The RPS Journal October 2016

2016 RPS AWARDS OCTOBER 2016 / VOLUME 156 / NUMBER 10 / WWW.RPS.ORG

INSIDE

HELLEN VAN MEENE EMMANUEL LUBEZKI THOMAS STRUTH DAVID STEWART DAVID HURN ADAM FUSS

© Andreas Lundberg

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| OCTOBER 2016 | 721

OPENING SHOT THE GREAT AND THE GOOD

W COMING UP

IN FUTURE ISSUES Rory Lewis presents his portraiture masterclass, Rose Teanby ARPS reveals her study of Victorian photographer Robert Howlett, and we showcase the International Images for Science winners

PRINCIPAL PATRONS

elcome to this very special edition of the Journal. To help celebrate the RPS Awards, which took place at the Royal Society in London last month, we’ve dedicated 28 pages to showcasing work by many of this year’s award winners, including interviews with Magnum Photos member David Hurn HonFRPS and Centenary medallist Thomas Struth HonFRPS. What is more, we invited the winner of the all-new RPS Award for Editorial, Advertising and Fashion, David Stewart, to shoot this issue’s cover. We wanted an image that captured the celebratory nature of the event, meanwhile encapsulating all the wit, charm and surreal intensity one expects from Stewart’s work.

Stewart, who also won last year’s Taylor Wessing Portrait Prize, has done a great job.

He’s managed to respond to the original brief while making an image that is nonetheless full of ambiguity and subtle irony. It’s an example of the kind of sophisticated image making that has made him one of the best in his field.

The awards event itself was an absolute blast.

There are few occasions when you’ll find such eminent photographers – many of whom are

MAJOR PARTNERS

long-serving Society members and volunteers – all under one roof. It was exciting to meet so many big-name photographers, as well as catching up with some familiar faces.

If you’ve never before attended the Society awards, I highly recommend you consider joining us next year. Keep an eye out for announcements in future editions of the Journal.

Also in this issue, we hear from the winners of another great Society institution: the International Print Exhibition. As ever, the selected images demonstrate the variety of interesting work being created by amateurs and professionals worldwide – not to mention the consistent high quality.

ANDREW CATTANACH Editor

SUPPORTING PARTNERS

VOL 156 / OCTOBER 2016 / THE RPS JOURNAL / 721

722 | OCTOBER 2016

IN THIS ISSUE The Royal Photographic Society Fenton House, 122 Wells Road Bath BA2 3AH, UK www.rps.org reception@rps.org +44 (0)1225 325733 Incorporated by Royal Charter Patron Her Majesty the Queen President Walter Benzie HonFRPS Vice-President Robert Albright FRPS Treasurer Geoff Blackwell ARPS Chief Executive Dr Michael Pritchard FRPS Published on behalf of The Royal Photographic Society by Think Red Tree Business Suites 33 Dalmarnock Road, Glasgow G40 4LA thinkpublishing.co.uk EDITORIAL ENQUIRIES Editor Andrew Cattanach andrew@thinkpublishing.co.uk 0141 375 0481 758 An ethereal image by new Society Honorary Fellow Adam Fuss

Images by celebrated Magnum photographer David Hurn HonFRPS feature in our 2016 RPS Awards special

Design Matthew Ball, John Pender, Alistair McGown Sub-editor Sam Bartlett Advertising sales Helen Rosemier helen.rosemier@thinkpublishing.co.uk 020 3771 7230

2016 RPS AWARDS

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

Turn to our special section to read about just a few of this year's winners

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

All rights reserved.

748 | David Stewart 750 | Mert & Marcus 752 | Nick Hedges 754 | Spike Walker ASIS FRPS 755 | Emmanuel Lubezki 756 | Ingrid Pollard 758 | Adam Fuss 760 | Hellen van Meene 762 | Professor Caroline Wilkinson 765 | Chloe Dewe Mathews 766 | David Hurn 770 | Thomas Struth

Every reasonable endeavour has been made to find and contact the copyright owners of the works included in this newspaper. However, if you believe a copyright work has been included without your permission, please contact the publishers. Views of contributors and advertisers do not necessarily reflect the policies of The Royal Photographic Society or those of the publishers. All material correct at time of going to press.

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

Cover by David Stewart, specially commissioned by the Journal

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For the full list of award recipients go to bit.ly/RPSAwards2016 752 Fish gutter, North Shields by Hood Medal recipient Nick Hedges

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© NICK HEDGES; © ADAM FUSS HonFRPS; POLICE RESTRAIN FANS WHO LINE A RAILWAY BANK HOPING TO SEE THE BEATLES AS THEIR TRAIN PASSES, 1964 © DAVID HURN HonFRPS

Contributing editors Fiona McKinlay, Jonathan McIntosh, Gavin Stoker

UNTITLED #319, 2008. CHROMOGENIC PRINT BY © HELLEN VAN MEENE HonFRPS, COURTESY OF THE ARTIST AND YANCEY RICHARDSON GALLERY

THE CRAFT

EVERY MONTH

777 | MUST TRY * LATEST KIT The Canon 5D MkIV and a range of new equipment reviewed, plus member Philip Field ARPS tests the Nikon D5 780 | MASTERCLASS/IN DEPTH Say 'I do' to professional wedding photography tips from Nichola Rogers and Stuart Wood

724 | BIG PICTURE Tornado on show by Tim Moxon 727 | IN FOCUS Six pages of news and views from the Society and beyond, including the best photography exhibitions 738 | DISTINCTIONS Gordon Brown, ARPS Applied 785 | MEMBER GUIDE Our round-up of Society events 796 | SHOWCASE The Travel Group's exhibition at Fenton House

760 The work of Hellen van Meene HonFRPS, recognised at this year's RPS Awards

800 | TIMES PAST Photographed from Nature

by Camille Silvy VOL 156 / OCTOBER 2016 / THE RPS JOURNAL / 723

724 | BIG PICTURE |

724 / THE RPS JOURNAL / OCTOBER 2016 / VOL 156

Tornado on show

By Tim Moxon Photography in and around thunderstorms carries with it inherent risks. Lightning is always an unpredictable threat, and the best position to photograph a storm is also one where large hail can fall with little warning.

It’s not unusual to be in position and find that a three-inch hailstone smashes on the road somewhere nearby.

This photograph, taken near

Wray, Colorado, earlier in the year, appears to have dust on the image, but that is actually some big hailstones. The key safety measure with storms is always to plan your escape route with as much rigour as you plan your route into the storm.

Last month, the Royal Meteorological Society and The Royal Photographic Society named Tim Moxon Weather Photographer of the Year 2016.

For more, visit bit.ly/weatherphoto

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727

BRIGHTON ROCKS Members’ seaside exhibition 728

STRATEGIC REVIEW Society drafts five-year plan 729

PHOTOGRAPHY PIONEER The multitalented Olive Edis FRPS 730

INFOCUS NEWS, VIEWS, EXHIBITIONS AND MEMBER INSIGHT

Two images from John MacLean’s winning photobook Hometowns

PHOTOGRAPHY BROUGHT TO BOOK The Society gives recognition to new international photobooks

© JOHN MACLEAN

The winners of the Society’s first international photobook exhibition have been announced. The selectors – publishers Dewi Lewis HonFRPS and Lucy Kumara Moore, and writer and tutor David Campany – chose 25 photobooks for the shortlist

BOOK NOW!

during what Lewis described as a ‘pleasurable, enjoyable and interesting day’.

The winner was Hometowns by John MacLean, UK, in which he imitates the styles of 22 different photographers and artists. Second prize went to Arnaldo Pappalardo, Brazil, for his book Entre, while third prize was awarded DIGITAL PHOTOBOOK WORKSHOP

to Thom and Beth Atkinson, UK, for Missing Buildings.

The winning entries will feature in next month’s Journal.

Shortlisted photobooks will be on show in London, from 18-23 October; Plymouth, from 29-30 October; and Bradford, on 12 November. For more information, see bit.ly/rpsphotobook

David Campany judging entries

Lucy Kumara Moore and Dewi Lewis

Join this event at Fenton House on Sunday 20 November (£71 for Society members). For more information turn to page 786 VOL 156 / OCTOBER 2016 / THE RPS JOURNAL / 727

728 | IN FOCUS |

Frost Lantern by Don Komarechka

INTERNATIONAL IMAGES FOR SCIENCE Winners picked from more than 2,500 submissions to the Society’s competition The top entries to this year’s International Images for Science competition have been announced.

The five winners, including an image of a camping stove heat plume and a swarm of sea nettle jellyfish, reveal the variety of subjects and techniques submitted to this year’s contest, which is supported by Siemens.

In next month’s Journal we will take a closer look at some of the selected images, including the five winners.

For more, visit rps-science. org/events/InternationalImages-for-Science

TIDES’ TURN AT BRIGHTON BIENNIAL

Great Leap Forward by Colin Miller ARPS 728 / THE RPS JOURNAL / OCTOBER 2016 / VOL 156

Six Brighton and Hove-based photographers, five of whom are Society Associates, have been taking to the beach to create Tides, a five-month project about the city’s seafront.

For the project, the photographers, collectively known as the Peer to Pier group, photographed a mile-long stretch between the West Pier and the Brighton Palace Pier.

The Peer to Pier group includes Audrey Marshall

ARPS, Colin Miller ARPS, Colleen Slater ARPS, David Wilsdon ARPS and Steve Boyle ARPS. The work will be on show as part of the Photofringe at the Brighton Photo Biennial.

Peer to Pier’s pictures will be on display at the beach opposite Cafe de la Mer, 124A King’s Road, Brighton from 1-30 October.

For more information see bit.ly/brightonphotorps

© MARK BENHAM © DON KOMARECHKA; © ANUP DEODHAR

Society members show the results of their photographic study of the city’s seafront

| IN FOCUS | 729 FROM WALTER BENZIE HonFRPS

TIME TO GET MESSAGES OUT We all have a role in Society’s direction

I

Warrior of the Grassland by Anup Deodhar – winner of a silver award (age 26 and over)

OPEN FOR SUBMISSIONS

© MARK BENHAM

Prestigious photography competitions invite entries

Two major photography competitions are now open for entries.

First up is the international HIPA contest, which invites submissions by 31 October. Meanwhile, the Pink Lady Food Photographer of the Year, which boasts

Image by food photographer Mark Benham

Society chief executive Dr Michael Pritchard as one of its judges, closes for entries at midnight on 5 February 2017.

hipa.ae/en and pinkladyfoodphotographeroftheyear.com

t seems hardly possible that a year has passed since the present council was elected. A year, it should be added, that has been full of interest.

Not long after the council was formed, we were advised by the National Media Museum in Bradford that the RPS Collection was to be transferred to the V&A in London. Meetings between our chief executive, Dr Michael Pritchard, and the V&A have been very positive and the V&A is supportive of the Society’s objectives.

We owe a great deal of thanks to our volunteers who have worked unstintingly documenting the Society’s treasures in Bradford, and their good work will be passed on to the V&A. In the meantime, the Distinctions review group has now reported to council. The members’ questionnaire attracted 140 responses and the group met other stakeholders to hear their views. Their recommendations have yet to be discussed with the Distinctions advisory board. When they have been consulted and council has approved any changes, a summary will be made public.

Council appointed some of our most senior members to take a look at the Society’s governance to make sure it was fit for purpose. This committee has met on a number of occasions and has had considerable input from our membership. They reported to council in September and some

changes resulting from their work will be reported to the membership shortly.

A further review is being undertaken regarding our website. Certainly, the web has transformed the way we are perceived by the general public. However, heavy site traffic has caused some problems and we are looking at what needs to be done to upgrade its capability for the future and make it more responsive.

Finally, an updated strategic review has been drafted and reviewed by our advisory board, regional officers and special interest group representatives, and will soon be made available on the web for members to see. It will set the direction of the Society for the next five years.

Meanwhile, we need to raise our public profile – our plan for a new HQ forms part of that objective. Too many people still believe that you have to be invited to be a member of the Society and many have little conception as to what we have to offer. We all need to change that perception.

Walter Benzie HonFRPS President of The Royal Photographic Society

VOL 156 / OCTOBER 2016 / THE RPS JOURNAL / 729

730 | IN FOCUS |

FISHERMEN AND KINGS

NEWS IN BRIEF

Exhibition by celebrated Society Fellow Olive Edis opens in Norwich Featuring more than 190 photographs, the exhibition showcases Edis’s wide-ranging portraiture, encompassing British royalty, literary figures and Norfolk fishermen, along with her work as an official war photographer.

Edis, who was the first

accredited female war photographer, became a Society member in 1913 and a Fellow the following year.

She pioneered new photographic techniques and patented a design for autochrome viewers. museums.norfolk.gov.uk

PETER FRASER LIMITED! EDITION PRINTS Peter Fraser HonFRPS is selling a set of signed prints from his iconic series Two Blue Buckets. The edition is limited to 25 copies each of four images, sized at 25cm x 32cm, and costing £750.

Email peter@peterfraser.net

COMBINED ROYAL COLLEGES LECTURE The recipient of the 2015 Combined Royal Colleges Medal, Dr Gavriel J Iddan DSc, will give a lecture on the invention of capsule endoscopy at the Royal College of Surgeons, London, on 15 November. Find details at bit.ly/royalcollegelecture ‘Lotion Tar’ Bishop

Self-portrait, c 1910

RECOGNISING VOLUNTEERS

Well done to members who have given their service to the Society FOUR TO EIGHT YEARS’ SERVICE Richard Bingham ARPS Ian Oliver LRPS

Andy Hayes ARPS Verity Wedderburn-Ogilvy LRPS Dave Baxter LRPS Matthew Clarke

Prince Edward (King Edward VIII)

Rod Blackmore LRPS EIGHT TO TWELVE YEARS’ SERVICE Peter Paterson FRPS Karen Berry FRPS Ann Miles FRPS John Thompson ARPS

TWELVE YEARS’ AND OVER SERVICE Neil Maughan ARPS Harry Miller LRPS John Simpson ARPS Donald Stewart FRPS David Bruce FRPS

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730 / THE RPS JOURNAL / OCTOBER 2016 / VOL 156

23/03/2016 14:41 15:27 15/09/2016

LOTION TAR BISHHOP, OLIVE EDIS/NORFOLK MUSEUMS SERVICE; © PETER FRASER HONFRPS

The first major exhibition dedicated to Olive Edis FRPS (1876-1955), one of the most important British photographers of the first half of the 20th century, goes on show at Norwich Castle Museum and Art Gallery from 8 October to 22 January.

| IN FOCUS | 731

365 IN THE AIR

By Manu Reghuarajan This image was taken on January 30 2015 during a dirt bike race organised by the Dubai Motocross Club in Jebel Ali. I photographed the event alongside a group of friends from Shutter Bugs Creative Forum, a group mentored

by Mohammed Arfan

AUGUST’S ONLINE COMPETITION WINNERS

THE WORLD OF SPORTS GET INVOLVED Submit photographs for the next competition at rps-365.org THE HUDDLE

By Neil Harris ARPS Shot on independence day 2016, this was taken in the village of Tsifota, on the west coast of Madagascar.

This part of the country is extremely poor, with most villages having limited access to electricity.

I was surprised that the players wore coordinated kit, given the location and quality of the pitch.

The huddle shows that the players were influenced by the football matches they watched on TV. I used a Canon 5D MkIII with a 24-105mm lens at 55mm.

Asif, the regional coordinator of the Society’s Dubai chapter.

I specifically wanted to capture a shot of the bikers in mid-air while not overlapping.

I waited on a curve that had a vertical slope just before it, which gave me opportune moments to photograph the bikers head on and as they flew into the air.

MOTION

By Jayne Odell ARPS Living in Newmarket allows me the privilege of photographing the town’s magnificent young racehorses training in the morning light. It’s breathtaking to witness.

I love to capture their power and motion in monochrome, helping to accentuate tone and form.

This was taken in June with my Nikon D800 and 70-200mm lens (plus converter) giving me a

focal length of 280mm.

To keep the depth of field shallow I shot at f/4.0 in aperture priority mode and at ISO 1,600 to freeze the action and catch the dust being kicked up as the horses accelerated up the hill.

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732 | IN FOCUS |

YOUSUF KARSH Beetles + Huxley, London UNTIL 15 OCTOBER

This is the first major London exhibition in 30 years of portraits by this master of the art, and includes signed prints of Churchill, Picasso, Audrey Hepburn, Albert Einstein, Fidel Castro, Martin Luther King and other 20th-century icons. beetlesandhuxley.com

PLANET YORKSHIRE Impressions Gallery, Bradford

WHAT NOT TO MISS DRAWN TO THE LAND Fox Talbot Museum, Lacock Abbey UNTIL 12 MARCH

Award-winning documentary photographer Sophie Gerrard presents a series of images

of female hill farmers in Scotland.

Each of the women has their own story, but all talk of being custodians rather than landowners, and demonstrate a great empathy with the land and their livestock.

UNTIL 3 DECEMBER

‘My aim was to uncover something more authentic,’ said Gerrard. ‘I wanted to go beyond the picturesque postcard view to learn about the land through the eyes of those responsible for it.’ bit.ly/gerrardsophie

Impressions presents a major survey of the work of Peter Mitchell, a colour documentary pioneer with an interest in Yorkshire. It includes images never shown publicly, many of which are recent photographs from Leeds, the city where Mitchell has lived and worked since 1972. impressions-gallery.com

HARRY HOOK: ABOUT AFRICA Various venues (see website)

SILVER PORTRAITS Hove Museum, East Sussex

UNTIL 28 NOVEMBER

UNTIL 15 NOVEMBER

Noted film director and Getty Images photographer Harry Hook has been documenting the African continent for more than 40 years, and is now midway through a 14-date tour to showcase his work. Expect an evening of extraordinary stories and images about his travels. harryhook.co.uk/talks.html

Sean Hawkey presents a series of images taken using wetplate collodion techniques with silver, a method invented in 1851 and already obsolete by the 1870s.

Subjects include silver miners in Peru, the Royal Opera House and people he met on the streets of Brighton and Hove. brightonmuseums.org.uk/hove

732 / THE RPS JOURNAL / OCTOBER 2016 / VOL 156

LONDON STEREOSCOPIC COMPANY TALKS Various venues UNTIL 8 NOVEMBER

This is a must-see for anyone interested in stereoscopy past and present.

As Journal readers will know, Queen guitarist Brian May is an authority on this subject, and is a confirmed speaker at the King’s College London and Excel Centre talks. bit.ly/lsctalks

Bruce Gilden: Detroit – Against the Wind Leica Store, Mayfair, London Until 6 October Jo Spence Stills Centre for Photography, Edinburgh Until 16 October William Eggleston: Portraits National Portrait Gallery, London Until 23 October Lin Gregory: Land and Sea Farley Farmhouse, East Sussex Until 30 October The Camera Exposed V & A Museum, London Until 5 March

© SOPHIE GERRARD; © YOUSUF KARSH; © SEAN HAWKEY; © HARRY HOOK

ALSO SHOWING

COMPETITION 734 | IN FOCUS | SOCIETY

INTERNATIONAL PRINT EXHIBITION WINNERS

This year’s award-winning photographers discuss their images

UNDER!30s WINNER

GOLD AWARD £1,500

AND METRO IMAGING MENTORSHIP PRIZE

SCHOOL BUS Anna Shustikova, Russia SHUSTIKOVA.VIEWBOOK.COM

These are pupils from Taldom, a small town north of Moscow and its nearby villages. I went with them to the Dubna wetlands where, every spring, children from Taldom’s schools seed a field in preparation for the thousands of cranes that gather there in

734 / THE RPS JOURNAL / OCTOBER 2016 / VOL 156

the autumn before their long flight south.

I was standing in front of the children for several minutes, waiting for the right moment. At first the girls tried to pose, but they soon forgot about me. It was interesting to watch how the small boys tried to win the attention of the girl in the middle, who was one of the teacher’s helpers.

The Society’s International Print Exhibition has been staged since 1854 and is now in its 159th edition.

During its long history, the exhibition has included work by some of the world’s most eminent photographers, including Julia Margaret Cameron, Roger Fenton and Edward Steichen.

‘This year, the competition attracted entries from more than 1,400 photographers in 57 countries worldwide,’ says

WINNER

GOLD AWARD £1,500

the Society’s exhibitions manager Lesley Goode.

‘We are delighted that, for the first time, all four award winners are women – a sign of the increasing role that they have in today’s world of photography.’

The annual exhibition invites entries from all genres of photography by amateurs and professionals, and represents the Society’s commitment to promoting and supporting photographers.

ALICE Carolyn Mendelsohn, UK CAROLYNMENDELSOHNPHOTO.COM

Alice is an 11-yearold girl who responded to a callout for subjects for my project Being Inbetween, an ongoing portrait series exploring the lives, thoughts and feelings of girls aged between 10 and 12.

From the moment Alice entered the

room I was struck by her self-composure.

There’s something luminous about her.

Girls of this age are bombarded with advertising and marketing. It is vital that this marketing doesn’t come to define who they are.

It was important I took honest images, where they can be themselves and celebrate who they are at this point.

LEFT

School Bus by Anna Shustikova MAIN IMAGE

Alice by Carolyn Mendelsohn.

The selection panel were captivated by this image and all agreed that it was a clear standout from the start

VOL 156 / OCTOBER 2016 / THE RPS JOURNAL / 735

COMPETITION 736 | IN FOCUS | SOCIETY

WINNER

SILVER AWARD £750

LUCIE Polly Braden, UK POLLYBRADEN.COM

In 2014 I was asked to make a body of work about what people with learning disabilities and autism could achieve

736 / THE RPS JOURNAL / OCTOBER 2016 / VOL 156

with the right support. The project culminated in the photobook Great Interactions: Life with Learning Disabilities and Autism, and an exhibition.

Lucie was swimming at the edge of the pool watching some of the boys who were jumping in and showing off for the camera. I went over and asked if she

would like to swim underwater for a photo. She dived to the bottom of the pool several times while I photographed her. There are around 1.5 million people in the UK

SOCIETY COMPETITION

WINNER

BRONZE AWARD £500

LEFT

Lucie by Polly Braden BELOW

The Jûngølā Klöwñz of Deptford by Poem Baker

with a learning disability and 700,000 with autism. I spent two years working with a few who are supported by MacIntyre, a charity that provides more

than 1,500 children and adults with learning, support and care.

The photographs look at everyday moments and milestones in the subjects’ lives.

THE JÛNGØLĀ KLÖWÑZ OF DEPTFORD Poem Baker, UK POEMBAKER.CO.UK

Tuttii Fruittii and Toni Tits, aka the Jûngølā Klöwñz, are an experimental comedy art duo.

They perform in underground clubs and festivals as part of performance art group Haus of Sequana.

This portrait is from a series that follows the duo around their home, place of work and neighbourhood. This particular shot was taken in their local pie and mash shop in Deptford.

Tuttii and Toni are such amazing characters and it was exciting to

| IN FOCUS | 737

be given the opportunity to share their world with everyone.

Every day they dress up and put on their make-up.

It’s not just an act for the camera, either – they look like this 24/7.

I wanted to show a day in the life of the Jûngølā Klöwñz of Deptford, and therefore I photographed them in bed, having breakfast, getting dressed and going to the market, as well as showing Tuttii working in her caravan hair salon.

It took about a year to put the project together, meeting once a month to make a portrait.

VISIT | INTERNATIONAL PRINT EXHIBITION The above images and more will be on show at London’s Photomonth International Photography Festival at the Old Truman Brewery, Brick

Lane, from 13-18 October. The exhibition will then travel to the Royal Albert Hall before moving to other venues in the UK. rps.org/ipe159

VOL 156 / OCTOBER 2016 / THE RPS JOURNAL / 737

738 | OCTOBER WHAT ARE DISTINCTIONS?

Distinctions are standards of achievement recognised throughout the world

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

Gordon Brown ARPS APPLIED

A rugby club's 'unsung heroes' gain time in the spotlight as they become this project's focus My panel shows the range of people that make Winchester rugby club a successful local team, including the players, coaches, the junior teams and their parents. It takes a lot of effort by a lot of people to organise and run the club.

When I first set out to make the panel, I expected to document the first, second and third teams playing, and maybe the coaches. In the end, as I developed my relationship with the club, I learned more about the coaches’ commitment to the junior sections and the sheer number of people that it takes to run their Sunday-morning sessions.

These unsung heroes were far more interesting and ended up forming the bulk of the panel. There are volunteers who put in a lot of work to prepare the pitches, write match reports, coach the children’s teams, clean the kits, and order and prepare the post-match refreshments.

I started photographing the club at the start of the 2014-15 season. During that time I was able to capture 90 per cent of the images I required. I then completed the panel during the 2015-16 season.

The panel is about the people and the work that they do, so I felt that it was important to make the images monochrome. I believed using colour would distract from the individuals.

This inevitably produces a certain gritty atmosphere, which is also appropriate for the subject.

If I were to offer advice for someone looking to create an Associate panel, it would be don’t get constrained by your original concept. Adapt as the process unfolds.

FACT FILE

Gordon Brown works in IT. His interest in photography has grown over the past 10 years due to the possibilities offered by digital equipment. He enjoys the discipline and focus that the Distinctions process encourages 738 / THE RPS JOURNAL / OCTOBER 2016 / VOL 156

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

VOL 156 / OCTOBER 2016 / THE RPS JOURNAL / 739

740 | DISTINCTIONS |

PREVIOUS PAGE

Parents Watching ABOVE

Sunday Morning Training ABOVE RIGHT

Scrum Practice FAR RIGHT

Andy the Physio Gives Support NEAR RIGHT

Marking Out a Pitch LEFT

Learning to Tackle

740 / THE RPS JOURNAL / OCTOBER 2016 / VOL 156

FEATURE SPONSORED BY

VOL 156 / OCTOBER 2016 / THE RPS JOURNAL / 741

742 | DISTINCTIONS |

742 / THE RPS JOURNAL / OCTOBER 2016 / VOL 156

FEATURE SPONSORED BY

FACING PACE, TOP

RIGHT

Midweek Training in the Rain

Tim Writing the Match Report

FACING PACE, BELOW RIGHT

BELOW RIGHT

Imagining the Future

Camaraderie After the Game

FACING PACE, BELOW LEFT

John the Groundsman

ASSESSOR’S VIEW

VANESSA SLAWSON FRPS Deputy chair of the Applied panel The Applied category encompasses a wide range of photographic disciplines including documentary images telling, in this case, of a local rugby club. The important thing to note is that Gordon used the situations and the conditions to create the images for his panel, rather than just recording the event. It is also evident that considerable thought has gone into the panel construction, both in content and layout.

While needing to show the range of activities involved in the running of the club, Gordon has only used the visually strongest images. Each image could stand alone but importantly fits into the overall cohesion of the 15 prints on display.

This panel is also defined by the care and attention that has been paid to eliminate distractions in the backgrounds and on the edges, the framing of each image and the consistent tonality across all the prints. The decision to work in monochrome has enhanced this panel.

The statement of intent is a crucial part of the assessment in the Applied category. It must set out the purpose of the photography and the images must match the intended end use.

If you fail to achieve this you will not be successful.

A common reason for failure is repetition both of subject matter and, more commonly, the approach and technique used. At Associate level we expect to see a diverse skill set and technical excellence in the pictures displayed. An Associate set of images also needs to show a high level of photographer input; this can also be described as your own personal style and interpretation of your project.

HANGING PLAN

'It is evident that considerable thought has gone into the panel construction, both in content and layout'

VOL 156 / OCTOBER 2016 / THE RPS JOURNAL / 743

744 | DISTINCTIONS |

Fellowship of the Year

Image: Fiona Alison

This year’s winner, Tony Bramley FRPS, tells us the impact the Society’s award will have on his career

MEET THE ICONIC RANGE OF UPGRADED

Fi n e A rt

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WHAT DOES WINNING THE SOCIETY’S FELLOWSHIP OF THE YEAR AWARD MEAN TO YOU? My work is very much out on the edge of photography and gaining the initial Fellowship was amazing. To then have it recognised further was a shock.

My winning the award helps send out a message: go beyond what you see, and, to quote Kazimir Malevich, the Russian painter that inspired my project, ‘abolish casual thinking’.

WHY DID YOUR PANEL APPEAL TO THE ASSESSORS? When producing the panel, I became obsessed with suprematism, the art movement founded by Malevich, and I think this came across in every aspect of my submission.

For me, it was not just about the content of the compositions but also about the mounting style and the display of the 20 images. I also wanted the statement of intent to come across as a factual document, such as an art historian might write.

I think the whole package is vital at this level, particularly with experimental and nonrepresentational work.

WHY DO YOU THINK IT IS IMPORTANT THAT A NON! REPRESENTATIONAL PANEL HAS RECEIVED THIS AWARD? The Society supports the art and science of photography, which suggests a commitment to all genres of photography.

Less conventional work is not readily accepted by the masses, and the Society understands this and is willing to support what is atypical.

HOW WILL THE AWARD AFFECT YOUR CAREER? I consider the award a huge achievement that will supplement any future marketing to promote my abstractions commercially. It has also introduced my name to the Society’s membership.

The award has also encouraged me to introduce a photography training aspect to my business, called The Light Academy. This has already gained momentum and looks set to continue.

MORE To see Tony Bramley’s Fellowship panel in more detail, see page 178 of the March 2016 issue of the Journal, or visit bit.ly/tonybramley

Image: Patricia’s blackfaced ewes with windfarm turbines, The Scottish Borders. January 2013 © Sophie Gerrard, from the series, ‘Drawn to the Land’. The National Trust is a registered charity no. 205846

THE ROYAL PHOTOGRAPHIC SOCIETY

AWARDS 2016

THIS YEAR’S WINNERS DAVID STEWART MERT ! MARCUS NICK HEDGES SPIKE WALKER ASIS FRPS EMMANUEL LUBEZKI INGRID POLLARD ADAM FUSS HELLEN VAN MEENE PROFESSOR CAROLINE WILKINSON CHLOE DEWE MATHEWS DAVID HURN THOMAS STRUTH PALMER LUCKEY WILLIAM A EWING DIANE DUFOUR PAUL HILL MBE BENEDIKT TASCHEN DR GAURAV GUPTA JOHN BEBBINGTON FRPS PROFESSOR HERMON DOWLING ARPS PROFESSOR ANDREA LIGGINS ASICI FRPS JOHN R SIMPSON ARPS MARY O’CONNOR LRPS MICHAEL VINCE KIM HANNA"KATRINA JĘDROSZ CARL BIGMORE ALAN McFETRIDGE MATILDA TEMPERLEY

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TO SEE ALL THIS YEAR’S WINNERS GO TO bit.ly/RPSAwards2016

LEFT

Lift to heaven RIGHT

Malvern farmers

DAVID STEWART RPS Award for Editorial, Advertising and Fashion

I

n his 35-year career, David Stewart has excelled as an advertising photographer for clients including Nike, American Express and Bank of America, and as an editorial and fashion photographer for Esquire, Time and Harper’s Bazaar.

He has also maintained a steady flow of creative personal projects, focusing broadly on youth, age and relationships. His style ranges from humorous and surreal to the more directly personal.

Born in Lancaster in 1958, Stewart began his career in the mid-1970s by photographing people on Morecambe promenade and shooting gigs by punk bands including The Clash and The Ramones. He studied photography at Blackpool and The Fylde College, graduating in 1981, then moved to London, where he established himself and his career.

Stewart’s book projects include Fogeys (2001), a

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INSIGHT ‘Shooting on large format is the way I have always worked.

It involves thinking more about what you are about to shoot and then trusting your instinct’

collection of images about ‘a bunch of people who were growing old disgracefully’, which won a Silver Award at the Art Directors Club of New York.

Another is Thrice Removed (2009), ‘observations on family, society, relationships and life in general’, and Teenage Pre-Occupation (2013), in which he focuses on ‘certain aspects of teenage life from the outside’.

In 1995 he founded film and TV production company Shed Films, and directed Cabbage, which was nominated for a BAFTA award. His 2013 work Stray was shown at the London Short Film Festival.

His images have been selected for the Taylor Wessing Photographic Portrait Prize a record 16 times, triumphing in 2015 with Five Girls 2014, featuring his daughter Alice and friends. He prefers using largeformat 10x8 or 5x4 film cameras, which he says bring ‘a heightened sense of reality to the images … the details are clearer and become more important’.

© DAVID STEWART

WORDS BY DAVID CLARK

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MERT & MARCUS Honorary Fellowship WORDS BY DAMIEN LOVE

in the world.

‘Mert Alas and Marcus Piggott are two of the most inventive photographers working in fashion today.

Their aesthetic is highly polished, colour saturated and hyperreal,’ says the Business of Fashion website, as part of its BoF 500 index of the people shaping the global fashion industry.

Both born in 1971 – Piggott in Wales, Alas in Turkey – they first met at a party in Hastings in 1994. At that time, Piggott was an assistant photographer and Alas, who had studied classical music, was a fashion stylist, helping the likes of Alexander McQueen.

When they met, Alas had never held a camera

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INSIGHT ‘Even if the subject is innocence, we like to see something powerful. We love Marlene Dietrich, Faye Dunaway, Elizabeth Taylor, Charlotte Rampling … ladies who dressed for a thrill’

before, but began helping Piggott and learned photography from him. The team was born.

The breakthrough came in 1997, when their work was published in Dazed & Confused; within four years, they were creating campaigns for clients including Louis Vuitton and Hugo Boss. Since then, Lancôme, Armani, Yves Saint Laurent, Givenchy, Vanity Fair and Vogue Paris have been among those seeking them out.

Drawing inspiration from Guy Bourdin’s work of the 1970s, when he experimented with filters to amplify and intensify colour in vivid, hyperreal fashion shoots, the duo are known for their open and unashamed digital manipulation, saturating colour, altering contours – common enough practice today, but a field they helped pioneer when they began working together in the 1990s.

They have a particular fascination with powerful women – favourite subjects have included Charlotte Rampling, Bjork, Madonna and Carla Bruni – but no set style.

At the same time, their work is instantly identifiable … even if it remains impossible to tell whether it was actually Alas or Piggott behind the camera when any particular picture was taken.

© MERT & MARCUS

M

ert & Marcus is the working identity of Mert Alas and Marcus Piggott, whose symbiotic collaboration has placed them high among the most sought-after fashion photographers

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FAR LEFT

A photoshoot for Vogue Paris with model Suvi Coponen LEFT

From a shoot with magazine W BELOW

Angela Lindvall for POP magazine

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NICK HEDGES

ABOVE

RIGHT

Mother and baby in Gorbals tenement courtyard, 1970

Front side, steel furnaceman

Hood Medal

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INSIGHT ‘The thing about people living in slum housing is that there is no drama … it’s about the absolute wearing down of people’s morale in a quiet and undemonstrative way’

taking thousands of images that would go on to form one of the most important documentary photography projects of the 20th century.

Shelter’s campaign Make Life Worth Living, which was launched in 1966, set out to challenge the notion that only those living on the streets were homeless. Hedges’ photographs were central to the campaign’s message.

Because many of the images from Make Life Worth Living feature children, their use was restricted to protect the subjects, and it wasn’t until 2014 that they were shown again at the Science Museum in London.

Between times, Hedges worked freelance for a number of organisations, including the Disablement Income Group, the BBC and Penguin Books, as well as completing projects about the diversity of faiths, factory work in the Midlands and the fishing industry in the north-east of England.

Latterly, Hedges moved into education and was appointed course leader in photography at the University of Wolverhampton from 1998 to 2002.

© NICK HEDGES

N

ick Hedges was in the final year of a university degree at Birmingham College of Art when he first photographed slum housing conditions. The local housing trust had asked his class to document how people were living in the inner city. Hedges took up the proposal and the resulting images formed his final-year project.

It was while exhibiting this series that Hedges got his first big opportunity. The founding director of homelessness charity Shelter, Des Wilson, saw the images and asked Hedges to be the organisation’s in-house photographer. It was his first job – and one that would define his career.

For the next three years, Hedges travelled around the UK and photographed abject living conditions in places such as Bradford, London and Glasgow,

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SPIKE WALKER ASIS FRPS

ABOVE

Bee louse (Braula caeca)

T

he word ‘veteran’ gets thrown around a lot in photography, but Spike Walker is the real deal – he’s been obsessed with photomicrography, microscopes and microscopy for almost seven decades. ‘I heard about microscopes at school and told my father I wanted one,’ Walker has said.

‘Much to my amazement he found the money, and bought me a series of microscopes,’ he continued.

‘Somewhere along the line I started taking photographs with them. At the beginning I didn’t know how to do it or knew anyone else who did it, so I came up with a Heath Robinson contraption and went from there.’

Walker kept up his photomicrography while studying zoology at university and, in 1961, armed with a second-hand Cooke phase-contrast microscope and the newly developed Zeiss microflash, he began to photograph freshwater

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INSIGHT ‘People will spend a lot of money going to Kenya to see lions in the wild. I can go up the lane, take a tube-full of dirty water out of a ditch and I’ve no idea what I’ll see, out of possibly 30,000 species’

protozoa. The resulting collection was later published by Philip Harris Biological Ltd as a series of teaching slides.

Walker worked as a biological sciences teacher for many years, and used the income from his freelance photomicrography to buy increasingly elaborate equipment.

His first book, Amateur Photomicrography, was published by Focal Press in 1971, and he started to enter photomicrographic competitions with considerable success from the mid-1980s onwards.

Walker is an honorary member of the Postal Microscopical Society and the Quekett Microscopical Club, and an award-winning member of the Royal Microscopical Society.

A Society Fellow since 2010, Walker also received the Combined Royal Colleges medal that year, and became an accredited senior imaging scientist (ASIS) in 2012.

© SPIKE WALKER ASIS FRPS

RPS Award for Scientific Imaging WORDS BY GEOFF HARRIS LRPS

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EMMANUEL LUBEZKI Lumière Award WORDS BY DAMIEN LOVE

ATLASPIX / ALAMY STOCK PHOTO

B

orn in Mexico in 1964, Emmanuel Lubezki, recipient of this year’s Lumière Award for cinematography, started in Mexican TV and cinema in the late 1980s.

In 1993 he struck out on an international career, and has since worked with celebrated filmmakers from the Coen brothers to Michael Mann.

In 2006 it became clear he was staking his place among the masters of his craft. The film was Children of Men, director Alfonso Cuarón’s extraordinary adaptation of PD James’s novel, set in the UK of 2027: a grey, depressed, yet very familiar dystopia. The entire look and flow of the film is a demonstration of Lubezki’s brilliance, but two hectic moments are key: one central episode shot entirely inside a car as it is ambushed; another as the beleaguered hero searches a huge building under heavy attack.

Both sequences are composed as long single takes, and are technically breathtaking – but what is

INSIGHT ‘I haven’t opened up a camera to go through exactly how it works. The results were more important – what I was getting, how it connected to the story and mood, and what I was trying to tell the audience’

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ABOVE

Michael Keaton and Edward Norton square up in the Oscar-winning Birdman

most astonishing is that they never call attention to their virtuosity. Fully in service to plot and mood, Lubezki’s work immerses the viewer completely in the world of the film.

He has continued to explore the limits of the long take with Cuarón in Gravity (2013) and with their countryman Alejandro G Iñárritu in Birdman (2014) and The Revenant (2015) – the three films which led Lubezki to become the first to win the Oscar for best achievement in cinematography three years running.

He has also maintained a long working relationship with the elusive American director Terrence Malick, helping craft Malick’s increasingly indefinable films The New World (2005), The Tree of Life (2011), To the Wonder (2012) and Knight of Cups (2015).

‘The language of film is further and further away from the language of theatre and is closer to music,’ Lubezki has said of his work with Malick. ‘More experimental than classical.’

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INGRID POLLARD Honorary Fellowship

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INSIGHT ‘Part of my job is to make the apparent obvious; to see those who appear not to belong; to cross the border and leave a mark ... and the borders are constantly moving’

image with a caption that highlights their sense of alienation, specifically in pastoral surroundings.

One image in particular shows an apparently innocuous scene: a young black woman sitting by a fence in the Lake District with green hills in the distance. Underneath the image is written: ‘… it’s as if Black experience is only lived within an urban environment. I thought I liked the Lake District where I wandered lonely as a Black face in a sea of white. A visit to the countryside is always accompanied by a feeling of unease, dread …’

Pollard, who was born in Guyana and brought up in London, is a founding member of Autograph APB (previously known as the Association of Black Photographers) and has participated in important exhibitions that have brought together black British artists, including Black Women Time Now at Battersea Arts Centre and The Thin Black Line at ICA, London.

She has taught extensively in universities in the UK and has been an international guest lecturer at institutions including Yale University. Most recently, she was associate lecturer at Kingston University.

© INGRID POLLARD

S

ince the 1980s, artist and researcher Ingrid Pollard has been representing black people’s lives in Britain. Her work, which is held in numerous collections, including the UK Arts Council and the Victoria & Albert Museum, explores the impact of history and landscape on our notions of identity, particularly in reference to race.

In a series of projects made in the 1980s and 90s, including Wordsworth’s Heritage and Self Evident, Pollard photographed black people in the English landscape, challenging the way that British culture associates black people with the urban rather than the rural environment.

Perhaps the most famous of these projects is Pastoral Interlude, in which Pollard photographed individuals in the countryside, accompanying each

TO SEE ALL THIS YEAR’S WINNERS GO TO bit.ly/RPSAwards2016

FAR LEFT

Ajamu. Digital print NEAR LEFT

Untitled. Giclée print RIGHT

Self Evident Series.

Digital print of transparency BELOW

Untitled. Black and white print

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FAR LEFT

Medusa, from the series Home and the World, 2010 CENTRE

Invocation, 1992, cibachrome photogram LEFT

LOGOS, 2015, unique gelatin silver print photogram

ADAM FUSS Honorary Fellow WORDS BY DAMIEN LOVE

© ADAM FUSS

A

dam Fuss is best known for taking photographs without using cameras. Much of his work explores the territory beyond the medium’s conventional boundaries, searching out new possibilities by going back to basics and striking out using some of the earliest photographic techniques and processes.

His first experiments with pinhole cameras quickly led him to a long fascination with daguerreotypes (images formed on silver-coated copper plates polished until they have mirror-like surfaces) and life-size photograms, made by placing objects directly on to the surface of light-sensitive paper.

Fuss has expressed a kinship with the early British photographic pioneer and scientist William Henry Fox Talbot, both in the spirit of experimentation and discovery, and in his persistent focus on natural subjects. Some of his most famous pictures capture streams of water, clouds of smoke, babies, butterflies, dead animals and, time and again, live

INSIGHT ‘My art teacher said “it’s possible to take the best pictures in the world with a pinhole camera”. That one sentence changed my life – that was my entire education’

snakes. But to old techniques and eternal forms he applies a modern sensibility.

Fuss is not out to record and document nature, but to create obsessive sets of personal symbols, momentary metaphors for life’s transience.

Sometimes ghostly, sometimes hypervivid, his images are provocative, charged with emotion yet stubbornly enigmatic, and genuinely mysterious.

Born in London in 1961, Fuss spent his early childhood in rural Sussex, where his interest in the natural world took root, before moving to Australia with his mother. He trained as an advertising photographer, and has explained his movement away from modern photographic technology as a reaction to the mass-production and proliferation of generic images in the commercial world. Since 1982 he has lived and worked in New York.

His work has been exhibited globally, and is represented in many American and international collections, including New York’s Metropolitan Museum of Art and Museum of Modern Art, and London’s Victoria and Albert Museum.

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D

ABOVE

Untitled #471, 2015.

Chromogenic print ABOVE RIGHT

Untitled #331, 2008.

Chromogenic print

© HELLEN VAN MEENE

HELLEN VAN MEENE

utch fine art photographer Hellen van Meene is best known for her compelling and often unsettling portraits of adolescent girls. In her words, these images depict ‘adolescent situations and attitudes, which represent the type of “normality” we don’t usually share with others, but keep to ourselves’.

Photographed in a style reminiscent of compatriots Johannes Vermeer and Rembrandt, and using only natural light, her models’ poses and expressions appear spontaneous but are meticulously arranged. Her idiosyncratic choice of clothing and location, together with the girls’ often

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impassive faces, give the images a haunting and detached quality.

Born in Alkmaar in the Netherlands in 1972, Van Meene started photographing friends and neighbours when she was 16 and studied photography at the Gerrit Rietveld Academie in Amsterdam from 1992-6 (including a spell in 1995 at the Edinburgh College of Art).

She first exhibited work in 1996 and has since been shown in major galleries around the world.

Her accolades include the Charlotte Köhler Prize (1999), an annual award for the most promising artist, and a nomination for the Citibank Photography Prize in 2001.

Throughout her 20-year career she has

INSIGHT ‘Digital can be good in some ways, but to have a limitation like 12 shots and no preview is good. New photographers should have the feeling of not being sure’

preferred to use non-professional models – friends, neighbours and strangers she sees and approaches on the street. Pubescent girls have been a perennial subject, but since 2010 she has incorporated other subjects into her images, notably dogs, other animals and teenage boys.

In an interview with Bleek Magazine in 2015, Van Meene gave an insight into her approach.

‘I am not the kind of photographer who is keen on making a photo where you look like you,’ she said, ‘because it is not my intention.

It is more like I see things in you, something that I would like to take out. And maybe I am taking out something you have not seen or known that you had. And then it is a surprise.’

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PROFESSOR CAROLINE WILKINSON Combined Royal Colleges Medal WORDS BY DAMIEN LOVE

P

rofessor Caroline Wilkinson’s pioneering work has led to her being awarded the Society’s prestigious Combined Royal Colleges Medal this year. But, as honoured as she feels about the accolade, Wilkinson is reluctant to shout about her achievements.

‘I’ve actually stopped telling people what it is I do,’ she laughs. ‘Because the conversation tends to go down one of two routes. People either say: “Oh, I want to know every tiny detail”; or, more often, “How can you possibly tell, you must be making it up …”’

‘So I generally lie,’ she continues, ‘and tell people I’m a microbiologist. That tends to stop the conversation.’

Just to be clear: Wilkinson is not a microbiologist.

Rather, she works at the forefront in forensic facial reconstruction, the painstaking practice of using the skulls and other skeletal remains of decomposed bodies to recreate their owners’ long-vanished faces.

Working first at the University of Manchester, then the University of Dundee, and now at Liverpool John Moores University – where she is director of the School of Art and Design and runs the Face Lab research group – many of her highest-profile jobs have been archaeological in nature.

Her most celebrated subjects have included Johann Sebastian Bach, St Nicholas (Santa Claus, it seems, had a broken nose) and, most famously, Richard III, whose kingly visage she revealed for the first time in 500 years, using the skull that was discovered beneath a Leicester car park in 2012.

Other cases have been more grimly recent, working to help identify victims of disaster and genocide, and assist police in cold cases and other instances where corpses have decayed, reconstructing anonymous faces in the hope someone will recognise them.

The medal is awarded for an outstanding contribution to the advancement of medical photography or the wider field of medical imaging.

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ABOVE RIGHT

Richard III’s initial reconstruction ABOVE

Johann Sebastian Bach RIGHT

A soldier from the Battle of Towton, Yorkshire, in 1461

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Wilkinson’s achievement lies in pushing her discipline into a great leap forward through the development of a computerised system that fuses the latest in medical imaging with the latest in digital modelling.

Over the past decade, increased access to clinical imaging of living patients from CT and MR scans has led to improved anatomical standards, and increased accuracy in understanding factors such as how soft tissue relates to the underlying skeleton.

Importing scans of skulls as 3D models into the computer’s digital space, Wilkinson uses this data to apply muscle and skin, employing haptic technology – software that allows the user to ‘feel’ the virtual objects on screen – to sculpt the face as though moulding digital clay, meaning 3D printing can then be used to produce physical copies of the sculpted head.

Blind tests and accuracy studies have demonstrated how true to nature the results are, and the accuracy is increasing all the time: Wilkinson recently reworked her Richard III model slightly, when subsequent DNA testing revealed he probably had blond hair and blue eyes. All the same, she is used to encountering scepticism.

INSIGHT ‘We use information from 3D surface scans or CT scans of the skull, and 3D modelling or “virtual sculpture”, to create the same muscles that we would create in real clay’

‘People find it difficult to believe you can do this: take a skull and predict what someone’s face looks like,’ she says. ‘Even within the anthropology and forensic science world, there’s still a lot of debate about subjectivity. It’s an area that uses skills from both science and art, and there are very difficult elements, particularly the presentation of things like hair, hair colour, eye colour and other textures.

But we are able to justify scientifically all the decisions we take.’

While she works with cutting-edge clinical technology, when it comes to revealing faces from the past, the fascination of Wilkinson’s work is the same as we have always had for portraiture in painting and photography.

‘As humans, the face is incredibly important to us,’ she says. ‘One of the reasons we’re successful as an animal is our ability to have social interaction, and so much of that is to do with the face: reading expression, reading emotion. So we’re naturally interested in the face as a way of seeing someone’s personality. In relation to people from the past, it gives us an immediate connection that goes beyond having verbal information. To see what they looked like, it puts us on common ground.’

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THEMACALLAN.COM P L E A S E S AV O U R R E S P O N S I B LY

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Caspian 008

CHLOE DEWE MATHEWS Vic Odden Award WORDS BY GEOFF HARRIS LRPS

© CHLOE DEWE MATHEWS

C

hloe Dewe Mathews is a multi-awardwinning photographic artist based in London. After studying fine art at Camberwell College of Arts and the University of Oxford, she worked in the film industry before dedicating herself to photography. She is best known for her project Shot at Dawn, a photographic record of the sites at which British, French and Belgian troops were executed for cowardice and desertion during the First World War. ‘It was a sombre experience going to the sites, but there was also a real beauty in arriving before dawn, setting up my tripod and watching the light rising,’ Dewe Mathews said when interviewed in 2014. As far as possible, she took the images at the same time as the original executions, and pointed her camera in the same direction as the firing squads.

Ivorypress published the Shot at Dawn monograph (Dewe Mathews’ first) in 2014. This

INSIGHT ‘Putting names and dates alongside the image of the place where someone died (in Shot at Dawn), you’re stamping the presence of that person back into that empty landscape, so it’s the absence that’s glaringly present’

turned out to be a breakthrough year, as she was named the Robert Gardner Fellow in Photography at the Peabody Museum of Archaeology and Ethnology, Harvard University.

Another major project that year was Congregation, a video installation shown at the Tate Modern, which explored collective religious experience and expressive worship in south London’s African churches.

Dewe Mathews’ diverse work is featured in the British Council Collection, the Irish State Art Collection and the National Library of Wales, and has been published widely in newspapers and magazines.

Accolades include the British Journal of Photography international photography award, the Julia Margaret Cameron new talent award and the Flash Forward emerging photographer award. She has also been nominated for the Deutsche Börse photography prize.

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avid Hurn is one of Britain’s most highly regarded and influential documentary photographers, and has been a member of the Magnum agency for more than 50 years. He has photographed internationally famous pop and film stars, top fashion models and major news events, but his main interest has always been making images of ordinary people in everyday life.

Born in 1934, Hurn struggled at school because of his severe dyslexia. ‘At the time, there was no such word as dyslexia,’ he says, ‘you were just considered thick. Luckily I was good at sport, which meant I didn’t have any problems at school, but I left without any qualifications. As national service was around then I just elected to go straight into the army.’

Officer training at Sandhurst followed, with Hurn joining the academy’s camera club, but in 1955 he decided to become a photographer after seeing an

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INSIGHT ‘Life as it unfolds in front of the camera is full of so much complexity, wonder and surprise that I find it unnecessary to create new realities.

There is more pleasure, for me, in things as they are’

issue of Picture Post, featuring images of ordinary Russians by Henri Cartier-Bresson. One picture reminded Hurn of his parents, leaving him in tears.

‘It was very important for me,’ Hurn says, ‘because I realised the extraordinary emotional impact of photography, which I found really fascinating. The second thing was that I found these pictures more believable than the propaganda I was getting about Russia. So those two things together were the spark for me and I decided that was what I wanted to do.’

On leaving the army he became an assistant for the Reflex photo agency and, a year later, hitched to Budapest to photograph the city during the Hungarian revolution. His photos were published in Life and Picture Post and effectively launched what became a varied freelance career.

In the early 1960s, this career included shooting documentary photo stories for the new Sunday newspaper colour supplements. ‘Most of what they wanted to do was exotic, but they always wanted

© DAVID HURN/MAGNUM PHOTOS

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LEFT

Demonstrators rally against US military involvement in Vietnam at the American embassy in London ABOVE

Porth Oer (Whistling Sands), 2004 RIGHT

Members of the chorus of the Welsh National Opera at rehearsal, South Glamorgan, 1986

stories of everyday life, and I was the only one who wanted to do them,’ Hurn remembers. ‘I don’t think I ever did a story that wasn’t published, and I virtually never did a story that wasn’t my idea.’

He also shot film stills on the sets of high-profile productions including From Russia with Love, A Hard Day’s Night and Barbarella, and for a few years also shot fashion for Harper’s Bazaar.

However, realising he ‘wasn’t the least bit interested in charging around the world,’ Hurn returned to Wales in 1972 and began documenting the country’s culture and traditions. Then, a year later, he was invited to found the school of documentary photography at Gwent College of Higher Education.

He continued teaching there for 17 years.

‘It was an important part of my life, particularly in hindsight,’ says Hurn. ‘It was a practical course which had the purpose of getting the students jobs.

We turned out an enormous number of people that have made their living for a long period of time out

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of photography. It seems to me, if you can help people do an enjoyable job, which they might not have done before, that’s a good pursuit.’

He retired from teaching in 1990 and has since produced several books, including On Being a Photographer: A Practical Guide (written with Bill Jay), Wales: Land of My Father (2000) and, most recently, The 1960s: Photographed by David Hurn.

Hurn, now 82, maintains his insatiable curiosity about the world and his desire to photograph it. His ongoing project is to photograph the village where he lives, Tintern, in the Wye Valley, Monmouthshire.

‘As you get older, knees go and shoulders go and you realise you’re not as fit as you were,’ he says. ‘So I decided to find a project I could do. As I’m a flâneur, someone who wanders around observing life, why not be a flâneur in my village? So, if little Johnny has a birthday party I get invited. Access is easy and in the future I can do it while getting around on a Zimmer frame if need be. I really enjoy it.’

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THOMAS STRUTH Centenary Medal and Honorary Fellowship WORDS BY LUCY DAVIES

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ABOVE

Aquarium, Atlanta, Georgia, 2013

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R

esearching his latest project, Thomas Struth spent nearly five hours watching surgeons operating on a patient’s brain. ‘It was enough,’ he says. ‘I made a lot of pictures – just with a digital camera, to analyse what might be interesting.

But afterwards I thought, “I cannot do anything there”, because it was just too intimate; too sensational.’

Struth, speaking at his Berlin studio while watching the first rainfall in several weeks dot the surface of the River Spree, did find there was one picture from the session that he couldn’t get out of his mind. It had been taken before the operation began, as the patient lay anaesthetised and alone on the operating table (he had her written permission, in case you were wondering). ‘I thought that was interesting because it expressed surrender,’ he explains, ‘to the hope that the surgeons, and the technology they use, would save the person’s life.’

Technology and science, especially in their most advanced forms, have been of persistent interest to Struth over the past decade. These, combined with images of constructed landscapes, form the basis of a touring exhibition of 30 of his large-format works, and a book, which expands the series with a further

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ABOVE

Semi-Submersible Rig, DSME Shipyard, Geoje Island, 2007

35 photographs. Both are titled Nature & Politics, and present sites of research, experimentation, testing, monitoring and evaluation – a robot workshop, an aquarium, a plasma laboratory or a pharmaceutical packaging factory, for example.

The series began when, by chance, two opportunities to photograph sites of technology came his way in quick succession. The first was a vast shipyard in South Korea (it employs almost 30,000 people) where oil rigs, container ships and military vessels are built; the second was the Kennedy Space Center at Cape Canaveral, which he says he was initially interested in more from a political point of view than a scientific one.

‘But while I was there, it came to me that it might be interesting to photograph other sites where research happens; where these grand ideas in someone’s brain get turned into sculptures,’ says Struth, ‘and to examine them not only in terms of what they look like, but what they express … As much as I enjoy technology on different levels, over the years I have noticed we believe it to be the saviour of our future, and I always found that exaggerated; a sort of one-sided hope.’

Struth, who was born in Geldern, near Germany’s border with the Netherlands, in 1954, started out as a

© THOMAS STRUTH

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painter, studying under the artist Gerhard Richter at the Staatliche Kunstakademie in Düsseldorf. He describes his time there as ‘lucky … there were several good coincidences. Being of the age that I am [he is almost 62], the art world was not so big as it is now, and not so omnipresent. I was in a much smaller environment where I was not distracted by email or even fax, so it was very much slower. I had a lot more space and silence in which to listen and contemplate things’.

His first photographs – black and white images of empty city streets, with a central vanishing point – were to aid the development of his paintings. ‘I started out using pictures I found in books, but then I thought, really, I should at least take the photos myself. Once I got into photography and became effectively a picture maker with a camera, I lost the ability to find any reason to use a paintbrush. I loved painting; I loved the smell of oil paint. But I look at what’s being painted now by young painters, and it astonishes me that they are still using that convention.’

The photography classes at the Kunstakademie were taught by Bernd and Hilla Becher, whose straightforward typologies of industrial structures (Struth calls them ‘anonymous sculptures’) inspired what became known as the Düsseldorf school of

‘WE BELIEVE TECHNOLOGY TO BE THE SAVIOUR OF OUR FUTURE, AND I’VE ALWAYS FOUND THAT AN EXAGGERATED HOPE’

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TOP

Silwan, East Jerusalem, 2009 ABOVE

Measuring, Helmholtz-Zentrum, Berlin 2012

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774 | 2016 RPS AWARDS | photography – Andreas Gursky, Candida Hofer and Thomas Ruff were fellow acolytes.

What was the most crucial thing he learned from the Bechers? ‘I think the most fascinating aspect,’ Struth says, ‘was that while they had a very broad interest in many different fields – film, literature, painting, photography, politics, news media, industry, food – they maintained a very strict focus on the things they photographed. You could have assumed from their work that they were narrow minded, but the opposite was true, and that was extremely exciting ... theirs was an interconnected way of evaluating culture.’

After Düsseldorf Struth embarked on a grand tour of sorts, taking more of his expressionless streetscapes in cities such as New York, Paris, Rome and Tokyo, and exhibiting them, Becher-style, in grids.

By the mid-1980s, though, he had moved on, preferring to show his work as standalone images, and as often in colour as in black and white. He also began to photograph people. His group shots of families, which began as a collaborative project with a psychoanalyst, where the photos stood primarily as a tool for comparative research, and which developed into a means for Struth to analyse and understand his own family history, continue to this day – the Queen and Prince Phillip were recent additions to the series.

Struth is probably best known for Museum Photographs – large-scale colour images of the crowds scrumming around famous paintings in institutions such as the Louvre, the Rijksmuseum and National Gallery, London – on which he began to work in 1989. In 2004 he extended the conceit to include close-ups of the visitors’ faces, captured by cameras concealed under or next to masterpieces such as Velázquez’s Las Meninas or Michelangelo’s David. The effect is ingenious – anecdotic and gently comic.

In spite of this affinity for and interest in the

‘THE STREET AND THE ARCHITECTURE PICTURES WHICH I TOOK FOR A LONG TIME, THEY HAVE NO PEOPLE; TO FOCUS ON THEM BEING EVIDENTIAL’

ABOVE

Ulsan 2, Ulsan, 2010 LEFT

The Shimada Family, Yamaguchi, 1986

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eccentricities of human behaviour, he deliberately excluded it from his technology series. ‘It needed to have no people,’ Struth says. ‘I want to highlight that these images are of evidence that is made by people – the physical incarnation of a cerebral process, if you like. In my pictures I prefer the confrontation with the result, rather than the process.’

There are traces of this in his early work too. ‘The street and the architecture pictures which I took for a long time, they also have no people, again to focus on them being evidential. Often, as with the technology photographs, the picture plane is absolutely filled with information. The composition is complicated, and you would lose some of that if you had the technicians or the surgeons also in the frame. I enjoy seeing, I enjoy looking – as a picture maker I want my pictures to offer a lot to see.’

He may not include the people he encounters, but it doesn’t stop him analysing them. He says he noticed a marked difference in character between those in research and those in production, for example. ‘The researchers, because they are working on something that’s not solved yet, they have a more artistic

INSIGHT ‘I enjoy seeing, I enjoy looking – as a picture maker I want my pictures to offer a lot to see. Often, as with the technology photographs, the picture plane is absolutely filled with information’

| XX | 775

mentality. They must be curious and they have to be free-spirited, because they don’t know yet whether they will find what they are looking for. When I was photographing, they minded less about being disturbed, because they are used to very slow processes – it might be 10 years before they see a breakthrough. In the production line, it’s the opposite – they don’t like their process being compromised.’

Has working on the series made him fearful of technology and its increasing pervasiveness? ‘Not fearful, but it’s made me less naïve, more realistic,’ says Struth. ‘I think the majority of us never think about the implications of the things we are using … the sheet metal production involved in making a wine cooler, for example; everyone should be made to see the places where that is made. And whether you’re in New York or in London, we forget that 30 years ago when you walked in the street, no-one had a cell phone. Instead, their minds were where they were physically, rather than somewhere else entirely. That does scare me slightly.’

Nature & Politics is available from Mack Books for £40

VOL 156 / OCTOBER 2016 / THE RPS JOURNAL / 775

MUST TRY

OCTOBER 2016

THE LATEST TECHNOLOGY, TECHNIQUES AND SKILLS

Canon 5D MkIV

Gavin Stoker tries out the updated DSLR workhorse, now with 4K video and a touchscreen

A

s deadline approached for this issue, Canon announced an update to its decade-old 5D DSLR series. We were able to enjoy a session with the MkIV to try out its features – most notably its touchscreen LCD, its ability to shoot 7fps bursts at full resolution (up to 21 raws or unlimited jpegs), plus nudge ISO sensitivity to 102,400 equivalent for low-light work without flash.

Canon claims the MkIV can ‘see’ in moonlight and while we had to make do with

skateboarders doing tricks in a warehouse interior, the camera’s performance fell well within the ability to freeze motion and deliver a grain-free result.

With a 30.4-megapixel fullframe sensor – reportedly the same generation as in Canon’s 1DX MkII – we get shedloads of detail. Unsurprisingly, the MkIV needs two internal Digic processors to keep up, and that’s before we mention it offers 4K or full HD video capture for the first time in the series, with two card slots also, for CF and SD.

Price: £3,629 body only Sensor: 30.4MP CMOS, 36x24mm Lens: Canon EF mount LCD screen: 3.2-inch, 1,620K dots Weight: 800g approx, body only More: canon.co.uk Summary: Canon adds a few neat little flourishes to its 5D workhorse, without resulting in an unwieldy beast. Indeed, for a pro tool it’s surprisingly manageable

Of further interest is the ‘dual pixel raw’ feature that enables users to adjust resolution and sharpness after a shot, which Canon suggests will help the photographer to get more hits.

The MkIV’s weatherproofed body is 50g lighter than the MkIII’s, thanks to aluminium in the build. Its obvious buyer is the photojournalist or documentarian, and if one can stomach the price tag there is nothing to suggest such an investment won’t fulfil the most demanding expectations.

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778 | THE CRAFT | 2 LATEST KIT

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Nikon D3400 Fujifilm XF 23mm f/2 From £399.99 body only R WR lens £419.99 First entry-level Nikon model to feature SnapBridge technology nikon.co.uk

Weather-resistant wide lens for manufacturer’s X series cameras fujifilm.co.uk

As time marches on, what would once be considered pro-level technology trickles down to the more affordable end of the DSLR market. Thus we have the new Nikon D3400.

It’s the first of its maker’s entry level models to offer the Bluetooth-utilising SnapBridge image-sharing feature.

Its specification includes a 24.2MP APS-C sensor, Expeed 4 processor, ISO 100-25,600 and full HD video shooting, but perhaps the icing on the cake is a 1,200-shot battery life – achievable, says Nikon, thanks to the camera’s low-energy design and high-capacity battery.

Interested parties with existing lenses can take the body-only option, or pay a little extra at £469.99 to get a standard 18-55mm zoom included.

Society members seeking a wide-angle prime lens to match the weatherproofed build of their X series flagship models, while bringing out the full performance of their CMOS sensors, have a new ally in the XF 23mm f/2 R WR (weatherresistant) which appears in black livery this month (silver to follow in January 2017).

The premium lens offers the equivalent of 35mm in film terms, and is designed to match the compact dimensions and styling of Fuji’s XF 35mm f/2.

Features include an aperture ring, while the focus ring has just the right amount of clicking and torque. Fuji says the dust-andweather resistance ensures the lens should work perfectly in conditions down to -10°C. The metal-exterior lens weighs 180g.

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GEAR SPY

l With photokina – the biggest biennial photography show on the planet – almost upon us as we went to press, anticipation was building for the expected raft of new product announcements in the run-up to Christmas, following a modest haul of releases over the summer.

That said, two lightweight super telephoto lenses for Nikon users should have arrived by the time you read this: the AF-P DX Nikkor 70–300mm f/4.5–6.3G ED at just under £300, and an image-stabilised ‘VR’ version of the same at £349.99.

Canon TS9050 inkjet £TBC

High-end desktop inkjet printer range replaces the Pixma line-up canon.co.uk The photo stalwart has replaced its current acclaimed Pixma printer line-up with a series of new ‘TS’ branded models, of which the TS9050 inkjet is the most fully featured.

It comes with a 5-inch touchscreen and built in creative filter options, similar, says its maker, to those you might find on a smartphone.

Wi-fi equipped, it also features Photo Black.

There are four new models in all, up to 40 per cent smaller than their predecessors. Other options in the series include the TS5050 with 3-inch fixed/nontouchscreen and the TS8050 with 4.3-inch touchscreen, flip-out display/auto-opening front panel, front-and-rear paper trays and Photo Black ink.

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| THE CRAFT | 779 MEMBER TEST

Nikon D5

An impressive flagship

W

henever Nikon announces the release of a new flagship camera, I always get a frisson of excitement. Having owned a D3S and upgraded to the D810 last year, the D5 seemed to be the camera I’d been waiting for: a 20MP full-frame sensor capable of shooting 12fps (14fps with mirror up). Excited to put it to use, I took it along to a pro/ am tournament at the Golf Club de Sion in Switzerland.

The first thing I noticed was the D5’s ergonomics.

Being 6ft 7in, I have relatively big hands, which the camera fell into perfectly. Although heavier than my D810, the D5’s distribution and balance of weight have been perfectly engineered.

The new 153-point AF system is the D5’s big selling point, but the real delight lies in how these points can be selected. By rolling your thumb over the small button above the rear circular selector, the focus points react instantly with the viewfinder, allowing for easier focus selection.

Another great feature is the new touchscreen for image

Spectators look on as a pro/am competitor drives off a cliff at one of the Golf Club de Sion’s most spectacular holes

playback, which allows you to swipe, pinch and squeeze images with your fingers, similar to a smartphone. The good-sized screen displays colours beautifully.

The D5’s biggest draw however, is its 12fps performance. Throughout the tournament, I used the camera with several lenses including the Nikon 24-70 f/2.8, 70-200 f/2.8 VR II and 16-35 f/4 VR. It performed flawlessly with every lens and I barely missed a shot thanks

Field ‘barely missed a shot thanks to the D5’s rapid focusing and frame rate’

to the D5’s rapid focusing ability and frame rate.

The twin XQD cards transfer the image data at an astonishing 400MB/s, practically eradicating buffer lag. Having previously only shot with CF cards with a maximum 120MB/s transfer rate, the XQD cards help the D5 perform seamlessly.

I’ve always been drawn to the image quality of Nikon’s flagship cameras, with their silk-like feel and fine uniform grain. The D5’s high ISO performance is outstanding.

Even when cranked up to ISO 10,000, files still looked very acceptable. Its image quality is the best of any full-frame camera available, with the Canon EOS-1D X MkII being the only close contender.

The only downsides of the D5 are its loud shutter, and high cost of £5,199.

Personally I love the clack of the shutter but it wouldn’t be ideal for events where silence is essential. Full-time professionals might be able to absorb the D5’s cost but the price tag does put the camera out of reach for most enthusiasts, sadly.

NIKON NIKKOR AF$S 16$35MM F/4G ED VR I was keen to compare Nikon’s 16-35mm f/4 to its older 14-24mm f/2.8 wide-angle lens.

Within minutes of bolting it to my Nikon D810, I was hooked.

The 16-35mm boasts Nikon’s excellent vibration-reduction system and accepts regular 77mm filters.

Each shot exudes superb sharpness, great corner detail and a decent bokeh when stopped down to f/4.

Adaptability is crucial when shooting sport and the 16-35mm’s ability to switch instantly from 16mm to 35mm is superb and, weighing 320g less than its predecessor, this lens is much easier to lug about.

AUTHOR PROFILE Philip Field ARPS Gaining his ARPS in 2015, Field combines his passion for travel, sport and photojournalism with his career as a graphic designer.

He is a two-time finalist in Travel Photographer of the Year

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MASTER CLASS

The perfect couple

An extra pair of hands can go a long way at a wedding, explains Nichola Rogers

I

work with second shooters on around a third of my wedding commissions, giving the couple around 200 extra photos – but it’s not just a game of numbers. Some of the best shots only come from having that extra person.

GET THE KISS Sometimes the vicar or registrar stands really close to the bride and groom, and I haven’t managed to get the kiss because they’re so close that without running round to the back it would be impossible. By having my second shooter primed down the aisle, we’ve been able to catch the tricky ones.

A NEW ANGLE ON A CLASSIC The bouquet throw is a staple shot at most weddings. At one in Switzerland, I got my partner to shoot from the front. It’s never as good a shot, but it’s always a safe one. This gave me the opportunity to go back a bit and shoot it from the side.

THAT SPECIAL MOMENT You can’t be in the right place at the right time for every shot, but a second shooter doubles your chances. I’ve actually edited myself out of my second shooter’s picture

By having her second shooter facing the bride for the classic bouquet throw shot, Rogers is able to capture something different

from a wedding in Italy, because I was right in the middle. But I wouldn’t have got that face from the front.

They turned round and it was a split-second thing.

BONUS COVERAGE If it’s just me shooting a wedding, I can usually only photograph the bride getting ready, unless the groom is very close by. My second shooter will usually cover

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groom prep and then be at the venue before me, so is able to get venue detail shots in case we run out of time later.

PERFECT MATCH I make sure my second shooter has a similar style to me, and that they’re shooting the same format, so that when it comes to editing they flow nicely and are not all different sizes. I edit all the photos myself.

BUILD RELATIONSHIPS I always try to be nice to my second shooters so that they’ll want to work with me again, and I make sure they get fed. I’ve got about 10 people that I use on and off, but occasionally on a peak date they’ll all be booked up. There are Facebook groups and blogs to help find second shooters, or I ask my photographer friends for recommendations.

A range of wedding workshops will be held over the next three months at various venues. For more information turn to page 786

| THE CRAFT | 781

Rogers has edited herself out of the moment when the bride and groom turn around

A second shooter makes it much easier to capture reaction shots during the speeches

Her second shooter ‘gets the kiss’ while Rogers’ view is restricted by the vicar

AUTHOR PROFILE NICHOLA ROGERS Kent-based wedding photographer Rogers shoots around 50 weddings a year.

Her partner Marcus Geer was the second shooter in all featured examples. lemonadepictures. co.uk

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| THE CRAFT | 783 A bright solution to a November wedding with a 4pm service

IN DEPTH

Bride and gloom

It’s important to be ready for anything when you’re shooting weddings, says Stuart Wood

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s someone’s wedding photographer we are recording one of the most important days of their lives, and things don’t always go to plan.

My diverse background in editorial and TV photography primed me to be adaptable, quick and always prepared.

LIKE A HURRICANE A gale was forecast to hit the coast on the day of one particular wedding and, unfortunately for once, they got it right.

I always carry a set of Elinchrom studio lights and, while they are rarely touched at my weddings, they do give me a sense of reassurance knowing I can light a room if necessary. I had no choice on this occasion but to shoot the family groups in the hotel with my lights.

The weather outside was unbelievable, but I still

wanted to get something else for my couple.

I told them that my assistant and I would take a look outside and that they needed to be ready to come when we called. The wind actually took my breath as I did my recce.

I found my shot and positioned myself flat down against the rain-soaked planks and got my assistant to fetch the couple. Where they both stood was pretty close to me but they were unable to hear me above the wind, so the assistant stood somewhere between us to pass on my instructions.

The couple were back indoors within a couple of minutes and I had my picture, which was available-light only.

Just take a look at the swell on the water and what the wind was doing to the dress.

With the right preparation, a shot can be captured in a couple of minutes

ABOUT THE AUTHOR STUART WOOD A highly acclaimed wedding photographer, Wood has an exciting background that includes having shot numerous covers for the Radio Times. His wedding workshops for the Society regularly sell out.

OUT OF THE DARK With a November wedding, and the couple not getting married until 4pm, I knew there would not be any daylight left to work with once I could get them together for their photographs.

I remember arriving at this venue and, just before the main house and on the last bend of the drive, these utterly breathtaking trees hit me and a bell rang in my head – I had found the shot.

On the wedding day, I used two Elinchrom Ranger location lights. One lit the trees and the other backlit the couple. The assistant stood in for the couple while I perfected the lighting and only when I was ready did we get them out from their reception. Five minutes later they were back among their family and friends, and I had our main image.

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© TOM BLACHFORD, ABRIGO CORNER I

INTERNATIONAL PRINT EXHIBITION An eclectic mix of work, from a worldwide open call, giving a fascinating insight into the range and diversity of photographic work being created today.

PRIVATE VIEW: Thursday 13 October 2016, 6pm-9pm Awards presentation at 6.45pm OPEN TO THE PUBLIC: Friday 14 – Monday 17 October, 10am-6pm Tuesday 18 October, 10am-4pm VENUE: PHOTOBLOCK, The Old Truman Brewery, F Block G4, Brick Lane E1 6QR PHOTOBLOCK is part of PHOTOMONTH 2016, east London’s international photography festival – one of the largest and most inclusive photographic festivals in the UK. The exhibition tours the UK until August 2017

rps.org/ipe159

159 ‘So much within photography has changed in the 162 years that the RPS International Print Exhibition has been in existence, but what remains unchanged is the enduring power of the still image’ Gemma Padley, selector Freelance photographic journalist and editor

MEMBER

| GUIDE | 785

GUIDE

YOUR RPS EVENTS ! COURSES PROGRAMME

OCT!NOV!DEC

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

Beyond the surface

Honorary Fellow’s workshop aims to unlock participants’ potential

P

eter Fraser HonFRPS is to lead a weekend workshop encouraging participants to access their own vision ‘and to be less affected by the library of other people’s images, which we all carry around’.

The event, ‘Beyond the surface,’ is organised by London Region and is suitable for photographers of all disciplines. It is from October 14-16 at Regent’s University, and will open with an introduction to Fraser’s fine art photography on the Friday evening.

Over the weekend Fraser will set a project and participants will venture out, before their images are shared and discussed.

Fraser was named an Honorary Fellow by the Society in 2014, and his published books include Two Blue Buckets (1988), Deep Blue (1997), and Lost for Words (2010).

After a joint exhibition in 1984, Fraser spent nearly two months living with William Eggleston, which confirmed his desire to commit his life to working with colour photography.

This event is now full but to be put on a waiting list email londonevents@rps.org

Untitled 2012 from A City in the Mind

by Peter Fraser HonFRPS

For more details turn to page 787 or see the Society website VOL 156 / OCTOBER 2016 / THE RPS JOURNAL / 785

786 | GUIDE |

REGIONS

WORKSHOPS

Meet photographers and view work in your area

Hear from the experts and hone your skills

Architectural and travel photography in and around Exeter Sat 1 October / 12:00-19:00

`` £95/ £71 Society members `` Exeter Photoshop (two days) Sat 1 – Sun 2 October / 10:00-17:00

`` £165/£140 Society

`` Bath Abbey

‘Travels towards the edge’

by Sue O’Connell ARPS and Peter Brisley ARPS

`` £55/ £41 Society members `` Amersham

Thursday 6 October / 19:30-20:00

Lightroom introduction

`` £3 Society members `` Smethwick Photographic

Sat 19 November / 10:00-16:30

Portrait photography and getting the most from your subject

Weddings (two days)

`` £95/£71 Society members `` Amersham

MIKES.SHARPLES(VIRGIN.NET

Fri 18 November / 10:00-16:30

`` £95/£71 Society members `` Bath HQ

Wed 23 November / 10:00-17:00

MIKE SHARPLES ARPS, 07884 657535

Macro and art photography

members `` Bath HQ

Fri 7 October / 10:00-17:00

CENTRAL

Society, Churchbridge, Oldbury, Birmingham B69 2AS `` Mike Sharples ARPS, as above ‘A creative mind’

Sat 19 – Sun 20 Nov / 10:00-17:00

by Dianne Owen FRPS

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

Thursday 13 October / 19:30-22:00

`` £3 Society members `` Smethwick Photographic

Digital photobooks

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

Sun 20 November / 10:00-16:30

Better digital printing Sat 8 Oct – Sun 9 Oct / 10:00-16:30

`` £175/£150 Society members `` Bath HQ Shooting for stock Monday 10 October / 10:30-16:30

`` £65/£48 Society members `` Bath HQ Product photography

`` £95/71 Society members `` Bath HQ

Field trip to Ynys Llanddwyn, Anglesey

Creative techniques in Photoshop

Sunday 16 October / 8:30-14:00

`` Nearest town: Newborough,

Thu 24 November/ 10:00-16:30

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

Llanfairpwllgwyngyll LL61 6SH `` Mike Sharples ARPS, as above

‘Divine light’

by Clive Tanner FRPS

A beginners’ guide to product photography

Friday 21 October / 10:00-17:00

Fri 25 November / 10:00-16:30

Thursday 20 October / 19:30-22:00

`` £155/£130 Society

`` £95/ £71 Society members `` Amersham

`` £3 Society members `` Smethwick Photographic

members `` Colerne

Coastal landscapes

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

Introduction to your digital camera

Saturday 22 October / 10:00-17:00

Sat 26 November / 10:00-17:00

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

`` £85/£63 Society members `` Bath HQ

RPS Central Region in association with PermaJet

Studio portraiture

Art nude photography

`` Black Country Living

Sat 22 – Sun 23 Oct/ 10:00-17:00

Sat 26 November / 10:00-17:00

`` £165/£140 Society

`` £120/£95 Society members `` Lacock

‘The Cotswold lad returns’

by Martin Fry FRPS Thursday 3 November / 19:30-22:00

`` £3 Society members `` Smethwick Photographic

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

‘Our life in photography’

by Gwen Charnock FRPS and Phil Charnock FRPS Thursday 10 November / 19:30-22:00

`` £3 Society members `` Smethwick Photographic

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

‘Contemporary photography from the Netherlands’ by Armando Jongejan FRPS Thursday 17 November / 19:30-22:00

`` £3 Society members `` Smethwick Photographic

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

‘PG Tips: the latest brew’,

by Peter Gennard Thursday 8 December / 19:30-22:00

`` £3 Society members `` Smethwick Photographic

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

‘An evening with Frank’

by Frank McGowan Thursday 15 December / 19:30-22:00

`` £3 Society members `` Smethwick Photographic

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

Saturday 22 October / 10:00-16:30

members `` Lacock

Wedding photography Wed 9 November / 10:00-17:00

`` £145/£120 Society members

`` Nottinghamshire Introduction to mindfulness, meditation and how this links to photography Thursday 10 November / 10:00-16:30

`` £95/ £71 Society members `` Amersham

Photoshop introduction Sun 27 November / 10:00-17:00

`` £95/£71 Society members `` Bath How to photograph children and babies Sun 27 November / 10:00-17:00

`` £120/£95 Society members `` Lacock Developing personal projects and storytelling with Ben Cherry Fri 9 December / 10:00-17:00

Wildlife photography Sat 12 November / 10:00-16:30

`` £45/33 Society members `` Bath HQ

`` £120/£95 Society members `` Amersham Night-shoot photography

A Dream Catch by Patricia Jacobs LRPS – as featured in East Anglia members’ annual exhibition of prints and projected images

EAST ANGLIA

Museum, Tipton Road, West Midlands, Dudley

IAN WILSON ARPS, 07767 473594

Distinctions advisory workshop (Creative/ Pictorial) (LRPS ARPS)

Regional sponsored lecture – Susan Brown FRPS

IAN(GREENMEN.ORG.UK

Tuesday 1 November / 19:30-22:00

Sunday 2 October / 11:00-16:30

`` £10/£8/£5 spectators `` Smethwick Photographic

`` Free `` Hear from the well-known

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

landscape photographer

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

`` Ian Wilson ARPS, as above Members’ annual exhibition of prints and projected images Sat 8– Sun 23 October / 11:00-16:00

`` Closed Mondays and Tuesdays `` Wingfield Barns, Church Road, Wingfield, Suffolk IP21 5RA

`` Moira Ellice ARPS,

Moira.ellice2011@btinternet.com

Sat 10 December / 18:00-22:00

Night shoot Sat 12 November / 18:00-22:00

`` £35/26 Society members

`` £35/£26 Society members `` Bath

DIG East: ‘The law of averages says ...’ a lecture

by Roger Hance FRPS Sunday 9 October / 10:30-15:30

786 / THE RPS JOURNAL / OCTOBER 2016 / VOL 156

| GUIDE | 787 `` £12/£10/£8 group members `` Foxton Village Hall and Sports

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

Pavilion, Hardman Road, Cambridge CB22 6RN `` Mark Gillett, 07984 518959, mark_gillett@icloud.com

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

Dianne Owen FRPS and Glyn Edmunds ARPS

Regular meeting of the SW London Group

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

Liverpool and Crosby field trip (only two places left)

Sunday 13 November / 10:30-16:30

Tuesday 8 November / 19:00-21:00

Saturday 15 October / 10:00-18:30

`` Joint meeting with RPS

`` The Prince of Wales, 138

`` £5 non-members `` Lime Street Station,

Creative Group. £15/£10/£5 region and group members `` Foxton Village Hall, Hardman Road, Foxton CB22 6RN `` Ian Wilson ARPS, as above

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

STEWART WALL ARPS, 07955 124000

Regular meeting of the SW London Group

STEWARTWALL(ICLOUD.COM

Tuesday 11 October

EAST MIDLANDS

Exclusive visit to the 175-year-old darkroom, studio and exhibition at Bromley House Library Wednesday 5 October / 14:15-17:00

`` Bromley House Library, Angel Row, Nottingham NG1 6HL

`` Stewart Wall ARPS, as above Macro workshop with Alex Hyde (fully booked – waiting list taken) Saturday 8 October / 10:00-16:30

`` £115/£85 Society members `` Whatton Jubilee Hall, Church Street, Whatton in the Vale NG13 9EL

`` Free `` Please note the date: details to follow

`` The Prince of Wales, 138

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

A Broken Frame by Brian Griffin HonFRPS, who is co-hosting an event with Shy Burhan on how to develop your photographic practice on 20 November

London Region street walk

Fri 14– Sun 16 October / 18:00-17:00

`` £300/£275 Society members `` Workshop now full `` Regent’s University London, Inner Circle, Regent’s Park, London NW1 4NS `` London Events, londonevents@rps.org

Saturday 12 November / 9:45-13:00

Saturday 22 October / 10:00-16:00

`` London – to be confirmed `` London Cave,

`` National Trust car park NY

londoncave@rps.org

The Combined Royal Colleges Lecture Tuesday 15 November / 18:30-21:00

`` £5/£3 Society members `` Invention of capsule

The Bookworm Club Wednesday 16 November / 18:30-21:00

Sponsored event: ‘Discover the art in photography’ Sunday 16 October / 10:00-16:00

`` Whatton Jubilee Hall, Church

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

Research day at Bromley House Library Wednesday 16 November / 10:30-15:30

`` £5 spectators `` The Gallery, Bromley House

Library, Angel Row, Nottingham NG1 6HL `` Geoff Blackwell ARPS, 0114 266 8655, gblackwell@fastmail.fm

‘How to develop your photographic practice’ by Brian Griffin HonFRPS and Shy Burhan Sunday 20 November / 10:30-16:00

`` £10 `` Whatton Jubilee Hall, Church

Street, Whatton in the Vale NG13 9EL `` Stewart Wall ARPS, as above EIRE MICHAEL O’SULLIVAN INFO(MOSULLIVANPHOTO.COM

London Region street walk

Market, Covent Garden, London WC2E 8RD `` London Bookworms, LondonBookworms@rps.org

`` Free `` A regular meeting of the

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

London, Naturally – walk Sunday 27 November / 10:30-13:00

`` London – to be confirmed `` London Naturally,

The Bookworm Club

london-naturally@rps.org

Wednesday 19 October / 18:30-21:00

`` The Crusting Pipe, 27 The

Good picture: facets of imaging

Market, Covent Garden, London WC2E 8RD `` London Bookworms, LondonBookworms@rps.org

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

Road West, Manchester M21 7SX

`` Afzal Ansary FRPS, as above Lake District day – Ullswater, Aira Force, Borrowdale Thursday 17 November / 9:00-18:00

`` Lake District, Aira Force car park, Ullswater CA11 0JY

`` Ken Rennie,

km.rennie61@gmail.com

Christmas lunch Sunday 18 December / 11:00-16:00

`` £16.50 `` Details to follow `` Hough End Centre, Mauldeth Road West, Manchester

`` Afzal Ansary FRPS, as above

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

Sunday 30 October

Breathing London project Until Monday 17 April 2017

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

NORTHERN GERRY ADCOCK ARPS, 01661 830882

Advisory day

`` The Prince of Wales, 138

`` Free `` A regular meeting of the

Tuesday 8 November / 10:30-16:30

and discuss their work

`` Hough End Centre, Mauldeth

890 480, pandm@ christianson.freeserve.co.uk

Tuesday 13 December / 19:00-21:00

London Naturally walk

LONDONEVENTS(RPS.ORG

Sunday 13 November / 10:30-16:00

`` £10 `` Two Society Fellows present

GERRY(GERRYADCOCK.CO.UK

Regular meeting of the SW London Group

greenlondon@rps.org

JUDY HICKS AND NEIL CORDELL

Ray Spence FRPS & Nick Robertson-Brown FRPS

309 Regent Street, London

`` Dr Mike Christianson, 01753

Sunday 23 October / 11:00-13:00

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

328047, Elterwater car park, Great Langdale street, Elterwater LA22 9HP `` Robert Metcalf, 01524 761297, r.metcalf534@btinternet.com

Saturday 10 December / 10:00-16:00

`` £74/£42 concessions `` University of Westminster,

An outdoor workshop with Robert Canis to capture autumn colour

`` The art of product photography at the Nikon School

LONDON

`` The Crusting Pipe, 27 The

Saturday 15 October

markreeves59@gmail.com

Capture the Lake District in autumnal colours

endoscopy: a lecture at the Royal College of Surgeons, London,

by Dr Gavriel J Iddan DSc `` Royal College of Surgeons, 35-43 Lincoln’s Inn Fields, London `` Jo Macdonald, 01225 325721, jo@rps.org,

Beyond the surface

Liverpool L1 1JD

`` Mark Reeves, 07968 616551,

`` Over all the London boroughs `` Judy & Jen, greenlondon@rps.org NORTH WALES MARTIN BROWN LRPS, 01691 773316

Sunday 9 October / 10:00-17:00

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

`` Backworth Hall,

Backworth NE27 0AH

`` Sandra Taylor, 0191 488

6900, staylorr@hotmail.com

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

`` Single room £250, shared room £230

`` Burnside Hotel, Bowness, Windermere LA23 3HH

`` Gerry Adcote, as above, or

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

VOL 156 / OCTOBER 2016 / THE RPS JOURNAL / 787

788 | GUIDE | `` Rod Fry ARPS, 01803 844721,

NORTHERN IRELAND

rod@rodfry.eclipse.co.uk

RICHARD CORBETT 07805 381429 RICHARD(RICHARDCORBETTPHOTOGRAPHY.COM

South West Visual Art Group members’ day

SCOTLAND

Saturday 8 October / 10:30-16:00

JAMES FROST FRPS 01578 730466/07881 856294 JAMES.FROST11(BTINTERNET.COM

`` Dolphin Hotel, Station Road,

Scottish Region members’ print exhibition 2016/17 – Stow

`` Linda Wevill FRPS,

Bovey Tracey, Devon

linda.wevill@btinternet.com

`` The Cloud House, 3 Townfoot,

West Cornwall Group meeting

`` Ian Oliver LRPS,

`` The Village Hall, Church Hill,

Fri 7 – Wed 26 October / 10:30-16:00

Stow TD1 2NQ

Tuesday 18 October / 19:30-21:30

ian@ianoliverphoto.co.uk

Chacewater, Truro TR4 8PZ

`` Vivien Howse ARPS, 01326

Photo forum Dingwall Sunday 30 October / 10:30-16:00

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

Photo forum Edinburgh Sunday 6 November / 10:30-16:00

`` £10/£8 Society members `` Edinburgh PS, 68 Gt King Street, Edinburgh EH3 6QU

`` James Frost FRPS, as above Scottish Region members’ print exhibition 2016/17 – Shambellie House Wed 16 – Wed 30 Nov/ 10:30-16:00

`` Shambellie House, 40 Main

Street, New Abbey DG2 8HQ `` Laura Hudson Mackay LRPS, info@hudsonmackay.com

Visit to the Scottish National Photographic Collection, Edinburgh Fri 25 Nov–Sat 26 Nov/ 15:00-18:00

`` A chance to view the collection,

both as an exhibition and as selected images, and to visit some of the locations of Hill and Adamson’s best-known work `` Scottish National Portrait Gallery, 1 Queen Street, Edinburgh `` Donald Stewart FRPS, 01592 840277, Donaldstewart42@aol.com

Celebration of Distinctions Saturday 3 December / 10:30-16:00

`` £15/£10 Society members `` A selection of successes `` Bridge of Allan Church Hall, Keir Street, Bridge of Allan

`` James Frost FRPS, as above DIG Scotland Centre – printing workshop Sunday 4 December / 10:30-16:00

`` £12/£10/£5 group member `` Edinburgh Photographic Society, 68 Great King Street, Edinburgh `` Doug Berndt ARPS, digscotland@rps.org SOUTH EAST TERRY McGHIE, 01323 492584

SOUTHEAST(RPS.ORG

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

`` £15/£10/£7.50 students `` WWT Arundel, Arundel,

West Sussex BN18 9PB `` David Powell, 07721 312533, southeast@rps.org

Introduction to Distinctions in Eastbourne

Landscape photographer Jeremy Walker will deliver two lectures on 23 October in Bovey Tracey Image by Jeremy Walker

221939, vivien939@ btinternet.com

A day with Jeremy Walker Sunday 23 October / 10:30-16:00

`` £15/£10 Society members `` Two lectures by landscape

photographer Jeremy Walker `` The Dolphin Hotel, Station Road, Bovey Tracey TQ13 9NG `` Mick Medley, as above

Alan Bastin and Di Wilkins – Lightroom, On1 and textures

Saturday 12 November / 10:30-17:00

Sunday 30 October / 10:00-16:00

`` £15/£10 Society members `` Kings Centre, 27 Edison Road,

`` £8/£7/£5 group members `` Lightroom and On1

Eastbourne, East Sussex BN23 6PT `` David Powell, 07721 312533, southeast@rps.org

Long exposure: coastal exploration Sunday 4 December / 10:00-16:00

`` £10/£5/free group members `` Fully booked `` Old Fort Road, Shoreham `` Richard Ellis, sre868@gmail. com

SOUTH WALES MIKE LEWIS, 07855 309667, 01446 710770

techniques plus some texture work `` Merryfield Village Hall, Ilton, Nr Taunton TA19 9HG `` Paula Fernley, paula.fernley@iCloud.com

Distinctions advisory day

Pembrokeshire coast with plenty of falling tides allowing for beach photography `` Haverfordwest, TBA `` Peter Douglas-Jones, 07776 141409, peter@douglas-jones.biz SOUTH WEST MICK MEDLEY, 01626 824865/07980 073808 RPSSWREGION(GMAIL.COM

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

`` Carol and Graham’s house,

42 Hunters Moon, Dartington TQ9 6JT

788 / THE RPS JOURNAL / OCTOBER 2016 / VOL 156

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

Meet and share your photography Sunday 13 November / 11:15-15:00

`` Millennium Memorial Hall,

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

Lee Filters factory HQ tour Saturday 26 November / 10:00-12:30

`` £20 Society members `` Lee Filters HQ, Walworth

Business Park, Central Way, Andover SP10 5AN `` Paul Gilmour LRPS, as above

Distinctions advisory day (LRPS/ARPS) Saturday 3 December / 10:00-16:00

`` £15/£10 spectators `` Old Basing Village Hall, Old Basing, Basingstoke

`` David Ashcroft LRPS,

07710 302684, southernsecretary@rps.org THAMES VALLEY MARK BUCKLEY,SHARP ARPS, 020 8907 5874 MARK.BUCKLEY,SHARP(TISCALI.CO.UK

Wallingford wanderings Fri 7 – Sun 9 October / 17:00-18:00

`` £25/£15/£5 spectators `` Wallingford Town Hall, Market Place, Wallingford OX10 0EG

`` Andrew Barrow,

arb@andys-scribblings.co.uk

`` £10 spectators `` The Dolphin Hotel, Station

Members’ print exhibition

`` Di Wilkins LRPS, 01392

`` Drake Hall, Amersham

Road, Bovey Tracey TQ13 9AL 469149, dianawilkins15@ hotmail.com SOUTHERN PAUL GILMOUR LRPS, 07899 042372 SOUTHERN(RPS.ORG

Sat 29 – Sun 30 October / 9:30-16:00

`` An autumn weekend on the

Sunday 13 November, 10:30-11:00

`` Millennium Memorial Hall,

Saturday 26 November / 10:30-16:00

MIKEGLEWIS101(BTINTERNET.COM

Pembrokeshire weekend

Southern Region AGM

Talk and demonstration with Lee Filters Sunday 16 October / 11:00-15:00

`` £25/£15 Society members `` Crosfield Hall, Broadwater Road, Romsey SO51 8GL

`` Paul Gilmour LRPS, as above

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

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

`` Chichester Cathedral, The

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

Sunday 9 October / 10:00-16:00

Community Centre, Chiltern Avenue, Amersham `` Kathy Chantler, 01296 483469 or 07738 112775, kathychantler@gmail.com

AGM Sunday 9 October / 16:00-16:30

`` No booking is required `` Drake Hall, Chiltern Avenue, Amersham HP6 5AH

`` Mark Buckley-Sharp, as above

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

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

who are prepared to make a five to 20-minute presentation on an imaging subject `` Woosehill Community Hall, Emmview Close, Wokingham, Berkshire RG41 3DA

790 | GUIDE | `` Laurie Pate,

digthamesvalley@rps.org

Distinctions and the Society Thursday 27 October / 20:00-22:00

`` Park Street Camera Club,

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

Distinctions and the RPS

Hignnam meeting `` £5 `` Show-and-tell session

`` Watford Camera Club,

`` An excellent opportunity to

Sunday 20 November / 10:00-15:30

`` £25/£20 group members `` Wokingham, Berkshire,

Woosehill Community Hall, Emmview Close, Wokingham RG41 3DA `` Laurie Pate, digthamesvalley@rps.org WESTERN WESTERN(RPS.ORG

Western Region members’ meeting Sunday 9 October / 10:00-12:30

`` Studio lighting event and/or

photography of the area `` Hop Pole Inn, Woods Hill, Limpley Stoke, Wiltshire BA2 7FS `` David Norfolk ARPS, as above

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

`` £20/£15/£10 spectators.

Fully booked `` RPS HQ, Fenton House, 122 Wells Road, Bath BA2 3AH `` Michelle Whitmore, michelle@ michellewhitmore.co.uk

FRPS advisory day Saturday 22 October / 11:00-16:00

`` The Western Region

Fellowship advisory day `` RPS HQ, Fenton House, 122 Wells Road, Bath BA2 3AH `` Michelle Whitmore, michelle@ michellewhitmore.co.uk

Stephen Bank ‘Dorset Scouser’ – stargazing Sunday 4 December / 10:00–4:00

`` £8/£7/£5 `` Capturing the Milky Way on

Dorset’s Jurassic Coast `` Merryfield Village Hall, Ilton, Nr Taunton `` Paula Fernley, paula.fernley@iCloud.com

Members’ Christmas party and show and tell `` Prints and digital images `` RPS HQ, Fenton House, 122 Wells Road, Bath BA2 3AH

`` David Norfolk ARPS, as above YORKSHIRE MARY CROWTHER ARPS, 07921 237962 PHOTOBOX50(GMAIL.COM

Police dog training day Wednesday 5 October / 8:00-15:00

`` £7/£5 Society members `` To be confirmed when booking `` Wakefield WF1 2QN `` Robert Helliwell ARPS, 01904 500231, bobhelliwell@clara.co.uk

Self-help group

Sunday 13 November / 10:00-12:30

`` Western Region members’

successful LRPS, ARPS and FRPS panels at Society HQ `` RPS HQ, Fenton House, 122 Wells Road, Bath BA2 3AH

Plymouth

`` Rod Fry, 01803 844721, rod@rodfry.eclipse.co.uk

RPS Open International Photobook Exhibition Saturday 12 November / 10:30-16:30

`` Books can be browsed by visitors

`` Impressions Gallery Bradford, Centenary Square, Bradford BD1 1SD CREATIVE

01904 500231, bobhelliwell@clara.co.uk

A photography journey along the Yangtze Saturday 29 October / 18:30-20:30

Western Region is hosting a Christmas get-together at Fenton House on 11 December

`` £10/£7 Society members `` York Medical Society, 23

`` £7/£3 Society members `` Informal social gatherings; a great way of meeting likeminded photographers `` VJs Art Bar, Finkle Street, York YO1 8RW `` Robert Helliwell, 01904 500231, bobhelliwell@clara.co.uk

Distinctions advisory day `` £20/£15/£10 spectators `` Advice for Licentiate

Distinctions, plus Associate Distinctions in Creative/Pictorial `` New Brookhouse Club, 221 Barnsley Road, Wakefield WF1 5NU `` Robert Helliwell,

Stonegate, York YO1 8AW

790 / THE RPS JOURNAL / OCTOBER 2016 / VOL 156

RPS Creative Group meeting Sunday 13 November / 10:30-16:30

`` £15/£10/£5 group and Road, Foxton CB22 6RN

`` Ian Wilson ARPS,

01904 500231, bobhelliwell@clara.co.uk

ian@greenmen.org.uk DIGITAL IMAGING

SPECIAL INTEREST GROUPS

JANET HAINES DIGCHAIR(RPS.ORG

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

`` Free `` Foxton Village Hall, Hardman

Explore more aspects of photography and digital imaging

Road, Foxton CB22 6RN

`` Ian Wilson ARPS, ian@ greenmen.org.uk

DIG East: ‘The law of averages says ...’ a lecture

by Roger Hance FRPS

ANALOGUE RICHARD BRADFORD ARPS ANALOGUE(RPS.ORG

Sunday 9 October / 10:30-15:30

ARCHAEOLOGY AND HERITAGE

`` £12/£10/£8 group members `` Foxton Village Hall and Sports

RODNEY BERNARD THRING LRPS, 01276 20725 RODNEY.THRING(NTLWORLD.COM

Pavilion, Hardman Road, Cambridge CB22 6RN `` Mark Gillett, 07984 518959, mark_gillett@icloud.com

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

DIG Thames Valley: attendee presentations plus Millennium Cup competition for prints

PETER ELLIS LRPS, 07770 837977 WORDSNPICSLTD(GMAIL.COM

SW Contemporary meeting

Sunday 16 October / 10:00-15:30

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

Sunday 2 October / 10:30-16:00

`` Carol and Graham’s house,

RPS Open International Photobook Exhibition

CREATIVECHAIR(RPS.ORG

regional members

`` Robert Helliwell ARPS,

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

BARRY COLLIN LRPS

`` Foxton Village Hall, Hardman

Saturday 15 October / 10:30-12:30

Saturday 22 October / 10:30-16:30

Western Region at Fenton House

Saturday 29 October–Sunday 30 October

`` See website for details `` St Saviours Hall, Barbican,

show your results of the August field trip `` Merryfield Village Hall, Ilton, Somerset Mick Humphreys `` mick@somersite.co.uk

Sunday 11 December / 10:00-12:30

DAVID NORFOLK ARPS, 07771 515273

RPS Open International Photobook Exhibition

Ilton meeting Sunday 20 November / 10:00-13:00

DIG Thames Valley: Paul Gallagher ARPS and Mike Jones ARPS – ‘The colour-managed workflow and printing’

Green Road, London E2 7DG

plus Bev Williams ARPS on ’Pattern in the environment’ `` Parish rooms in the community centre, Newent Road, Highnam GL2 8DG `` Bob Train LRPS, 07825 325799, photography@ bothtrains.co.uk

Thursday 10 November / 19:45-21:45

The Friends Meeting House, 150 Church Road, Watford WD17 4QB `` Terri Adcock, terriadcock@hotmail.com

Tue 18 – Sun 23 October / 13:00-19:00

`` Espacio Gallery, 159 Bethnal

Sunday 20 November / 10:00-13:00

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

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

Pembrokeshire weekend Saturday 29 October / 9:30-16:00

792 | GUIDE |

COUNCIL REPORT ! JULY 2016 MINUTES OF COUNCIL

attended a dinner for Michael Wilson hosted by the Science Museum Group. The Society would be supporting the Format festival in Derby as part of its marketing activity.

`` The minutes of 21 June 2016 were approved.

MATTERS ARISING

`` The president reported that

the officers had met senior managers. The trustees discussed a number of points raised, and the president reported that it had been agreed that six-monthly meetings with all the staff would be arranged. The trustees unanimously agreed to change the job title of the Society’s director-general to chief executive officer to reflect modern practice. `` Del Barrett noted that she had received feedback on the Society’s strategy document from the Contemporary Group and was expecting feedback from the Digital Imaging Group. It would be discussed at the upcoming regional organisers and group chair days.

SOCIETY FINANCE `` Geoff Blackwell reported on the half-year management accounts which showed a surplus of £25k against budget. The main items were that investment income was up, staff salaries were down and volunteers’ expenses were down.

Professional fees had increased as a consequence of work on a new building.

Council thanked Nicholas Rogers and Alan Hitch for their work. `` Membership income was less than expected, despite an increase in membership numbers, and appeared to reflect greater concessionary and discounted memberships, which were having a disproportionate impact on income. This would be investigated. `` A memo had been drafted for treasurers regarding group and regional asset inventories which would be circulated to groups and regions. It would be requested that asset inventories be prepared by the end of September.

SOCIETY PENSIONS

`` The Society had reached a

point where it was required to investigate a pension

DISTINCTIONS AND QUALIFICATIONS `` Council noted that it had approved Distinctions success and exemptions during the previous month.

EXHIBITIONS

`` Council noted the report

from Lesley Goode and thanked her for its detail and illustrations.

EDUCATION

`` Walter Benzie noted the

The 2015 annual report reveals that there has been an increase in the number of workshops and that they are being held in more varied locations

scheme and consult staff.

The Society’s initial statutory contribution would be 1 per cent of salary but the charity sector average contribution was 6 per cent. Geoff Blackwell proposed that the Society contribute 5 per cent, which council approved unanimously. Nick Rogers was asked to progress implementation and consultation with staff.

SOCIETY PREMISES

`` The director-general

provided an update on a prospective new building in Bath. Architects Donald Insall Associates were reviewing the space and matching it to the Society’s requirements, and this would be costed.

A survey had highlighted no significant issues. He expected to have more information in early August.

Assuming the cost of conversion was realistic then a site visit for trustees and staff would be arranged, as a precursor to any bid being made. `` Vanessa Slawson reported on a visit she and the director-general had made to look at a building in Swindon.

The space was larger than the Society needed, but it had significant parking and good transport links.

792 / THE RPS JOURNAL / OCTOBER 2016 / VOL 156

MEMBERSHIP

`` Membership stood at

11,621. The number of complimentary members and the lack of significant membership growth generally was an increasing concern. Del Barrett asked whether the Society’s offering was what photographers wanted and whether the Society could reposition itself to attract people from the wider visual arts and industry. The incoming marketing manager would be asked to report to council on how the Society might reposition itself.

GROUPS/REGIONS/ OVERSEAS CHAPTERS `` Del Barrett reported that the regional organisers would be meeting in Birmingham on 23 July and Paul Bullock would be facilitating the meeting.

INDUCTION DAYS `` Council asked that the membership department schedule three induction days each year rather than wait for demand to build up. Del Barrett offered to run the days. It was proposed that every group or region office holder should prepare a handover

folder when stepping down from their post.

STRATEGIC REVIEW AND DEVELOPMENT PLAN `` Del Barrett proposed repositioning the Society via a virtual group using the Honorary Fellows as a resource for, for example, events, mentoring and portfolio reviews. She suggested that a group of them meet council to discuss how they could support the Society. She would prepare a detailed paper.

AWARDS

`` Council noted the names of this year’s bursary recipients: Matilda Temperley (Joan Wakelin); Michael Vince Kim (Postgraduate); HannaKatrina Jędrosz and Carl Bigmore (TPA/RPS under30) and Alan McFetridge (TPA/RPS over-30).

DOCUMENTATION

`` Trustees were asked to

provide feedback to the director-general on the risk register which had been previously circulated.

STAFF AND HEADQUARTERS MANAGEMENT `` The director-general reported that he had

increase in the number of workshops and more varied locations shown in the draft 2015 annual report. The Open University course presentation for October currently had 100 people signed up for it, but the Society needed to develop and extend its reach beyond the membership and with the public.

WEBSITE

`` The director-general

reported that a site map prepared by Emily Mathisen had been well received and was proving helpful for people locating information. This link was www.rps.org/sitemap RPS COLLECTION

`` The director-general’s

report of a meeting with the V&A was noted and council considered the meeting a positive one for the Collection.

ADVISORY BOARD, COUNCIL AND GOVERNANCE `` The draft 2015 annual report had been circulated and corrections/additions noted. The auditors would need sight of the report before it could be published.

A final draft would be sent to council.

ANY OTHER BUSINESS

`` Richard Tucker offered to

recirculate his draft MP005 relating to chapters and it would be discussed at the next meeting. Del Barrett noted the cost of a booth at PhotoLondon 2017.

| GUIDE | 793 `` Haverfordwest. TBA `` Peter Douglas-Jones,

07776 141409, peter@douglas-jones.biz

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

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

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

`` Paula Fernley,

paula.fernley@iCloud.com

DIG Thames Valley: Paul Gallagher ARPS and Mike Jones ARPS – ‘The colour-managed workflow and printing’ Sunday 20 November / 10:00-15:30

`` Wokingham, Berkshire,

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

DIG Scotland Centre – printing workshop Sunday 4 December / 10:30-16:00

`` £12/£10/£5 group members `` Edinburgh Photographic Society, 68 Great King Street, Edinburgh `` Doug Berndt ARPS, digscotland@rps.org

Stephen Bank ‘Dorset Scouser’ – stargazing Sunday 4 December / 10:00–4:00

`` £8/£7/£5 group members `` Capturing the Milky Way on Dorset’s Jurassic Coast `` Merryfield Village Hall, Ilton, Nr Taunton `` Paula Fernley, paula.fernley@iCloud.com

new projects or work in progress are especially welcome as well as a limited number of 20 minute papers on completed projects where researchers can report on their outcomes `` The Gallery, Bromley House Library, Angel Row, Nottingham NG1 6HL `` Geoff Blackwell ARPS, 0114 266 8655, gblackwell@fastmail.fm

`` Walk through Aira Beck and

Visit to the Scottish National Photographic Collection, Edinburgh

Sunday 4 December / 10:00-16:00

Fri 7 – Sun 9 October/ 17:00-18:00

`` £10/£5/free to group

`` £25/£15/£5 spectators `` Wallingford Town Hall, Market

Fri 25 Nov–Sat 26 Nov/ 15:00-18:00

`` £10/£5/free to group members

`` Scottish National Portrait

Gallery, 1 Queen Street, Edinburgh `` This is an opportunity to see photographs from the Scottish National Collection, both as an exhibition and as selected work and to visit some of the locations of Hill and Adamson’s best known photographs. `` Donald Stewart FRPS, 01592 840277, Donaldstewart42@aol.com IMAGING SCIENCE KEN MACLENNAN,BROWN KEN.MACLENNAN(BTINTERNET.COM

Good Picture 2016: ‘Facets of imaging’

MO CONNELLY LRPS, 01590 641849 DVJ(RPS.ORG

309 Regent Street, London `` Dr Mike Christianson, 01753 890480, pandm@ christianson.freeserve.co.uk LANDSCAPE TIM PARISH LRPS

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

Beyond the surface Fri 14 – Sun 16 October / 18:00-17:00

`` £300/£275 Society members `` Intensive weekend workshop with leading British photographer Peter Fraser HonFRPS `` Regent’s University London, Inner Circle, Regent’s Park, London NW1 4NS `` London Events, londonevents@rps.org HISTORICAL JENNIFER FORD ARPS, 01234 881459 JENNYFORD2000(YAHOO.CO.UK

Research day at Bromley House Library Wednesday 16 November / 10:30-15:30

`` £5 spectators `` 10 minute presentations on

TRAVEL

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

`` £5 non-Society members `` Lime Street Station,

Liverpool L1 1JD `` Mark Reeves, 07968 616551, markreeves59@gmail.com

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

`` National Trust car park NY

328047, Elterwater car park, Great Langdale street, Elterwater LA22 9HP `` Robert Metcalf, 01524 761297, r.metcalf534@btinternet.com

Lake District day – Ullswater, Aira Force, Borrowdale Thursday 17 November / 9:00-18:00

KEITH POINTON LRPS, 01588 640592 BAGPOINT(AOL.COM

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

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

`` Colin Howard,

colin.howard@mac.com

Long exposure: coastal exploration

Wallingford wanderings

members

`` Fully booked `` Old Fort Road, Shoreham `` Richard Ellis,

Place, Wallingford OX10 0EG

`` Andrew Barrow,

arb@andys-scribblings.co.uk

sre868@gmail.com

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

MEDICAL

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

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

for details

The Combined Royal Colleges Lecture

`` Chichester Cathedral, The

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

Tuesday 15 November / 18:30-21:00

`` £5/£3 Society members `` Invention of capsule

endoscopy: a lecture at the Royal College of Surgeons, London,

by Dr Gavriel J Iddan DSc `` Royal College of Surgeons, 35-43 Lincoln’s Inn Fields, London `` Jo Macdonald, 01225 325721, jo@rps.org

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

`` £950 group members `` Highlights include Phnom

Penh, the temples of Angkor and Tonle Sap lake `` Keith Pointon, as above

Saturday 10 December / 10:00-16:00

`` £74/£42 concessions `` University of Westminster,

LANDSCAPE(RPS.ORG DOCUMENTARY

Gowbarrow followed by a pub lunch, ending the day on either Grange Crags or to King’s How, where the cover of Joe Cornish’s new book was shot. `` Lake District, Aira Force car park, Ullswater CA11 0JY `` Ken Rennie, km.rennie61@gmail.com

NATURE VISUAL ARTS

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

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

Nature Group field meeting to Blean Woods Nature Reserve

Visual Art Group autumn weekend meeting 2016

Sunday 9 October / 10:00-16:00

Friday 7 October – Monday 10 October

`` Fungi, mosses and lichens `` Blean Woods Nature Reserve,

`` £190 double or twin `` Best Western Brome Grange

New Road, Rough Common Road, Canterbury `` James Foad LRPS, 01843 580295 or 07810 306365, jamesfoadlrps@inbox.com

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

`` £10 (cheque made payable to RPS Nature Group, plus an SAE) `` Full details on the Nature Group’s website `` Smethwick Photographic Society Clubrooms, The Old Schoolhouse, Churchbridge, Oldbury B69 2AS `` Tickets available from Richard Revels FRPS, 73 London Road, Biggleswade, Beds SG18 8EE `` Richard Revels FRPS, as above

Your events

To ensure inclusion of your events in The RPS Journal please post them on the RPS website six weeks prior to publication. For a list of deadlines, cancellations or last-minute amendments, please contact Emma Wilson on 0141 375 0504 or email emma.wilson@ thinkpublishing. co.uk. These listings are correct at time of going to print

Hotel, Brome IP23 8AP

`` David Wood ARPS,

020 3105 0548, wood.david.j@virgin.net

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

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

Bovey Tracey, Devon TQ13 9NG

`` Linda Wevill FRPS,

linda.wevill@btinternet.com

Visual Art Group Members’ Exhibition 2017 Saturday 29 October

`` £8 group members `` The closing date is 29 October 2016. Please download the form from the Society website to submit with your entry `` 30 Bassett Gardens, Osterley, Isleworth `` Robert Charnock, 020 8570 4116, rjcharnock@hotmail.com

VOL 156 / OCTOBER 2016 / THE RPS JOURNAL / 793

794 | GUIDE | Rollright Visual Art Group autumn meeting Saturday 26 November / 10:30-16:00

`` £13 entry, £5 ploughman’s

lunch `` A day with Dr Anthony Kaye FRPS and Philip Joyce ARPS `` The Village Hall, Main Street, Long Compton `` Andreas Klatt ARPS, rpsva@klatt.co.uk

EXHIBITIONS

Weather Photographer of the Year 2016 The Royal Meteorological ``

Society and the RPS will be announcing the winners of the 2016 Weather Photographer of the Year `` Manchester: Into the Blue Tue 25th–Sat 29th October Mon 7–Fri 18 November

`` Gary evans, gary@rps.org

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

Wed 16 November - Sun 11 December

Until Friday 7 October

`` London: The Crystal, Royal Victoria Docks

Until Monday 17 October

`` Manchester Science Festival: Royal Exchange Theatre

Sat 22 October – Tue 1 November

`` Lesley Goode,

exhibitions@rps.org

RPS International Print Exhibition 159 - London Opening Night 13 October 2016 / 18:00 - 21:00

`` The Old Truman Brewery,

3° Salon Inter. de St. Martin de C. - 11° French Digital Tour Closing date: 9 October `` `` frenchdigitaltour.fr `` RPS 2016/51

`` Royal Albert Hall, Kensington Gore, London, SW7 2AP

`` David Gamble,

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

dgamble@royalalberthall.com

PATRONAGE

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

The following salons/ exhibitions have Societyapproved patronage:

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

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

PHOTOBLOCK, F Block G4, Ely’s Yard, Dray Walk, London `` Lesley Goode, exhibitions@rps.org

1st International Salon Brezovica Closing date: 1 October `` `` simonidaphoto.com `` RPS 2016/67

RPS Open International Photobook Exhibition

19° Salon Inter. de Bagnols M. – 11 French Digital Tour Closing date: 9 October 2016 `` `` frenchdigitaltour.fr `` RPS 2016/48

Tue 18 – Sun 23 October / 13:00-19:00

`` Espacio Gallery,

159 Bethnal Green Road, London E2 7DG

OVERSEAS CHAPTERS `` AUSTRALIA Elaine Herbert ARPS, eherbert@alphalink.com.au `` BENELUX Richard Sylvester richard.sylvester@ skynet.be Frank Geraedts landscape workshop Saturday 12 November / 10:00-16:00

Grindweg 4361, Westkapelle

Didier Verriest studio visit Saturday 3 December / 10:00-16:00

Sint-Veerleplein 5, Ghent

`` CANADA John Bradford, jb.rps@cogeco.ca

10° Salon Inter. de St. Aignan de C. - 11° French Digital Tour Closing date: 9 October `` `` frenchdigitaltour.fr `` RPS 2016/50

`` Hull City of Culture 2017

RPS International Print Exhibition 159 - Royal Albert Hall

International Images for Science exhibition Hull: Haymer’s College ``

5° Salon Inter. de Legé 11° French Digital Tour Closing date: 9 October `` `` frenchdigitaltour.fr `` RPS 2016/49

RPS.ORG/EVENTS FOR THE LATEST UPDATES

photocompetition.com `` RPS2016/65

The Wrekin Salon 2016 Closing date: 9 November ``

42nd Smethwick International Closing date: 10 November `` `` smethwickinternational.com `` RPS 2016/66 1st Photovivo Singapura Photo Cup Closing date: 14 November `` `` singapuraphotocup.com `` RPS 2016/70 9th PSA China International Exhibition of Photography Closing date: 25 November `` `` salon.psachina.org/ `` RPS 2016/73 4th Cork International Salon of Photography Closing date: 1 December `` `` corkcameragroup.net/ `` RPS 2016/75 1st CHKFPA International Salon of Photography 2016 Closing date: 2 December `` `` chkfpa.com.hk/ `` RPS 2016/74 1st Knowledge Bowl International Photography Award Closing date: 7 December `` `` kb2007.com `` RPS 2016/72 15th PSI International Salon 2016 Closing date: 12 December `` `` photographicsocietyofindia. com

`` RPS 2016/58

Royal Photographic Society members around the world

`` CHINA BEIJING Yan Li, yanli88@yahoo.com `` CHINA CHONGQING `` CHINA WESTERN Wei Han (Richard), oolongcha@hotmail.com `` CHINA SHANGTUF Guo Jing, shangtuf@yahoo.com.cn `` CHINA QUANZHOU Xiaoling Wang, hgudsh@163.com `` DUBAI Mohammed Arfan Asif ARPS, dubai@rps.org `` GERMANY Chris Renk, germany@rps.org Advisory day Saturday 29 October / 11:00-15:00

794 / THE RPS JOURNAL / OCTOBER 2016 / VOL 156

GO TO

4th International Ozone Zone Photo Salon Closing date: 31 October `` `` international

`` wrekinartspc.com `` RPS 2016/57

Gymnasium Hohenlimburg, Wiesenstr. 27, Hagen Chris Renk, germany@rps. org

Chapter meeting Saturday 12 November / 11:00-15:00

Dortmund, Dortmunder U, Leonie-Reygers-Terrasse 2, Dortmund 44137 German Chapter, germany@rps.org

`` HONG KONG Shan Sang Wan FRPS, shansangwan@ yahoo.com.hk `` INDIA Rajen Nandwana, rajennandwana@gmail.com `` INDONESIA Agatha Bunanta ARPS,

agathabunanta@gmail.com `` ITALY Olivio Argenti FRPS, info@rps-italy.org `` JAPAN TOKYO Yoshio Miyake, yoshio-raps@nifty.com `` MALAYSIA Michael Chong ARPS, michaelcsc1985@gmail.com `` MALTA Ruben Buhagiar, info@rubenbuhagiar.com `` NEW ZEALAND Mark Berger, rps@moothall.co.nz `` SINGAPORE Steven Yee Pui Chung FRPS, peacock@ sandvengroup.com `` SRI LANKA Romesh de Silva,

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

Overseas advisory day Wednesday 2 November / 11:00-16:00

`` Overseas members only `` Fenton House, 122 Wells Road, Bath

`` Ben Fox, ben@rps.org

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796 | SHOWCASE |

Windows on the world

Colin Howard ARPS talks about organising the Travel Group exhibition at Fenton House

T

his month, the Travel Group presents its inaugural exhibition at Fenton House. Having enjoyed an influx of members, with numbers doubling to 700 over the past two years, the Travel Group hopes the exhibition will promote the diversity of work produced by its members, in the UK and overseas.

Alongside its triannual newsletter, Travel Log, the Travel Group has utilised social and digital media to inform group members of relevant opportunities and, more importantly, establish a close-knit community.

We hear from the group’s chair Colin Howard ARPS

about the allure of travel photography, the genre’s ethos and the highlights of organising the exhibition.

What can visitors expect from the Travel Group’s exhibition at Fenton House?

We want to illustrate the depth and diversity of what constitutes travel photography. We’re trying to extend people’s borders and horizons, and open up their eyes to what the genre consists of.

Why do you think so many individuals are drawn to travel photography?

I think the genre is so appealing because it compounds and centralises

796 / THE RPS JOURNAL / OCTOBER 2016 / VOL 156

| SHOWCASE | 797

an eclectic mix of photographic interests.

Through this exhibition we’re trying to promote and encourage the ethos of travel photography while simultaneously illustrating that breadth of photographic opportunity and image making that the genre offers.

Its wide-spanning appeal is evidenced in the fact that quite a few of our members belong to more than one of the Society’s special interest groups and so it allows their passions to overlap.

Given the breadth of styles that travel photography encapsulates, was it difficult to curate this exhibition?

In many ways this was one of the great challenges and highlights of selecting images for display. We had more than 90 images submitted, so it was difficult choosing just 30 images for exhibition.

For the selection process,

we didn’t have any preconceived ideas as to what we would select. We looked at individual images and chose the ones that were strong in their own right, rather than try to look at one particular theme.

As we had more than 90 submissions, we got a very broad cross section of styles.

Thanks to the help of Brian Tabor LRPS, John Riley LRPS and Jay Charnock FRPS, I feel we have selected 30 dynamic and engaging prints.

What do you hope visitors take from the exhibition?

I hope they’re encouraged to view travel photography in a different light and realise the possibilities that the genre offers. If they leave the exhibition with a more comprehensive understanding and a desire to pursue their interest in travel photography by joining the group, then all the better.

MAIN IMAGE

Homeward bound by Aysu Bilgic LRPS ABOVE

Prayers on the wind by Janet Marshall LRPS LEFT

Attention by Bob Styring ARPS FAR LEFT

Future artist Fujian Province by Nelson Wong ARPS

VOL 156 / OCTOBER 2016 / THE RPS JOURNAL / 797

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16-300 f3.5/6.3 Di II VC PZD £428 150-600 F5/6.3 VC USD G2 £1350 150-600 F5/6.3 SP VC USD .. £828 18-200 F3.5/6.3 Di II VC........ £189 Kenko Converters 1.4x Pro 300 converter ......... £159 2x Pro 300 converter ............ £159 Auto ext tube set .............£109.99

70-200 F4 L IS USM. . . . . . . . .£1099 70-200 F4 L USM . . . . . . . . . . . . £579 70-300 F4/5.6 L IS USM . . . . .£1099 85 F1.2 USM L II. . . . . . . . . . . .£1699 85 F1.8 USM . . . . . . . . . . . . . . . . £329 100 F2.8 IS L USM macro . . . . £698 100 F2.8 Macro USM . . . . . . . . £398 100-400 F4.5/5.6 IS LII U . . . .£1798 200-400 F4 IS L USM . . . . . . .£9444 200 F2.8 II L USM . . . . . . . . . . . £649 300 F2.8 IS L USM II . . . . . . . .£5298 300 F4 L IS USM. . . . . . . . . . . .£1199 400 F2.8 IS L USM II . . . . . . . .£8388 400 F4 DO II IS USM . . . . . . . £6997 400 F5.6 L USM . . . . . . . . . . . .£1099 500 F4 IS L U II . . . . . . . . . . . . £7589 500mm F4 IS L UII

600 F4 IS L USM II . . . . . . . . . £8894 1.4x III converter . . . . . . . . . . . . £338 2x III converter. . . . . . . . . . . . . . £338 12mm EF MKII ext tube. . . . £69.99 25mm EF MKII ext tube. . . . . . £129 MR-14EX MKII Ringflash . . . . .£478 430EX III RT Speedlight . . . . . . £228 600EX-RT II Speedlight . . . . . . £539 600EX-RT Speedlight . . . . . . . . £428 W-E1 WiFi adapter . . . . . . . . £39.99 35 F1.4 AFS G . . . . . . . . . . . . . £1497 35 F1.8 AFS G . . . . . . . . . . . . . . .£438 35 F2 AF-D. . . . . . . . . . . . . . . . . .£254 50 F1.4 AFS G . . . . . . . . . . . . . . .£377 50 F1.8 AFS G . . . . . . . . . . . . . . .£188 58 F1.4 AFS G . . . . . . . . . . . . . £1347 60 F2.8 AFS . . . . . . . . . . . . . . . . .£477 70-200 F2.8 AFS VRII . . . . . £1798 70-200 F4 AFS G ED VR . . . . £1037 70-300 F4.5/5.6 AFS VR . . . . . .£497 80-400 F4.5/5.6 AFS G VR . . £1899 85 F1.4 AFS G . . . . . . . . . . . . . £1347 85 F1.8 AFS G . . . . . . . . . . . . . . .£428 105 F1.4 AFS E ED . . . . . . . . . £2419 105 F2.8 AFS VR macro . . . . . .£748 200 F2 AFS ED VRII . . . . . . . . £4199 200-500 F5.6 AFS E ED VR. . £1178 300 F2.8 AFS ED VRII . . . . . . £4499 300 F4 AFS E PF ED VR. . . . . £1497 400 F2.8 G E FL ED VR . . . . £10398 500 F4 E AFS FL ED VR . . . . . £8147 600 F4 E AFS FL ED VR . . . . . £9699 TC14EIII converter. . . . . . . . . . .£428 TC17EII converter . . . . . . . . . . .£347 TC20EIII converter. . . . . . . . . . .£377 SB500 flash . . . . . . . . . . . . . . . . .£194 SB700 flash . . . . . . . . . . . . . . . . .£238 SB5000 flash. . . . . . . . . . . . . . . .£489 R1C1 commander . . . . . . . . . . .£599

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

Family Run Pro Dealership With Friendly, Knowledgeable Staff. Open 7 Days Per Week. Prices Inc VAT - Correct 16/09/2016. P&P Extra. E&OE. FREE COURIER DELIVERY FOR NEW ITEMS ORDERED ON-LINE (U.K. Mainland only)

Although we are the best stocked dealer in the West Country, we cannot always have every item listed in stock at all times, so we are happy to reserve new & used items for customers planning to visit. Prices correct 16/09/2016 but subject to change without notice. See website for up to date prices. E&OE.

Website altered daily inc. manufacturers cashback & promotions

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

Used Canon 300mm f2.8 LI IS USM - £2999

n Excellent+ condition. n Supplied with case.

Thin depth of field (at f/2.8) combined with 300mm telephoto compression can produce a beautiful out of focus background - easily separating your subject from an otherwise distracting background. Bokeh is very good - an 8-blade aperture helps in this regard. A fluorite element and two UD-glass elements are very successfully utilized to correct Chromatic Aberration. Distortion is negligible, flare is well controlled.

Used Canon

EOS 1DX body box

£3399

Used Canon

1D MKIV body box

£1799

Used Canon EOS 5D MKIII body

£1699

Used Canon 5D MKII body

£599/899

Used Canon 16-35 f2.8 USM LII

£899

Used Canon 70-200mm f2.8 LI IS USM

£899

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

£899

Used Canon 300mm f4 L IS USM box

£849

Used Canon 400mm f4 DO

£1799/2199

Used Canon 500mm f4 LI IS USM

£4499

BRONICA ETRS 645 USED ETRSi + 75 F2.8 PE + RFH £399 40 F4 MC ..............................£149 50 F2.8 E...............................£149 105 F3.5..................................£99 135 F4 PE M- box ..............£249 150 F3.5 E ..............................£99 150 F3.5 PE M- Box...........£149 200 F4.5 PE..........................£199 E14 ext tube .........................£49 120 RFH ..................................£69 Polaroid Back .......................£39 Plain prism ............................£59 Rotary prism .........................£99 Angle viewfinder E...........£129 Winder early .........................£79 Speed Grip E.........................£39 Tripod adapter E .................£39 Winder early .........................£49 Metz SCA 386 .......................£49 BRONICA SQ 6x6 USED SQA + 80 + back + prism .£249 SQB complete ....................£399 40 F4 S ..................................£299 50 F3.5 PS ............................£299 50 F3.5 S...............................£149 110 F4.5 PS macro ............£399 135 F4 PS M-.......................£229 150 F3.5 S ..............................£79 150 F4 PS ................... £149/199 180 F4.5 PS..........................£399 200 F4.5 PS M- box ..........£199 2x PS converter M- ...........£179 135N back ...........................£119 SQA Polaroid back..............£59 SQAi 120 RFH .......................£79 SQA 120 RFH ........................£49 SQAi prism late ..................£299 45° Prism box .....................£129 Plain Prism S Boxed ...........£69 AE Prism Early ......................£79 ME Prism Finder ..................£69 Metz SCA 386 .......................£49 Pro shade S ...........................£59 Lens Hood 65-80.................£20 SQAi Motorwinder ...........£149 Speed grip S .........................£69 CANON DIGITAL AF USED 1DX body box .................£3399 5DsR body box ...............£2349 1D MKIV body box ........£1799 1Ds MKIII body box..........£999 1Ds MKII body....................£799 7D body ...............................£399 6D body ...............................£949 5D MKIII b/o box ............£1699 5D MKII body ..............£599/899 5D MKI body box ......£399/499 700D body M- box..............£349 350D body ...............................£99 300D body ...............................£79 70D body ................................£549 60D body ................................£399 50D body ................................£299 BG-E2.........£39 BG-ED3 .......£39 BG-E4 box .................................£79 BG-E6........£89 BG-E7 ..........£89 BG-E8........£69 BG-E9 box .£79 BG-E13 .....................................£139 BG-E16 .....................................£159 G9 compact ...........................£119 EOS M + 22 F2 + 18-55 .....£199 CANON AF USED EOS 1V HS body box .......£699 EOS 650 body ......................£39 EOS 600 body ......................£39 EOS 50E/300V body each £29 EOS 500N/1000 b/o each £29 10-18 F4.5/5.6 IS STM......£169 10-22 F3.5/4.5 U ................£299 15-85 F3.5/5.6 IS USM .....£399 16-35 F2.8 USM LII............£899 17-40 F4 L ............................£499 17-55 F2.8 EFS IS USM ....£449 17-85 F4/5.6........................£199 18-55 F3.5/5.6 IS EFS .........£89 18-55 F3.5/5.6 IS STM............ £99 18-55 F3.5/5.6 EFS .................. £59 18-135 F3.5/5.6 IS..................£239 20-35 F3.5/4.5 USM..............£179 24 F2.8 IS USM........................£369 24 F3.5 TSE box ...................£1199 24-70 F2.8 L USM box .........£799 24-85 F3.5/4.5 USM..............£149 24-105 F4 L...............................£549 28 F1.8 USM box ...............£259 28-90 F3.5/5.6 ......................£79 28-135 F3.5/5.6 IS USM ..£229 28-200 F3.5/5.6 USM .......£169 35 F1.4 L USM ....................£799 50 F1.4 USM........................£219 50 F1.8 MKII ..........................£59 55-250 F4/5.6 IS ................£129 60 F2.8 USM EFS mac ......£279 65 F2.8 MPE ........................£649 70-200 F2.8 IS USM LI......£899 70-200 F2.8 USM L ...........£799 70-200 F4 IS U L ................£599 70-200 F4 U L .....................£399 70-300 F4/5.6 L IS USM...£799 70-300 F4.5/5.6 IS USM ..£299

75-300 F4/5.6 IS USM ......£199 75-300 F4/5.6 MKII .............£99 85 F1.8 M-............................£219 100 F2.8 USM box.............£319 100-400 F4.5/5.6 L IS U... £899 135 F2 M- box ....................£549 300 F2.8 LI IS U..................£2999 300 F4 L IS USM box ......... £849 400 F4 DO ...............£1799/2199 400 F5.6 L box ..................... £799 500 F4 LI IS USM...............£4499 2x extender MKII ................ £219 2x extender MKI ................£169 Teleplus 2x DG conv ..........£89 Kenko ext tube set DG ......... £89 PB-E2 drive fits EOS1/3 ...£149 SIGMA CAF USED 10-20 F4/5.6 HSM box .£219 12-24 F4.5/5.6 EX DG ..........£399 17-70 F2.8/4 DC .....................£129 18-125 F3.8/5.6 OS DC .....£149 18-200 F3.5/6.3 HSM OS..£199 24-35 F2 DG Art M- box...£599 24-70 F2.8 HSM....................£469 50 F1.4 EX DC........................£249 50 F2.8 EX macro ............... £149 120-300 F2.8 EX DG .........£749 120-400 F4/5.6 DG ...........£399 150-500 F5/6.3 HSM ..........£499 180 F3.5 EX DG HSM mac.£399 1.4x EX conv .............................. £99 2x EX conv .................................. £99 Kenko Pro 300 1.4x conv..... £99 Kenko ext tubes....................... £79 OTHER CAF USED TAM 18-200 F3.5/6.3........£119 TAM 28-75 F2.8 XR Di ......£199 TAM 28-300 F3.5/6.3 Di VC PZD .......................................£399 TAM 28-300 box ................£149 TAM 45 F1.8 Di VC...............£379 TAM 70-300 F4/5.6 Di VC.£219 TAM 70-300 F4/5.6 ............... £99 TAM 90 F2.8 VC ....................£279 TAM 90 F2.8 ...........................£179 CANON FLASH USED CP-E3 batt pack ...................£49 ST-E2 transmitter ................£79 MT-24EX ...............................£549 430EXII..................................£169 430EZ non digital ...............£39 580EX box ...........................£179 600EX RT box .....................£279 CANON FD USED A-1 body ................................£99 28 F2.8 ....................................£49 28-85 F4 box.......................£199 35-70 F3.5/4.5 ......................£49 50 F1.4 ...................................£99 70-200 F4 ...............................£79 100-300 F5.6 .........................£79 135 F2 ...................................£399 2x extender B .......................£49 299T or 300TL flash each .£25 CONTAX 645 AF USED 45 F2.8 ..................................£799 CONTAX AF USED 45 F2......................................£399 90 F2.8 ..................................£299 CONTAX MF USED 28-70 F3.5/4.5 MM ...........£199 FUJI DIGITAL USED S5 Pro body box................£229 X-T1 body graphite box .£699 X-T1 body black.................£599 X-Pro1 body ........................£299 X-E2s body silver...............£299 X-M1 body blk box...........£149 18 F2 R ..................................£199 18-55 F2.8/4 XF .................£349 27 F2.8 XF box ...................£199 50-230 F4.5/6.7 XC ...........£169 56 F1.2 XF ............................£599 60 F2.4 macro ....................£369 90 F2 XR ...............................£679 1.4x converter ....................£269 Samyang 8 F2.8 fisheye..£179 Samyang 12 F2 ..................£199 Samyang 21 F1.4 ..............£199 X-T1 vertical grip...............£129 X100 silver box ..................£349 FUJI MED FORMAT USED GSW690 III ...........................£599 HASSELBLAD XPAN USED X-Pan II + 45 ............................£1699 Centre filter 49mm.................£129 HASSELBLAD 6x6 USED 503CW chr + 80 F2.8 CF +A12 ...................................£1699 PM5 prism 45°....................£149 PME prism box...................£149 45° Prism late .....................£149 45° Prism early .....................£69 NC1 prism..............................£69 WLF late ...............................£110 WLF chrome late.................£99 WLF early ...............................£49 Sports viewfinder ...............£69 Chimney.................................£89 A12 chrome latest ............£299 A12 late blk/chr .................£129

Polaroid back tatty .............£79 Winder Cw...........................£229 50 F4 CF FLE .......................£849 50 F4 CF ...............................£599 80 F2.8 CF ............................£479 100 F3.5 CF .........................£549 140-280 F5.6 CF.................£799 150 F4 chrome...................£199 250 F5.6 CF .........................£399 Ext tube 21, 55 each ..........£39 Vivitar 2x conv .....................£49 Pro shade 6093....................£99 Lens hoods various ..... £20/50 LEICA M COMPACT USED IIIg body chrome ..............£849 5cm F3.5 ..............................£299 50 F1.4 6 bit .....................£1199 CF flash ...................................£49 LEICA SLR USED R7 body black ....................£399 R5 body black ....................£199 LEICA BINOCULARS USED Trinovid 10x42 ...................£799 Ultravid 8x32 HD ..............£999 LIGHTMETERS USED Minolta Flashmeter V ......£199 Minolta Spotmeter M......£199 Sekonic L478DR ................£299 MAMIYA 645 MF USED Plain prism (645 Super) ....£39 Polariod Back HP401 .........£29 Polaroid back .......................£29 120 Insert...............................£20 HA401 120 RFH Box...........£49 120 Back.................................£39 Winder ....................................£79 50 F4 shift ............................£299 55-110 F4.5 box.................£299 120 F4 macro .....................£269 150 F2.8 A............................£199 150 F3.5 N .............................£79 210 F4 N M- ..........................£79 Ext Tube 1, 2, 3S each .......£29 Teleplus 2x converter ........£49 Vivitar 2x converter............£39 MAMIYA TLR 6x6 USED C330 F Body + WLF ..........£149 55 F4.5 ..................................£199 65 F3.5 box late .................£199 65 F3.5 serviced.................£149 80 F2.8 late serviced ........£139 180 F4.5 ................................£149 250 f4.5 late serviced.......£249 250 f4.5 early serviced .£179 Prism .......................................£99 Paramender ..........................£49 Porrofinder ............................£59 MAMIYA 7 RF 6x7 USED 50 F4.5 L + VF .....................£699 80 F4.5 L M- box................£699 150 F4.5 M- .........................£399 Panoramic kit .......................£49 MAMIYA RB 6x7 USED Pro SD comp M- ................£649 Pro S body ...........................£149 Pro S body scruffy ..............£99 WLF ..........................................£79 120 645V back .....................£99 90 F3.5 KL ............................£299 127 F3.5 KL..........................£299 Ext tube 2.................................... £49 MAMIYA RZ 6x7 USED RZ ProII + 90 + WLF + 120 RFH ............................£499 RZ Pro body ........................£149 120 RFH Pro II.......................£99 120 RFH Pro I ........................£49 WLF ..........................................£79 Winder II.................................£69 50 F4.5 W .............................£199 65 F4 box M- ......................£399 90 F3.5 W M- box ..............£299 127 F3.5 box .......................£299 180 F4.5 W box ..................£199 Pro shade...............................£49 MINOLTA/SONY DIGITAL USED Sony A77 II body................ £799 Sony A77 body ................... £399 Sony A350 body................. £149 Sony VGB30AM .....................£79 Sony VG-C1EM .................... £149 Sony VG-C77AM................. £149 Sony VG-C70AM................. £139 Sony HV56AM ..................... £169 Sony F42AM......................... £129 SONY NEX USED A6000 body .............................£329 NEX 5 body ..............................£129 FE 16-50 F3.5/5.6 EZ ............£149 FE 55-210 F4.5/6.3 ................£159 Samyang 100 F2.8 macro .£229 MINOLTA/SONY AF USED Dynax 9 body box ............£299 800Si body ............................£69 7xi body .................................£49 7000i body ............................£39 300Si body ............................£19 20 F2.8 ..................................£199 20-35 F3.5/4.5 M- box .....£249 24-50 F4 .................................£99 28 F2......................................£299

Used Nikon 300mm f2.8 AFS VRII - £3199

n Excellent++ condition. n In full working order.

This VR II model is ultra-sharp, especially at f/2.8, and autofocuses just about instantly.

It delivers superior sharpness and reduced chromatic aberration in photographs. In addition to the AF-S motor that provides fast and quiet auto focus, it also features Nano Crystal Coating technology, which reduces ghosting and flare. When it comes to weather sealing, the Nikon 300mm easily withstands dust, moisture and tough weather conditions.

28 F2.8 ....................................£99 28-80 F4/5.6..........................£39 28-85 F3.5/4.5 ......................£99 28-100 F3.5/5.6 D ...............£49 35-70 F4 .................................£39 35-70 F3.5/4.5 ........................... £25 35-80 f4/5.6 ................................ £25 35-105 F3.5/4.5 ........................ £99 50 F1.4 AF .................................£169 50 F2.8 macro .........................£149 75-300 F4.5/5.6 ........................ £99 85 F1.4 ........................................£549 100-300 F4.5/5.6 APO .........£149 VC700 grip.................................. £39 RC1000S/L cord ....................... £15 AW90............................................. £49 MD90 + BP90-M ...................... £79 Angle finder VN........................ £79 SONY LENSES USED 16-50 F2.8 DT SSM................£279 16-80 F3.5/4.5 ZA DT...........£449 18-55 F3.5/5.6 SAM ................ £59 18-200 F3.5/6.3 DT ...............£199 55-200 F4/5.6 DT SSM .......... £69 70-300 F4.5/5.6 G SSMII box £549 75-300 F4/5.6 ..........................£129 SIGMA MIN/SONY AF USED 18-35 F1.8 Art...................... £449 28-135 F3.8/5.6 ......................£79 28-300 F3.5/6.3 macro..... £149 50 F1.4 .................................... £149 50 F2.8 EX DG macro ....... £169 55-200 F4/5.6 .........................£69 70-300 F4/5.6 DG OS ......£169 70-300 F4/5.6 APO DG ......£99 150-500 F5./6.3 DG ..........£499 170-500 F5/6.3...................£299 1.4x EX conv .........................£99 TAM 10-24 F3.5/4.5 DiII ..£239 TAM 18-200 F3.5/6.3..........£99 TAM 70-300 F4.5/5.6 Di box......................................£79 TAM 90 F2.8 .............. £179/249 Teleplus 1.4x conv ..............£69 Teleplus 2x conv .................£79 Kenko 1.4x Pro 300DG ....£149 Min 5200i...............................£29 Min 5400HS ..........................£39 Min 5600HSD M-.................£99 NIKON DIGITAL AF USED D4 body box....................£2499 D3 body box....................£1199 D800E body box ............£1299 D800 body .......................£1299 D700 body box..................£699 D500 body box...............£1549 D300 body box..................£299 D200 body box..................£149 D7000 body .............. £299/349 D5000 body ........................£169 D3200 body black box ...£199 D80 body .............................£149 D50 body ...............................£79 MBD-15 grip .......................£149 MBD-14 grip .......................£179 MBD-12 grip .......................£229 MBD-10 grip M- box ........£149 MBD-10 grip .........................£89 MBD-200 box .......................£69 MBD-100 ................................£39 Coolpix P900 compact ...£399 NIKON AF USED F5 body ................................£399 F4 body ................................£349 F4E body ..............................£299 F801 body ...................... £29/59 F100 body + MB-15 .........£199 F601 body .............................£29 F55 body ................................£25 10.5 F2.8 AFS DX ...............£419 10-24 F3.5/4.5 AFS DX ....£549 12-24 F4 DX ........................£399 14-24 F2.8 AFS M- box ..£1099 14-24 F2.8 AFS ................£999 16-35 F4 VR.......................£799 16-85 F3.5/5.6 AFS VR ...£399 17-55 F2.8 AFS ......................£499 18-35 F3.5/4.5 AFS ..............£479 18-35 F3.5/4.5 AFD .............£299 18-55 F3.5/5.6 AFS ................£79 18-70 F3.5/4.5 AFS ..............£119 18-105 F3.5/5.6 AFS VR .....£169 18-135 F3.5/5.6 DX..............£149 18-140 F3.5/5.6 VR DX M- £229 18-200 F3.5/5.6 AFS VRI ....£199 20 F2.8 AF................................£279 24 F2.8 AFD ............................£299 24-70 F2.8 AFS box .............£849 24-85 F3.5/4.5 AFS VR .........£329 24-120 f4 AFS VR ...................£699 28 F1.8 AFS G ..........................£479 28 F2.8 AFD..............................£129 28-100 F3.5/5.6 AF G ............. £69 28-300 F3.5/5.6 AFS VR ......£649 35 F1.8 DX.................................£139 35 F2 AFD .................................£199 35-70 F3.3/4.5 AF .................... £59 50 F1.8 AFS .........................£149 50 F1.8 AFD...........................£99 50 F1.8 AF ..............................£79 55-200 F4/5.6 AFS VR ........£99

55-200 F4/5.6 AFS ..............£79 55-300 F4.5/5.6 AFS VR...£199 60 F2.8 AFS .........................£349 60 F2.8 AFD.........................£249 60 F2.8 AF ............................£199 70-200 F2.8 AFS VRII .....£1299 70-200 F2.8 AFS VRI .........£799 70-200 F4 VR.......................£899 70-300 F4/5.6 VR ...............£369 70-300 F4/5.6 AFD ...........£129 70-300 F4 G...........................£79 80-200 F2.8 AFD................£299 80-400 F4.5/5.6 AFD ........£699 85 F1.4 AFD.........................£499 85 F1.8 AFS .........................£349 85 F1.8 AFD.........................£249 85 F3.5 DX M- box ............£269 105 F2 AFD..........................£699 105 F2.8 AFS VR.................£579 105 F2.8 AFD ......................£399 180 F2.8 AFD M- box .......£499 200-400 F4 AFS VRII ......£3499 300 F2.8 AFS VRII M- .....£3199 300 F2.8 AFS VRI ............£2699 300 F2.8 AFS ....................£1699 300 F4 AFS M- box ...........£699 300 F4 AFS box..................£599 400 F2.8 AFS VR..............£5499 600 F4 AFS VR .................£4999 600 F4 AFS II non VR.....£3499 TC14EII ..................................£299 TC17EII ..................................£249 TC20EIII M- box .................£249 TC20EII ..................................£199 TC20E ....................................£149 SIGMA NAF USED 12-24 F4.5/5.6 EX DG ..........£379 18-50 F2.8 EX DC Mac.........£199 18-200 F3.5/6.3 DC OS ......£199 24-70 F2.8 EX DG .................£299 28-300 F3.5/6.3 early..........£129 30 F1.4 EX DC ........................£199 50 F1.4 Art M- box...............£499 50 F1.4 DG Mint ......... £199/239 50-500 F4/6.3 DG..............£399 70-300 F4/5.6 APO DG......£99 105 F2.8 EX DG ..................£269 105 F2.8 EX .........................£199 120-400 F4/5.6 DG ...........£399 150-500 F5/6.3 DG OS ........£499 500 F4 EX DG .......................£1999 1.4x EX DG M- .........................£149 1.4x EX .......................................... £99 2x EX DG box ..........................£149 2x EX.............................................. £99 TAMRON NAF USED 10-24 F3.5/4.5 DiII .................£239 11-18 F4.5/5.6 .........................£219 16-300 F3.5/6.3 VC PZD .....£319 18-250 F3.5/6.3 ......................£149 70-300 F4/5.6 ............................ £79 OTHER NAF USED TOK 10-17 F3.5/4.5 ATX ..£249 TOK 11-18 F2.8 ATX Pro..£329 TOK 12-24 F4 ATX pro .....£299 TOK 12-28 F4 ATX DX ......£399 TOK 80-200 F2.8 ATX Pro £299 FLASH / ACCESSORIES USED Sigma EM-140DG.................. £199 SB-24..........£49 SB-25.............£49 SB-28.........£69 SB-80DX ...... £79 SB-500 box ...............................£149 SB-600.........................................£169 SB-700 box ...............................£199 SB-800......£149 SB-900.......£269 SB-R1 kit.....................................£499 SD-8 batt pack.......................... £49 SU-800 ........................................£239 DR-5 angle finder box.........£149 DR-3 angle finder.................... £59 GP-1A box.................................£149 MB-10 (fits F90) ........................ £29 MB-23 (fits F4)........................... £69 MC-36 remote .......................... £79 MC-30 remote .......................... £39 MF-23 (date back F4) ............ £79 Coolscan LS-50 box .............£349 NIKON MF USED F3 body ................................£199 FM2n body chr box..........£349 FM2n body chr ..................£249 15 F3.5 AIS...........................£799 24 F2.8 AIS...........................£249 28 F3.5 AIS.............................£99 28 F2.8 E box ........................£69 28-85 F3.5/4.5 AIS.............£199 35-70 F3.3/4.5 AIS.............£129 35-70 F3.5 AIS ......................£99 35-105 F3.5/4.5 AIS ............£79 50 F1.8 AIS pancake.........£139 50 F1.8 E.................................£59 55 F2.8 AIS...........................£199 105 F2.8 AIS macro ..........£249 180 F2.8 AIS ED scruffy ...£179 200 F4 AI ..............................£149 500 F4 AIS.........................£1499 500 F8 early ........................£279 TC200 ......................................£49 TC301 ....................................£149 SC-17 TTL lead .....................£25 DW-3 WLF find fit F3 .........£99

DW-4 6x mag find fit F3 ...£99 DW-21 fits F4 ......................£149 Nikon bellows II box ..........£89 OLYMPUS DIGITAL USED Stylus 1F box ......................£299 11-22 F2.8/3.5 M-..............£379 12-60 F2.8/4 SWD .............£379 14-42 F3.5/5.6 ......................£49 14-45 F3.5/5.6 ......................£79 14-50 F3.8/5.6 ....................£199 14-54 F2.8/3.5 ....................£149 35 F3.5 ....................................£99 35-100 F2 box .................£1299 40-150 F4/5.6 .......................£49 50 F2 macro ........................£279 70-300 F4/5.6 .....................£229 25mm ext tube....................£79 FL-36 Flash ..........................£119 OLYMPUS PEN USED OMD-EM1 body M- box .£499 OMD E-M5 body box.......£299 OMD-EM10 MKII body ....£369 OMD-EM10 body ..............£299 12-40 F2.8 Pro ....................£599 12-50 F3.5/6.3 ....................£149 40-150 F2.8 Pro .................£999 1.4x converter ....................£249 HLD-7 grip box ..................£119 VF-2 viewfinder .................£199 OLYMPUS OM USED OM-4T body .......................£249 OM-1n body chr................£169 OM-2SP body .....................£149 OM-2n body .......................£149 OM-1n body .......................£149 24 F2.8 ..................................£169 28 F3.5 ....................................£49 35-70 F3.5/4.5 ......................£79 35-105 F3.5/4.5....................£79 50 F3.5 macro ......................£79 200 F4 .....................................£79 300 F4 ...................................£169 PANASONIC DIGITAL USED G6 body black....................£199 G3 body box .......................£129 GX1 body box ....................£149 GF7 body silver box .........£199 GF3 body black ...................£99 GF1 body ................................. £79 12-32 F3.5/5.6 ....................£149 14 F2.5 ..................................£199 14-42 F3.5/5.6 ......................£79 14-45 F3.5/5.6 ....................£149 20 F1.7 ..................................£199 25 F1.4 ..................................£329 35-100 F4/5.6 .....................£199 LVF2 box ..............................£149 BG-GH3 grip .........................£99 PENTAX DIGITAL USED K5 body box .......................£299 PENTAX 35mm AF USED MZ5N body ...........................£69 10-17 F3.5/4.5 ED .............£239 16-45 F4 ...............................£199 17-70 F4 SDM M- box .....£299 18-55 F3.5/5.6 ......................£29 28-80 F3.5/5.6 ......................£49 50-135 F2.8 SDM...............£379 50-200 F4/5.6 .......................£99 55 F1.4 SDM M- .................£469 55-300 F4/5.8 ED box......£229 70 F2.8 Limited ..................£349 70-300 F4/5.6 .......................£79 100-300 F4.5/5.6 .................£89 SIGMA PKAF USED 10-20 F4/5.6........................£229 18-250 F3.5/6.3..................£199 24-70 F2.8 EX DG mac ....£249 PENTAX 645AF USED 645N body ..........................£399 45 F2.8 FA ............................£399 AF500FTZ flash ....................£79 PENTAX 645MF USED 645 + 75 F2.8 ......................£249 645 body + insert .............£199 45 F2.8 ..................................£249 55 F2.8 ..................................£249 150 F3.5 EX++ ....................£149 200 F4 ..................................£149 300 F4 ...................................£249 1.4x converter ....................£199 120 Insert M- box................£49 PENTAX 67 USED 135 F4 macro late .............£249 200 F4 latest .......................£169 200 F4 early .............................£99 300 F4 early scruffy ............. £99 Pentax rear conv 1.4x ........ £249 2x rear converter...............£179 Auto ext tubes .....................£49 Vivitar 2x conv .....................£49 SAMSUNG USED 50-200 F4/5.6 III M- box ....£99 TAMRON ADII USED 90 F2.5 SP ............................£149 500 F8 ...................................£169 VOIGTLANDER USED 15 F4.5 + VF M- box .........£269 ZEISS USED Victory Diascope 85 T* FL + 20x60 box .....................£1799

Used Nikon D4 body box

£2499

Used Nikon D3 body box

£1199

Used Nikon D800 body

£1299

Used Nikon 14-24mm f2.8 AFS M- box

£1099

Used Nikon

200-400mm f4 AFS VRII

£3499

Used Nikon

300mm f2.8 AFS VRI

£2699

Used Nikon 300mm f2.8 AFS

£1699

Used Nikon 400mm f2.8 AFS VR

£5499

Used Nikon 600mm f4 AFS VR

£4999

Used Nikon

600mm f4 AFSII non VR

£3499

ITEM YOU REQUIRE NOT LISTED? PLEASE GIVE US DETAILS OF WHAT YOU ARE LOOKING FOR AND WE WILL CONTACT YOU WHEN THAT ITEM BECOMES AVAILABLE. Mail order used items sold on 10 day approval. Return in ‘as received’ condition for refund if not satisfied (postage not included - mail order only). E&OE.

800 | TIMES PAST |

Photographed from Nature Camille Silvy’s image was one of the earliest in the Journal

O

n receiving the latest issue of the Photographic Journal (what is now The Royal Photographic Society Journal) in June 1860, members saw a notable addition to the usual arrangement of articles and announcements.

There, on page 257, was a photographic image.

For most of its early years the Journal, apart from diagrams, was almost entirely text-based – very

different to the image-rich publication we enjoy today.

This print, probably the first of its kind to appear in the Journal, was an example of the phototype process, which was developed by Ferdinand Joubert.

In an essay entitled ‘On a method of rendering engraved copper-plates capable of producing a greatly-increased number of impressions’, which appeared in an issue of the Journal in the previous year, Joubert

800 / THE RPS JOURNAL / OCTOBER 2016 / VOL 156

described the process in great depth. Essentially, it was a method for producing a photo-etched plate for the mass reproduction of images.

The picture itself shows a group of Parisian workmen reading a French army poster at the outset of the second Italian War of Independence (April 1859).

In technical terms, the image is outstanding: the balance between highlight and shadow is remarkable; the detail in the darker areas is

more than adequate; and the text on the poster is very nearly discernible.

Today, we might say this is an example of documentary photography, but Joubert saw it in different, although perhaps analogous, terms, captioning the image as ‘Photographed from Nature’.

And yet, the veracity of the image is not wholly unequivocal: we cannot be certain the participants were not posed.

The photograph was taken

by Camille Silvy and then gifted to the Society by Joubert. This is the only Silvy print in the Collection, despite him being the go-to portraitist of his day. He photographed the great and good of Victorian London (including Queen Victoria and Prince Albert) and his elegant and stylish cartes de visite were much sought after. He also produced sensitive landscapes and cityscapes.

While his time in London was relatively short (less than 20 years), it was a lucrative period for Silvy.

When he returned to France in the late 1860s, his business employed nearly 40 people. But his health soon went into decline, and Silvy spent most of the rest of his life in psychiatric hospitals, with manic depression (bipolar disorder), until his death in 1910, aged 76.

PETER HARVEY ARPS

ROYAL PHOTOGRAPHIC SOCIETY COLLECTION / NATIONAL MEDIA MUSEUM

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