numerous exhibitions and trade stands and even undertake an LRPS assessment of their work.

The Digital Imaging Expo 2015 is on 20 September. For more details and to book a place visit rps.org/DIGExpo VOL 155 / MAY 2015 / THE RPS JOURNAL / 389

390 | GUIDE |

REGIONS

Meet photographers and view work in your area CENTRAL

`` Wingfield Barns, Church Road,

GO TO RPS.ORG/EVENTS FOR THE LATEST UPDATES

`` £10/£5 members `` First in a series of walks `` Fresh Beverages, 275 Whitechapel

FIELD TRIP TO STAMFORD

`` Del Barrett ARPS, as above

MIKE SHARPLES ARPS, 07884 657535

SUNDAY 31 MAY / 10:30%16:30

MIKES.SHARPLES(VIRGIN.NET

`` £15/£10 members `` Spend a day in this beautiful and

WOMEN IN PHOTOGRAPHY !

GEMMA MARMALADE

historical market town

`` Casterton Church Hall, Stamford PE9 4AP

WEDNESDAY 6 MAY / 13:30%15:30

`` Ian Wilson ARPS, as above

`` Contemporary British artist specialising in video, photography and performance `` Burton and South Derbyshire College, Lichfield Street, Burton on Trent, Staffordshire DE14 3RL

FIELD MEETING TO LAKENHEATH RSPB RESERVE SATURDAY 13 JUNE / 9:00%17:00

`` £4 parking `` Photograph the abundant bird

ADVISORY WORKSHOP

population `` Lakenheath RSPB Reserve, Lakenheath Fen, Nr Lakenheath IP27 9AD `` Ann Miles FRPS, 07710 383586, ann@pin-sharp.co.uk

TUESDAY 19 MAY / 19:30%22:00

`` £10/£8/£5 spectators `` Visual Art, LRPS and ARPS with Roger Parry ARPS and Anne Sutcliffe FRPS `` Smethwick Photographic Society, Churchbridge, West Midlands B69 2AS `` Mike Sharples ARPS, as above

STEVE CAPLIN ! HOW TO CHEAT IN PHOTOSHOP SUNDAY 14 JUNE / 10:00%16:30

`` £16/£12/£8 group members `` Foxton Village Hall, Hardman Road, Foxton CB22 6RN `` John Margetts ARPS, events@rpseasterndigital.org.uk `` See DI Group for details

THURSDAY 21 MAY / 19:30%22:00

`` View My Life in Monochrome by Peter Clark FRPS

`` Smethwick Photographic Society, `` Mike Sharples ARPS, as above

Churchbridge, West Midlands B69 2AS

PHOTOGRAPHY FOR ARCHAEOLOGISTS

MULTIMEDIA DISTINCTIONS ADVISORY DAY

`` £36/£18 introductory rate `` Eric Houlder LRPS will draw upon his

SATURDAY 27 JUNE / 10:00%16:00

50 years of photographing excavations

SATURDAY 30 MAY / 10:30%16:30

`` £10/£7.50/£3 spectators `` With panel members Richard Brown

`` Wuffing Education, c/o 4 Hilly Fields, Woodbridge, Suffolk IP12 4DX

`` cliff@wuffingeducation.co.uk,

FRPS and Howard Bagshaw ARPS `` Smethwick Photographic Society, Churchbridge, West Midlands B69 2AS `` Richard Brown and Howard Bagshaw, distinctions@rps.org

01394 386498

RALPH BENNETT ARPS, 01636 651277

MIDLANDS SALON EVENING VIEWING FOR RPS MEMBERS

EIRE

FRIDAY 19 JUNE / 19:30% 22:00

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

REGIONAL EXHIBITION SELECTION AND AGM

Road, London E1 1BY

ADOBE LIGHTROOM BOOK# PUBLISHING WORKSHOP SATURDAY 16 MAY / 9:45%16:15

`` £55/£45 members `` Learn to publish books using Adobe `` Idea Store Whitechapel, 321 Whitechapel Road, London E1 1BU

`` Del Barrett ARPS, as above

ARPS ADVISORY DAY ! APPLIED, CREATIVE AND PICTORIAL WEDNESDAY 20 MAY / 10:30 %16:00

`` £25/£20/£10 spectators `` Idea Store, Whitechapel, 321 Whitechapel Road, London E1 1BU NORTH WALES DONCHRISLANGFORD(BTINTERNET.COM NORTH WEST DR AFZAL ANSARY ASIS FRPS, 07970 403672 AFZALANSARY(AOL.COM

LAURA PANNACK !

RPS#SPONSORED SPEAKER $AGM DURING LUNCH BREAK, OPEN TO RPS MEMBERS ONLY% SUNDAY 10 MAY / 10:30 %16:00

`` £15/£10 members `` Hear from award-winning photographer Laura Pannack

`` Hough End Centre, Mauldeth Road West, Manchester M21 7SX

`` Afzal Ansary FRPS, as above CONTEMPORARY NORTH#WEST MEETING MONDAY 8 JUNE / 19:30%22:00

EAST MIDLANDS RALPH.EMRPS(GMAIL.COM

Churchbridge, West Midlands B69 2AS `` Mike Sharples ARPS, as above

SATURDAY 9 MAY / 10:00

DON LANGFORD LRPS, 01758 713572

PETER CLARK FRPS WITH SMETHWICK PS

`` £2.50 members `` Smethwick Photographic Society,

EASTERN THAMES CROSSINGS

Wingfield, Diss IP21 5RA `` Moira Ellice ARPS, moira.ellice2011@btinternet.com `` For details see Creative Group

DES CLINTON FRPS, 0035 341 983 7824

`` Days Inn Charnock Richard M6, Jct 27-28 northbound, Mill Lane, Chorley, Lancs PR7 5LR `` Ian Maxwell, 01524 770278, mail@ihmaxwell.com `` For details see Contemporary Group

DESCLINTON(EIRCOM.NET

East Anglia: Steve Caplin presents a workshop on 14 June entitled How to Cheat in Photoshop

VICTORIAN EXTRAVAGANZA LONDON DEL BARRETT ARPS LONDONEVENTS(RPS.ORG

SUNDAY 14 JUNE / 10:30%13:00

`` £15/£12.50 members `` Models in Victorian costumes `` Tabley Hall, Knutsford, Cheshire WA16 0HB

`` Alan Angel FRPS, aandjangel@btinternet.com NORTHERN

SUNDAY 10 MAY / 10:30%16:30

JANE BLACK ARPS, 0191 252 2870

`` Foxton Village Hall, Hardman Road,

J.BLACK70(BTINTERNET.COM

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

ANNUAL EXHIBITION OF PRINTS " PROJECTED IMAGES WEDNESDAY 20 MAY % SUNDAY 31 MAY

390 / THE RPS JOURNAL / MAY 2015 / VOL 155

DVJ WORKSHOP IN NEWCASTLE; DOCUMENTARY PHOTO ESSAYS SATURDAY 9 MAY / 10:00% 17:00

`` £65/£60/£55 group members

| GUIDE | 391 `` City Library (Room 7), Charles Avison

SOUTH WEST

Building, 33 New Bridge Street, Newcastle NE1 8AX `` Mo Connelly, dvj@rps.org `` For details see DVJ Group

TONY COOPER ARPS, 01225 421097

MGHVKH(BTINTERNET.COM

TONY(PHOTOSCOOP.CO.UK

WEST CORNWALL GROUP MEETING

ISABELLA BIRD !

PHOTOGRAPHIC TRAVELS THROUGH CHINA 1894!96

TUESDAY 19 MAY / 19:30%21:30

NORTHERN IRELAND DAMIAN MCDONALD ARPS, 07902 481691

`` Chacewater Village Hall, Church Hill,

DAMIANMCDONALD(OUTLOOK.COM

Chacewater, Truro TR4 8PZ `` Vivien Howse ARPS, 01326 221939, Vivien939@btinternet.com

SCOTLAND JAMES FROST FRPS, 01578 730466 JAMES.FROST11(BTINTERNET.COM

View print presentations with the South Wales region on Sunday 17 May Image: Wave Patterns

by Susan Brown FRPS

DUNFERMLINE SPRING WEEKEND

A WALK AROUND STOVER COUNTRY PARK

photographic celebration

Carnegie College, Dunfermline KY11 8DT

`` James Frost FRPS, as above

DIG SCOTLAND: JUNE MEETING

SUNDAY 10 MAY / 10:00%13:00

Street, Bridge of Allan FK9 4NW

`` Doug Berndt ARPS, digscotland@rps.org PHOTO FORUM LARKHALL

astronomy and its photography

Abbot TQ12 6QG `` Mick Medley, 01626 824865, michael.medley@btinternet.com

`` RPS HQ, Fenton House, 122 Wells

SW VISUAL ART GROUP MEMBERS’ DAY

MEMBERS’ MEETING, HIGHNAM

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

SUNDAY 14 JUNE / 13:30%16:30

MEMBERS’ MEETING IN BATH

`` £7 `` Lecture by Andrew Burns on

SATURDAY 18 JULY / 10:30%16:00

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

Road, Bath BA2 3AH

`` For details see Historical Group

`` Explore a number of nature trails and `` Stover Country Park, A382, Newton

`` Carnegie College Conference Centre,

TUESDAY 5 MAY / 19:00%21:00

`` £2 `` RPS HQ, Fenton House, 122 Wells

SUNDAY 14 JUNE / 10:30%16:00

photograph wildfowl on the lake

SATURDAY 16 MAY % SUNDAY 17 MAY

`` See website for costs `` Our biennial weekend event of

WESTERN

MARTIN HOWSE ARPS, 01326 221939

Road, Bath BA2 3AH

`` Tony Cooper ARPS, as above SUNDAY 17 MAY / 10:00%13:00

`` £5 `` Parish Rooms, Highnam Community Centre, Newent Road, Highnam GL2 8DG

Tracey TQ13 9AL `` Linda Wevill FRPS, linda.wevill@btinternet.com `` For details see Visual Art Group

`` Bob Train, bobtrain@tiscali.co.uk

WEST CORNWALL GROUP MEETING

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

INFRA#RED PHOTOGRAPHY !

CHRIS ROURKE SUNDAY 17 MAY / 10:00%16:00

SUNDAY 28 JUNE / 11:00%16:00

`` £10/£8 members `` Constructive feedback on your work `` Cameronian Hall, Victoria Street,

TUESDAY 21 JULY / 19:30 %21:30

`` Chacewater Village Hall, Church Hill,

Larkhall ML9 2BL

Chacewater, Truro TR4 8PZ

`` James Frost FRPS, as above

`` Vivien Howse ARPS, 01326 221939, vivien939@btinternet.com

SOUTH EAST SOUTHERN

TERRY MCGHIE ARPS, 01323 492584 SOUTHEAST(RPS.ORG

PETER HARTLAND ARPS, 07774 184120 SOUTHERN(RPS.ORG

AV PRESENTATION BY HOWARD BAGSHAW ARPS

Nr Taunton TA19 9HG

`` Glenda Colquhoun, digwestern@rps.org MEMBERS’ MEETING IN BATH SUNDAY 14 JUNE / 10:00%13:00

`` £2 `` Members’ digitally projected images, panoramas and AVs

`` RPS HQ, Fenton House, 122 Wells Road, Bath BA2 3AH

THAMES VALLEY

`` Tony Cooper ARPS, as above

SUNDAY 3 MAY / 10:30%16:30

MARK BUCKLEY,SHARP ARPS, 020 8907 5874

`` £10/£7.50 members `` Consider applying for a Multimedia

MARK.BUCKLEY,SHARP(TISCALI.CO.UK

MEMBERS’ MEETING IN BATH

`` INTRODUCTION TO

`` Laura Pannack presents her own work `` RPS HQ, Fenton House, 122 Wells

SUNDAY 24 MAY / 10:00%15:30

`` Tony Cooper ARPS, as above

Distinction by submitting AV sequences `` The Haven Centre, Hophurst Lane, Crawley Down RH10 4LJ `` Terry McGhie ARPS, as above

LRPS ADVISORY DAY IN SURREY SUNDAY 5 JULY / 10:30%16:30

`` £20/£15/£10 spectators `` Cobham Village Hall, Lushington Drive, Cobham, Surrey KT11 2LU `` Terry McGhie ARPS, as above SOUTH WALES MIKE LEWIS, 07855 309667, 01446 710770 MIKEGLEWIS101(BTINTERNET.COM

PRINT PRESENTATIONS SUNDAY 17 MAY / 11:30 %16:30

``

By Susan Brown FRPS, Judith Parry and Roger Parry ARPS `` St Francis Millennium Hall, Porth-yCastell, Barry, Vale of Glamorgan CF62 6NX `` Mike Lewis , as above

SUNDAY 12 JULY / 10:00 % 13:00

ASTROPHOTOGRAPHY PLUS PDI COMPETITION

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 lastminute 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

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

VISUAL ART GROUP THAMES VALLEY MEETING

Road, Bath BA2 3AH

TAUNTON AREA FIELD TRIP SUNDAY 19 JULY / 10:00% 13:00

`` £5 `` Field of Dreams, Barcroft Hall, North Street, South Petherton TA13 5DA

`` Mick Humphries LRPS,

01823 443 955, mick@somersite.co.uk

30 MAY/ 10.00,16.30

`` Village Hall, Main Street,

LRPS " ARPS ADVISORY DAY

Long Compton CV36 5JS `` Andreas Klatt ARPS, andreas@klatt.tv, 01608 684848

`` £20/£15/£10 spectators `` RPS HQ, Fenton House, 122 Wells

DISTINCTIONS ADVISORY DAY

`` Gordon James FRPS, 07890 016956,

SUNDAY 28 JUNE / 10:00%16:00

`` £20/£15/£10 observers `` Millennium Hall, Main Road, Lacey Green HP27 0QN `` Mark Buckley-Sharp ARPS, as above

SUNDAY 26 JULY / 10:00 %16:30

Road, Bath BA2 3AH

gjphotomail@gmail.com YORKSHIRE MARY CROWTHER LRPS, 07921 237962 PHOTOBOX50(GMAIL.COM

VOL 155 / MAY 2015 / THE RPS JOURNAL / 391

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 First presentation starts on 6 June 2015 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

| GUIDE | 393

WORKSHOPS

Hear from the experts and hone your skills

WEDDING PHOTOGRAPHY TECHNIQUES WEDNESDAY 6 MAY / 10:00%17:00

`` £135/£110 members `` Thrumpton, Nottingham ONE#DAY INTRODUCTION TO YOUR DIGITAL SLR SATURDAY 9 MAY / 10:00%17:00

`` £85/£63 members SHOOTING FOR STOCK MONDAY 11 MAY / 10:30%16:30

`` £65/£48 members LIGHTROOM SATURDAY 16 MAY / 10:00%16:00

`` £95/£71 members STUDIO PORTRAITURE SAT 16 MAY% SUN 17 MAY / 10:00%16:30

`` £160/£135 members `` Lacock, Wiltshire PRINTING WITH LIGHTROOM

EXMOOR IN EARLY SUMMER SATURDAY 6 JUNE / 14:00%21:00

`` £95/£71 members `` Porlock Weir, Somerset

Wedding photography techniques, Thrumpton, Nottingham, 6 May and others – see listings Image: Shutterstock

WET COLLODION NEGATIVES AND PRINTS

PRODUCT PHOTOGRAPHY MONDAY 18 MAY / 10:30%16:30

`` £155/£130 members `` Colerne near Bath TWO#DAY PHOTOSHOP WORKSHOP SAT 30 MAY % SUN 31 MAY/ 10:00%17:00

`` £165/£140 members INTRODUCTION TO BUSINESS FOR PHOTOGRAPHERS

WEDNESDAY 1 JULY / 10:00% 15:00

`` £45/£33 members `` Get accurate colour results with digital photography every time

WEDDING PHOTOGRAPHY TECHNIQUES

FRI 12 JUNE % SAT 13 JUNE /9:30%18:00

`` £195/£170 members `` A two-day workshop `` Photo Parlour, Monk Street, Derby

WEDNESDAY 1 JULY / 10:00%17:00

`` £135/£110 members `` Thrumpton, Nottingham

SUNDAY 17 MAY / 10:00%16:00

`` £95/£71 members

SHUTTER TO PRINT COLOUR# MANAGEMENT TRAINING

DIFFERENT LANDSCAPE !

ILAM HALL

MACRO AND ART PHOTOGRAPHY

SATURDAY 13 JUNE / 9:00%18:00

`` £130/£105 members `` Eighty four acres of beautiful parkland

THURSDAY 2 JULY / 10:00% 16:30

`` £35/£26 members `` Learn how to produce high-quality

on the banks of the River Manifold

`` Ilam Hall, Ashbourne, Peak District

macro and close-up images

`` The Open University, Milton Keynes

ONE#DAY INTRODUCTION TO YOUR DIGITAL SLR

INTRODUCTION TO THE CREATIVE EYE

SATURDAY 13 JUNE / 10:00%17:00

`` £85/£63 members

SATURDAY 4 JULY / 10:00 %16:30

`` £95/£71 members

WEDDING PHOTOGRAPHY BUSINESS DEVELOPMENT

WILDLIFE PHOTOGRAPHY

MON 1 JUNE % TUE 2 JUNE / 10:00%16:00

SAT 13 JUNE % SUN 14 JUNE / 10:00%16:30

SUNDAY 5 JULY / 10:00% 16:30

`` £190/£165 members

`` £160/£135 members `` Lacock, Wiltshire

`` £45/£33 members

`` WEDDING PHOTOGRAPHY TECHNIQUES

ONE#DAY INTRODUCTION TO YOUR DIGITAL SLR

AMBROTYPES

WEDNESDAY 3 JUNE / 10:00%17:00

SUNDAY 14 JUNE / 9:30%18:00

SATURDAY 11 JULY / 10:00%17:00

`` £135/£110 members `` A workshop for experienced wedding

`` £120/£95 members `` Learn how to make ambrotypes,

`` £85/£63 members

`` Thrumpton, Nottingham

`` Photo Parlour, Monk Street, Derby

which you can take home with you

DIFFERENT LANDSCAPES ! MONYASH

HOW TO PHOTOGRAPH CHILDREN AND BABIES

ART NUDE PHOTOGRAPHY

`` £130/£105 members `` Discover inspiration in the heart of

pros and the beginner

SATURDAY 18 JULY / 9:00%18:00

SATURDAY 6 JUNE / 10:00%17:00

`` £95/£71 members `` Lacock, Wiltshire `` See more on page 382 DIGITAL MONOCHROME PRINTING SAT 6 JUNE % SUN 7 JUNE / 10:00%16:00

`` £175/£145 members `` Get the best out of your digital camera

SATURDAY 20 JUNE / 10:00%16:30

`` £115/£90 members `` Lacock, Wiltshire ONE#DAY PLANT AND GARDEN PHOTOGRAPHY WORKSHOP SATURDAY 20 JUNE / 10:00 %17:00

`` £155/£130 members `` The Walled Garden, Selwood St, Mells, Somerset

the Peak District

`` Monyash Methodist Church Hall, Bakewell, Peak District

GO TO RPS.ORG/EVENTS FOR THE LATEST UPDATES

STUDIO PORTRAITURE SATURDAY 25 JULY / 10:00%16:30

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

`` Lacock, Wiltshire VOL 155 / MAY 2015 / THE RPS JOURNAL / 393

INTEREST GROUPS 394 | GUIDE | SPECIAL

SPECIAL INTEREST GROUPS

DIG THAMES VALLEY: INTRODUCTION TO ASTROPHOTOGRAPHY PLUS PDI COMPETITION SUNDAY 24 MAY / 10:00% 15:30

`` £12/£8 group members `` With Danny Thomas, from Farnham Astronomy Society, and PDI competition judge Amanda Wright `` Woosehill Community Hall, Emmview Close, Wokingham, Berkshire RG41 3DA `` Laurie Pate, digthamesvalley@rps.org

Explore more about aspects of photography and imaging

DIG SCOTLAND: JUNE 2015 MEETING

3D IMAGING AND HOLOGRAPHY PETER FREEMAN LRPS, 01462 893633

SUNDAY 14 JUNE / 13:30%16:30

3D(RPS.ORG

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

TIME#LAPSE MACRO STEREO PHOTOGRAPHY

Keir Street, Bridge of Allan FK9 4NW

`` Doug Berndt ARPS, digscotland@rps.org

SATURDAY 9 MAY/ 18:00%20:00

`` Joint meeting with the Stereoscopic Society. Hear from Dr Robert Pryce

`` St Pancras Church Hall, Lancing Street, Camden NW1 1NA

`` Peter Freeman LRPS, as above ANALOGUE DAVID HEALEY ARPS, 07968 746 211

The 3D Imaging and Holography Group is holding a time-lapse event on 9 May Image: Brimstone butterfly emerging from chrysalis by Dr Robert Pryce

CONTEMPORARY PETER ELLIS LRPS, 07770 837977 WORDSNPICSLTD(GMAIL.COM

CONCERNING PHOTOGRAPHY WEEKEND SATURDAY 16 MAY % SUNDAY 17 MAY

ANALOGUE(RPS.ORG

`` £135 `` Sheffield Hallam University,

ARCHAEOLOGY AND HERITAGE

Howard Street, Sheffield S1 1WB

RODNEY BERNARD THRING LRPS, 01276 20725

`` Avril Harris, 020 8360 7996,

RODNEY.THRING(NTLWORLD.COM

avrilrharris@blueyonder.co.uk

CHURCHES IN LONDON

DIG EASTERN CENTRE: STEVE CAPLIN ! HOW TO CHEAT IN PHOTOSHOP SUNDAY 14 JUNE / 10:00%16:30

`` £16/£12/£8 group members `` Caplin is an expert on manipulation and photomontage using Photoshop

`` Foxton Village Hall, Hardman Road, Foxton CB22 6RN

`` John Margetts ARPS, events@rpseasterndigital.org.uk DOCUMENTARY AND VISUAL JOURNALISM MO CONNELLY LRPS, 01590 641849

CONTEMPORARY NORTH#WEST MEETING

WEDNESDAY 6 MAY/10.30%15.30

`` Shoot in three local churches `` St Mary Abchurch, Abchurch Lane,

MONDAY 8 JUNE / 19:30%22:00

`` Regular meeting of the North-West

EC4N 7BA `` Garry Bisshopp ARPS, 01323 891146, gb.photo@btinternet.com

Contemporary Group

`` Days Inn Charnock Richard M6, Jct 27-28 Northbound, Mill Lane, Chorley, Lancs PR7 5LR `` Ian Maxwell, 01524 770278, mail@ihmaxwell.com

AGM AND ANNUAL PRINT DAY SATURDAY 6 JUNE / 10:00%16:00

`` Find out more about the group `` The Institute, High Street, Leatherhead, Surrey KT22 8AH

DVJ(RPS.ORG

DVJ WORKSHOP IN NEWCASTLE: DOCUMENTARY PHOTO ESSAYS SATURDAY 9 MAY / 10:00% 17:00

`` £65/£60/£55 group members `` City Library (Room 7), Charles Avison Building, 33 New Bridge Street, Newcastle NE1 8AX `` Mo Connelly, dvj@rps.org

CREATIVE

`` Mike Sasse, 01892 531179,

BARRY COLLIN LRPS

mike.sasse@btinternet.com

CREATIVECHAIR(RPS.ORG

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

AUDIO VISUAL HOWARD FISHER LRPS, 0115 9372898 HANDJAF(VIRGINMEDIA.COM

AV PRESENTATION BY HOWARD BAGSHAW ARPS SUNDAY 3 MAY / 10:30%16:30

`` £10/£7.50 members `` The Haven Centre, Hophurst Lane, Crawley Down RH10 4LJ

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

`` See South East Region for details MULTIMEDIA DISTINCTIONS ADVISORY DAY SATURDAY 30 MAY / 10:30%16:30

`` £10/£7.50/£3 spectators `` Smethwick Photographic Society, Churchbridge, West Midlands B69 2AS `` Richard Brown and Howard Bagshaw ARPS, distinctions@rps.org 394 / THE RPS JOURNAL / MAY 2015 / VOL 155

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 lastminute 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

ANNUAL EXHIBITION OF PRINTS " PROJECTED IMAGES WEDNESDAY 20 MAY % SUNDAY 31 MAY

`` Open Wed-Sun, 11am–4pm `` Wingfield Barns, Church Road, Wingfield, Diss IP21 5RA `` Moira Ellice ARPS, moira.ellice2011@btinternet.com DIGITAL IMAGING JANET HAINES ARPS, 07779 728844 DIGCHAIR(RPS.ORG

DIG WESTERN: INFRA#RED PHOTOGRAPHY ! CHRIS ROURKE

ISABELLA BIRD !

PHOTOGRAPHIC TRAVELS THROUGH CHINA 1894!96 TUESDAY 5 MAY / 19:00 %21:00

`` Hear from Debbie Ireland on her new book about a female traveller who photographed China in the 1890s `` The Royal Photographic Society, Fenton House, 122 Wells Road, Bath BA2 3AH `` Michael Pritchard, 01225 325733, director@rps.org

A DAY IN MANCHESTER

SUNDAY 17 MAY / 10:00%16:00

FRIDAY 29 MAY / 9:00%17:00

`` £8/£7/£5 group members `` Chris Rourke demonstrates his

`` £10/£6 `` Curator-led visits to Manchester

infra-red photography techniques

Central Library and the Museum of Science and Industry `` St Peter’s Square, Manchester M2 5PD `` Gilly Read FRPS, readgilly@hotmail.com

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

`` Glenda Colquhoun, digwestern@rps.org

| GUIDE | 395 VISUAL ART GROUP EXHIBITION

IMAGING SCIENCE DR TONY KAYE ASIS FRPS, 020 8420 6557

FRIDAY 1 MAY % THURSDAY 28 MAY

TONYKAYE(HOTMAIL.CO.UK

`` See featured images from this exhibition on page 360

MEDICAL

`` RPS HQ, Fenton House, 122 Wells

DR AFZAL ANSARY ASIS FRPS, 07970 403672

Road, Bath, BA2 3AH

AFZALANSARY(AOL.COM

`` exhibitions@rps.org NATURE M.JOS(BTINTERNET.COM

VISUAL ART GROUP THAMES VALLEY MEETING

RESIDENTIAL WEEKEND

`` Village Hall, Main Street, Long

MARGARET JOHNSON LRPS, 01159 265893

SATURDAY 30 MAY/ 10:00%16.30

Compton CV36 5JS

FRIDAY 5 JUNE % MONDAY 8 JUNE

`` Andreas Klatt ARPS, andreas@klatt.tv,

`` See website for costs `` Preston Montford, Montford Bridge,

01608 684848

Shrewsbury SY4 1DX `` James Foad LRPS, 01843 580295 or 07810 306365, jamesfoadlrps@inbox.com

SW VISUAL ART GROUP MEMBERS’ DAY SATURDAY 18 JULY / 10:30%16:00

`` Come along and join us for

FIELD MEETING TO THE AINSDALE DUNES

this popular day

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

SATURDAY 6 JUNE / 10:00

`` Linda Wevill FRPS,

`` Photograph dune flora and wildlife `` The Ainsdale Discovery Centre,

linda.wevill@btinternet.com

The Promenade, Shore Road, Ainsdaleon-Sea, Nr Southport PR8 2QB `` Trevor Davenport, 01704 870284 or 07831 643844, trevor.davenport@virgin.net

FIELD MEETING TO LAKENHEATH RSPB RESERVE SATURDAY 13 JUNE / 9:00%17:00

`` £4 parking `` Photograph the abundant

PATRONAGE Join the Nature Group at Lakenheath RSPB reserve Image: Hobby by Ann Miles FRPS

`` £1,750 `` Keith Pointon, as above FIELD TRIP TO STAMFORD SUNDAY 31 MAY / 10:30%16:30

`` £15/£10 members `` Casterton Church Hall, Stamford

bird population `` Lakenheath RSPB Reserve, Lakenheath Fen, Nr Lakenheath IP27 9AD `` Ann Miles FRPS, 07710 383586, ann@pin-sharp.co.uk

PE9 4AP

`` Ian Wilson ARPS, ian@greenmen.org.uk `` For details see East Anglia Region TRIP TO ZAMBIA AND MALAWI

TRAVEL KEITH POINTON LRPS, 01588 640592

FRIDAY 3 JULY % SUNDAY 19 JULY

BAGPOINT(AOL.COM

`` £3,479 `` Photograph wildlife, rural and fishing

NEW MEMBERS’ MEETING FRIDAY 15 MAY 2015 / 14:00%18:30

`` A chance to meet the committee and discuss the benefits of being a member

14TH INTERNATIONAL VIRTUAL IMAGE EXHIBITION 2015 CLOSING DATE: 25 MAY 2015

`` fotoclubba.org.ar/virtualimage2015 `` Ref: 2015/32 45TH HKCC INTERNATIONAL SALON OF PICTORIAL PHOTOGRAPHY

WESTERN CANADA

`` maitlandsalon.org `` Ref: 2015/31

SATURDAY 29 AUGUST % SATURDAY 12 SEPTEMBER

guest speakers and members

some of the west’s remarkable scenery `` Aline Hopkins, alinehopkins@btinternet.com

Ludlow, Shropshire SY8 1AZ

WEEKEND IN FALMOUTH

SATURDAY 16 % SUNDAY 17 MAY 2015 / 9:00%15:00

`` Two inspiring days of presentations by `` The Assembly Rooms, 1 Mill Street, `` Keith Pointon LRPS, as above

5TH INTERNATIONAL SALON OF ART PHOTOGRAPHY SMEDEREVO 2015 CLOSING DATE: 2 JUNE 2015

`` fotokinoklub-smederevo.com `` Ref: 2015/42

FRIDAY 9 OCTOBER % SUNDAY 11 OCTOBER

`` £140 members/£36 meeting and

TRAVEL GROUP AGM SUNDAY 17 MAY 2015 / 15:15%17:00

`` To be held immediately following the

TUESDAY 26 MAY % THURSDAY 4 JUNE

CLOSING DATE: 19 MAY 2015

`` printsalonvarna.org `` Ref: 2015/30

life, and contribute to the Book Bus literacy project `` Liz Rhodes, lizrh@tiscali.co.uk

`` £2,169 `` From Calgary to Vancouver, through

SPRING WEEKEND ! 2015

IMAGES OF MYANMAR

1ST INTERNATIONAL SALON OF PRINT AND DIGITAL ART PHOTOGRAPHY VARNA

CLOSING DATE: 28 MAY 2015

`` Ludlow, Shropshire SY8 1AZ `` Keith Pointon LRPS, as above

group’s spring weekend `` The Assembly Rooms, Ludlow, 1 Mill Street, Ludlow, Shropshire SY8 1AZ `` Keith Pointon LRPS, as above

Society patronage has been granted to the following exhibitions and salons

GO TO RPS.ORG/EVENTS FOR THE LATEST UPDATES

dinner only `` Guided visits to places of interest `` The Falmouth Hotel, Castle Beach, Falmouth TR11 4NZ `` Margaret Hocking, 01872 561219, bosrowynek@btinternet.com VISUAL ART VIVECA KOH FRPS, 07956 517524 VIVECA.KOH(GMAIL.COM

8TH INTERNATIONAL PHOTOGRAPHIC SALON VARNA CLOSING DATE: 10 JUNE 2015

`` fotosalonvarna.org `` Ref: 2015/26 CORSICA 2015 CLOSING DATE: 11 JUNE 2015

`` pca-exhibition.com/corsica `` Ref: 2015/34 VOL 155 / MAY 2015 / THE RPS JOURNAL / 395

EXHIBITIONS 396 | GUIDE | PATRONAGE

153RD EDINBURGH INTERNATIONAL EXHIBITION OF PHOTOGRAPHY CLOSING DATE: 17 JUNE 2015

`` edinburghphotosalon.org `` Ref: 2015/18 SALON INTERNATIONAL PHOTOGRAPHIQUE LE CATON 2015 CLOSING DATE: 22 JUNE 2015

`` perpignanphoto.fr `` Ref: 2015/29

7TH PSA CHINA INTERNATIONAL EXHIBITION OF PHOTOGRAPHY CLOSING DATE: 28 JULY 2015

`` salon.psachina.org `` Ref: 2015/43 5TH CHINA INTERNATIONAL DIGITAL PHOTOGRAPHY ART EXHIBITION

CLOSING DATE: 19 JULY 2015

`` newtonabbot-photoclub.org.uk `` Ref: 2015/28 396 / THE RPS JOURNAL / MAY 2015 / VOL 155

MEMBERS’ BIENNIAL PRINT EXHIBITION: SPECIAL VIEWING

EXHIBITIONS

`` Smethwick Photographic Society,

for Screen

Churchbridge, West Midlands B69 2AS

CALL FOR ENTRIES: INTERNATIONAL PRINT EXHIBITION 158

MEMBERS’ BIENNIAL PRINT EXHIBITION

CLOSING DATE MONDAY 1 JUNE

`` Open to student, amateur and professional photographers worldwide

TUESDAY 5 MAY % SUNDAY 31 MAY

`` Smethwick Photographic Society,

`` Royal Photographic Society,

The Old School House, Churchbridge, West Midlands B69 2AS

`` exhibitions@rps.org

THU 25 JUNE % SAT 8 AUGUST / 12:00%17:00

THE SOUTH DEVON SALON OF INTERNATIONAL PHOTOGRAPHY

Andrews Gallery, Titanic Belfast, 1 Olympic Way, Queen’s Road, Belfast BT3 9EP

FRIDAY 8 MAY / 19:30%22:00

LESLEY GOODE, EXHIBITIONS MANAGER

`` photo-creators.com `` Ref: 2015/41

TUESDAY 19 MAY % TUESDAY 16 JUNE

`` Belfast Photo Festival,

`` £3.50/£2.50 members `` Also showing the International Images

01225 325720, LESLEY(RPS.ORG

CLOSING DATE: 15 JULY 2015

Stafford ST16 2LD

CLOSING DATE: 30 JULY 2015

CLOSING DATE: 2 JULY 2015

PHOTO CREATORS

`` Shire Hall Gallery, Market Square,

`` photoalliance.net `` Ref: 2015/04

2ND CREATIVE INTERNATIONAL DIGITAL SALON 2015

`` bplclub.in `` Ref: 2015/40

The exhibition Drawn by Light: The Royal Photographic Society Collection runs at the National Media Museum in Bradford until 21 June.

Image: Brighton by Otto Pfenninger, 1906

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

INTERNATIONAL PRINT EXHIBITION UNTIL SUNDAY 10 MAY

122 Wells Road, Bath BA2 3AH

GO TO RPS.ORG/EVENTS FOR THE LATEST UPDATES

DRAWN BY LIGHT: THE ROYAL PHOTOGRAPHIC SOCIETY COLLECTION UNTIL SUNDAY 21 JUNE

`` The National Media Museum, Bradford, West Yorkshire BD1 1NQ

| GUIDE | 399

OVERSEAS CHAPTERS

Royal Photographic Society members around the world

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

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

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

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

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

`` 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

JOURNAL COUNCIL REPORT ! FEBRUARY 2015 In a change to previous practice The Society’s departmental managers had provided written reports of day-to-day matters in advance of the meeting, allowing Council to give greater consideration to more strategic issues.

MINUTES OF THE PREVIOUS MEETING `` The minutes of the meeting held on 13 January 2015 were approved.

SOCIETY FINANCE `` Geoff Blackwell reported that work on the 2014 accounts was continuing. The Investment Committee was meeting to interview and receive information from prospective investment managers. He proposed, and Council accepted, moving the recent legacy income to the investment fund with the proviso that it would be available in the short term.

The Finance Committee recommended that Council investigate the feasibility of electronic voting for the 2017 election, which Council accepted.

SOCIETY PREMISES

`` Geoff Blackwell reported that the refurbishment and moving costs associated with a prospective building were not viable and Council agreed not to proceed with this one.

Robert Albright noted that The Society could be open to partnerships with other bodies where it would provide access to an exhibition space.

MEMBERSHIP

`` The Society’s current membership stood at 11,166.

GROUPS/REGIONS/OVERSEAS CHAPTERS `` Vanessa Slawson reported that the South Wales Region was now active and the RO had been able to come to the recent induction day.

Gareth Edwards would be talking to the North-West Region about working together. `` The recent induction day had been attended by 20 people and had been well received. A separate session had also been held for treasurers. Two induction days will be held annually.

Groups and Regions would be encouraged to list their committee members on the website. `` Walter Benzie reported that the Special Interest Groups meeting had been useful, with the involvement by two Advisory Board members running the meeting.

Some of the Group names were considered to need revising and there was an opportunity to explain the remit of some Groups. Walter Benzie would circulate action points from the meeting. `` Walter Benzie reported on a meeting he had held with Del Barrett and John Tarby. The London Region had been working with John Tarby and organising workshops, and this was to be encouraged.

Walter Benzie offered to draft a response to John Tarby and Del Barrett for their workshop proposal. `` Richard Tucker reported on his role representing the Chapters on the Advisory Board and the work that he had undertaken in contacting Chapters. There had been a range of responses and differing views of their satisfaction with The Society. A number of Chapters were positively active, although one theme that had come across was a seeming lack of

consultation by Council over decisions affecting Chapters.

Chapters would welcome access to lectures and videos of exhibitions and Distinctions portfolios remotely. Guidance and rules for Chapters would give them some framework to work to. `` The CV of Chris Renk was circulated.

Council approved his appointment as German Chapter Organiser.

AWARDS

`` Council approved the recommendations for The Society’s Fenton Medal.

DISTINCTIONS

`` Derek Birch had received feedback from Roger Reynolds, DAB Chair, on the previous Council meeting. He would be invited to a future meeting.

Council approved the purchase of an 85-inch flatscreen requested by the DAB. This would be purchased in the late spring for testing and then used during the autumn.

EXHIBITIONS `` Derek Birch reported that he had attended the launch of the International Year of Light 2015 in Paris. With three colleagues he had also attended the UK launch at St James’s Palace, where he had been introduced to Prince Andrew. Light Works, which launched at Burlington House, had attracted 80 per cent of the 25,000-35,000 visitors to the Royal Academy. `` A brochure seeking sponsorship for the International Print 158 had been prepared and was being distributed

by Megan Whitty Associates.

EDUCATION, WORKSHOPS AND TRADE SHOWS `` David Cooke reported that a draft

affiliation scheme prospectus had been circulated to universities for comment. There had been some concern expressed at the cost to universities. The Society would resist any moves to push the cost back to students. `` The development of the joint online course with the Open University continued to progress well and this would lead to an RPS certificate in photography.

NATIONAL MEDIA MUSEUM

`` Derek Birch reported that the joint RPS/Museum meeting had taken place. The work of the RPS volunteers had been positively acknowledged and a meeting was being held with them to plan future work.

ADVISORY BOARD

`` Walter Benzie would prepare the agenda for the March meeting.

ANY OTHER BUSINESS

`` Richard Tucker was unanimously co-opted to Council.

`` Major rail work during August would make Bath difficult to access and Council asked that its August meeting be moved to London. `` Council discussed the feasibility of producing Portfolio FOUR. Several trustees expressed a view that the publication should aim to break even. Robert Albright suggested that publishing a history of The Society might be a better use of funds. `` Geoff Blackwell reported that the Historical Group was supporting two national events, one to commemorate the Hurter and Driffield centenary and the other a conference associated with the First Sixty Years of Scottish Photography exhibition opening in Edinburgh in the summer.

VOL 155 / MAY 2015 / THE RPS JOURNAL / 399

THE RPS COLLECTION 400 | TIMES PAST | FROM

An atmosphere of power

American pioneer Alvin Langdon Coburn captures the might of the Houses of Parliament

F

or the past six weeks – it just seems far longer – the United Kingdom has been in the midst of a general election campaign to elect its members of parliament.

Politics has long provided fertile subject matter for photographers: from portraits of prime ministers

and politicians to the home of parliament itself.

Alvin Langdon Coburn’s Houses of Parliament (c.19001909) was produced at the height of his interest in pictorialism, before he moved towards abstractionism and modernism. Coburn was elected an associate member of the Linked Ring in 1903, and

in 1906 he had the first of a series of one-man shows at the Royal Photographic Society’s premises in London.

He joined the Society in 1907.

Whenever he was in London, Coburn studied photogravure printing at the London County Council School of Photo-Engraving twice a week between 1905

and 1909. He believed that the process would allow him to produce images of a delicacy and aesthetic quality that, he said, would come close to platinum prints.

Coburn acquired two copperplate printing presses as an addition to his studio and darkroom, and the technique was put to good use in a series of photographs of people and buildings he made during this period.

A series of books of cities was planned, with London published in 1909.

Each was illustrated with 20 impressionistic photogravures of the city, with Coburn personally preparing the printing plates and pulling the proofs until he obtained a perfect specimen for his printer to match. He claimed that his photogravures could be considered as original prints and he signed them as such.

DR MICHAEL PRITCHARD FRPS DID YOU KNOW?

Coburn was an accomplished photographer by the time he was eight years old Pictorialism typically involves a degree of image manipulation

An exhibition of Alvin Langdon Coburn’s work, curated by former RPS Curator Pam Roberts, opened in Madrid earlier this year.

It continues at George Eastman House, New York, from October.

Roberts’ book on Coburn is published by Fundación Mapfre 400 / THE RPS JOURNAL / MAY 2015 / VOL 155

COPYRIGHT: THE ROYAL PHOTOGRAPHIC SOCIETY COLLECTION/ SCIENCE AND SOCIETY PICTURE LIBRARY

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