The RPS Journal January 2015 by Think Publishing

REVEALING THE INVISIBLE HOW X!RAY ARTIST HUGH TURVEY BRINGS EVERYDAY OBJECTS TO LIFE

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JANUARY 2015 / VOLUME 155 / NUMBER 1 / WWW.RPS.ORG

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OPENING SHOT NEW YEAR, NEW HORIZONS

COMING UP

IN FUTURE ISSUES Marking the bicentenary year of photographic pioneer Julia Margaret Cameron, our February issue is a Women in Photography Special, with work from Susan Derges HonFRPS, plus many more

elcome to 2015! It’s January, and this is page one of a brand new volume of The RPS Journal. A January issue is in itself a new thing, and we look forward to providing a full 12 months of reading pleasure for you in 2015. As we went to press, we were celebrating the Journal’s inclusion in some of 2014’s top magazine industry award shortlists. Not only was the Journal a finalist in the PPA Scotland awards, but our designer, Matthew Ball, was named Designer of the Year in the UK’s Independent Publisher Awards. We’re rather chuffed, and have all the motivation we need to start 2015 with a bang. For many, it’s around now that our thoughts turn to getting away from the British winter to more exotic climes. After reading our travel features on pages 48 and 52, the idea of jetting off to a new horizon to take some great photos certainly appeals. It’s also a good time of year to think a little more deeply about your photography, and David Penprase FRPS has some words of

wisdom on page 54. A film man, David discusses what we gain, and what we potentially lose, in taking images digitally. We’ve also begun a new feature, where we ask members to review kit that’s recently made its way on to the market. You can catch the first test run, by member Andy Finney, on page 61. Finally, do read a wonderful interview with one of the most enthusiastic image makers I’ve had the good fortune to meet, Hugh Turvey HonFRPS. Our writer, Colin, joined Hugh on the set of a popular children’s TV programme as he made some of his patented Xograms and fulfilled one of his own lifetime ambitions – to get a Blue Peter badge. That’s one New Year’s resolution ticked off the list.

CLARE HARRIS Editor

MIKE WILKINSON

PATRON AND SPONSORS

VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 1

THE RPS JOURNAL / JANUARY 2015 / VOL 155 NO 1 WWW.RPS.ORG

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HUGH TURVEY HONFRPS TRAVEL DESTINATIONS INTERNATIONAL MEMBERS’ BIENNIAL

IN THIS ISSUE

REVEALING THE INVISIBLE HOW X!RAY ARTIST HUGH TURVEY BRINGS EVERYDAY OBJECTS TO LIFE

THE

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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

See images from our recent Fellows in a Distinctions special

Patron Her Majesty the Queen President Derek Birch ASIS HonFRPS Vice-President Walter Benzie ARPS Treasurer Geoff Blackwell ARPS Director-General Dr Michael Pritchard FRPS Published on behalf of The Royal Photographic Society by Think Suite 2.3, Red Tree Business Suites, 33 Dalmarnock Road, Glasgow G40 4LA thinkpublishing.co.uk EDITORIAL ENQUIRIES Editor Clare Harris rpsjournal@thinkpublishing.co.uk 0141 375 0504 Deputy editor Andrew Cattanach andrew@thinkpublishing.co.uk Contributing editors Gavin Stoker, Geoff Harris LRPS Design Matthew Ball, Alistair McGown

Advertising Sales Daniel Haynes daniel.haynes@thinkpublishing.co.uk 020 8962 1257 Publisher John Innes john.innes@thinkpublishing.co.uk

700

A sporting highlight from Marc Aspland HonFRPS EVERY MONTH

4 | BIG PICTURE Wet and wild – it's the Loony Dook as captured by Jeff Mitchell

18 | DISTINCTIONS Six of the best as featured in our Fellowship special 71 | MEMBER GUIDE A round-up of events, workshops, Advisory Days, talks and more

ISSN: 1468-8670

7 | IN FOCUS Society elections and other news, plus exhibitions, talks, and who inspired Peter Dazeley FRPS

Cover Digitalis, by Hugh Turvey HonFRPS

17 | BOOKS William A Ewing's Landmark: The Fields of Landscape Photography

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

36 An exhibition from Susan Brown FRPS

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80 | TIMES PAST At the height of Beatlemania, which camera was George Harrison using on a trip to Paris?

SUSAN BROWN FRPS; HAZEL MASON FRPS

Sub-editor Sam Bartlett

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George the Clown, by Ashraf Talaat, part of the Society's International Members' Biennial

Learn how to take great food photos with Carl Pendle

X-ray artist Hugh Turvey reveals all as he fulfils a lifelong ambition FEATURES

ASHRAF TAALAT; CARL PENDLE; SCIENCE PHOTO LIBRARY/GUSTOIMAGES

30 | HUGH TURVEY HonFRPS Discover the inside story on the Society award recipient's Xograms 36 | MEMBER SHOWCASE All washed up: Susan Brown FRPS finds tranquillity amid the natural beauty of a beach 40 | INTERNATIONAL BIENNIAL A selection from the global images as the exhibition begins its UK tour

THE CRAFT

48 | PUNJAB PORTRAITS Dr Afzal Ansary ASIS FRPS explains his approach to travel photography

59 | MUST TRY * LATEST KIT Discover whether the Lytro Illum tears up the photographic rule book, plus a range of other gear

52 | TOP 10 DESTINATIONS There's a whole world out there â&#x20AC;Ś

63 | MASTERCLASS / IN DEPTH Whet your appetite for the art of food photography

54 | INSIDE THE IMAGE David Penprase FRPS on the challenge of creating an identity in a world of digital images

59 The pioneering Lytro Illum

69 | MY FAVOURITE CAMERA Landscape photographer Mark Littlejohn on what makes him click VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 3

JEFF J MITCHELL/GETTY IMAGES

4 | BIG PICTURE |

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Loony Dook By Jeff Mitchell

THE ASSIGNMENT I’m staff with Getty and we supply the newspapers with a service that they can use any picture we shoot. The New Year’s Day Loony Dook at South Queensferry, near Edinburgh, is one that is always on the radar. It’s a go-to job that’s always picked up and makes a good picture. I’ll get there early, put on a pair of waders so I can get in there with the swimmers. It’s crazy how many people from all over the world take part. EQUIPMENT I would have been using a Nikon D4 and a 24-70mm lens. TECHNIQUE I do have a tendency to shoot wide open because I like a bit of soft background blur and I always keep quite a high shutter speed for situations like this because there is so much movement. TIPS Be sharp and keep a lookout for people in the crowd that you think might be a good choice for this kind of picture. You’re trying to pick out good characters and look for good expressions. TRAINING My father was a photographer, so I got into it early. My first job was on The Helensburgh Advertiser and from there I went to the Evening News in Edinburgh. The place was full of really good photographers, so that really was the start of mastering the craft.

VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 5

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THREE CHEERS Acclaim for Society trio 8

BACK TO THE FUTURE Analogue Imaging Group goes live 10

THE X FACTOR Society elections for 2015-17 14

INFOCUS NE W S, V IE W S, E X HIBITIONS A ND MEMBER INSIGHT

The Z machine at Sandia National Laboratories

MAKING ‘LIGHT WORKS’ OF SCIENCE PHOTOGRAPHY

RANDY MONTOYA, SANDIA NATIONAL LABRATORIES

Major exhibition reveals the crucial role of light in science and technology images TO help celebrate the 2015 International Year of Light, the Society is organising a new science-based exhibition showing how light is used in scientific, technological and medical images. ‘The idea is for an

INNOVATE

exhibit of 50 images, each measuring two metres wide, to be shown in a variety of open-air public spaces around the UK,’ explains organiser and curator Gary Evans ASIS FRPS. ‘The exhibition, Light Works, is a virtual journey through the electromagnetic spectrum, from gamma rays to radio waves, showing how each USING GADGETS AND GIZMOS

type of light enriches our lives through science, medicine and technology.’ Evans and the other organisers are hoping to open the exhibition in the courtyard of Burlington House, London, on 25 January (to be confirmed), with the national launch likely to be in February. It will be shown in Edinburgh from 8 March to

19 April to coincide with the International Science Festival. ‘The plan is to visit at least six other UK venues during the year,’ Evans adds. ‘We are sponsored by the Science and Technology Facilities Council and have support from the Royal Astronomical Society and other bodies.’ For updates, see rps.org

FIND OUT HOW TO STRENGTHEN YOUR CREATIVE PHOTOGRAPHY WITH THE DIGITAL THAMES VALLEY GROUP’S TALK BY JEFF MORGAN. SEE PAGE 76 VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 7

8 | IN FOCUS | A right-to-left Iain Macmillan image of Abbey Road

Australia

WE SPEAK TO CHAPTER HONORARY SECRETARY ELAINE HERBERT ARPS

First established The Australian Chapter – which was originally the Victorian Chapter – was first established in 1986. It represents all members across the continent. Number of members There are about 100 members living in Australia and all are eligible to join the Chapter. There are vast distances between many of the members, but new technology is making greater participation possible, both in local activities and internationally.

Greatest achievement The Chapter holds monthly meetings, mostly in Melbourne and country Victoria. These can be lectures by guest speakers or Chapter members, gallery visits, show-and-tell sessions where members bring along images for discussion, photographic field trips and social gatherings. The Chapter’s monthly newsletter is a key feature, especially important in keeping our scattered membership in touch with one another and with Chapter activities. Member spotlight Jack Lanagan ARPS is a foundation member of the Chapter and its Convenor for over 20 years. He has been very active in running and supporting the Chapter, especially with programme planning, meetings,

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Society distinction in 2015.’ Finally, Terry Donnelly ARPS has been awarded the Blue Badge in the Photographic Society of Sri Lanka’s 59th Annual International Photography Exhibition. ‘Ten works were accepted, with three receiving awards. There was also an award made of Best Author for having the most acceptances in the exhibition,’ he said.

Red Truck by Palli Gajree OAM HonFRPS, above, and Lake Alexandrina by Jack Lanagan ARPS

exhibitions, and the Chapter’s Digital Group. He gained his ARPS in 1983. Palli Gajree OAM HonFRPS trained as a professional photographer in the UK in the 1950s then worked with well-known photographer Walter Bird FRPS in his London portrait studio. He gained his ARPS in 1956 and FRPS in 1975 and was awarded the Medal of the Order of Australia (OAM) in 1989 for services to photography.

TANYA AHMED, FROM ‘WALKING THE GAMUT’; GEOFF HARRIS LRPS

CHAPTER FOCUS

lot of history, which … gives you so much subject matter to choose from,’ Livesey said. Dave Fieldhouse won the Classic View category in the 2014 Landscape Photographer of the Year competition, with an image of the Hope Valley, Derbyshire. ‘This is quite a result for me, as my keen interest in photography only started two years ago,’ said Fieldhouse. ‘I aim to go for a

THE MACALLAN/MARIO TESTINO; FUTUREFLASH/SHUTTERSTOCK.COM

SOCIETY MEMBERS COME UP TRUMPS

THREE Society members have won awards or been shortlisted in prestigious photography competitions and exhibitions. First up is Terry Livesey LRPS, shortlisted in the Professional category in the EEF’s Make it Britain contest, which looks for images that help celebrate manufactured products, components and processes. ‘British manufacturing has a

JANUARY 2015 From far left: By Hand (Terry Livesey LRPS); Manhattan Showers (Terry Donnelly ARPS); Watership Down (Dave Fieldhouse) and Redemption (Terry Donnelly)

| IN FOCUS | 9

FROM THE PRESIDENT

A YEAR FOR THE LIGHT FANTASTIC Let’s start as we mean to go on

W SNAP SHOT

POLAROID RETURNS Polaroid’s new Socialmatic has been designed for the ‘wired’ generation and combines an instant camera with the ability to upload photographs directly on to social media platforms.

elcome to this first Journal of the year, and the first time for many years that a January issue has been produced. It has been really good to learn the readers’ positive views about all the content in recent issues, especially those articles about significant photographers who have been given Society Awards, as well as examples of Distinctions. Your feedback is appreciated and helps us continue to develop the Journal. Drawn by Light: The Royal Photographic Society Collection at the Media Space in the Science Museum, London, has been acknowledged as being one of the most important and stunning photography exhibitions. I was invited to attend the launch last month and was fascinated by the range of photographs, from the first ever created in the 19th century all the way to our 2014 Award recipient Steve McCurry HonFRPS’s Afghan Girl. The exhibition was covered on BBC TV, ITV and radio, featuring compelling interviews with the show’s curator

Colin Harding, from the National Media Museum and our Director-General Michael Pritchard FRPS. Some of these reports can be accessed via links on the Society’s website and our Facebook page. For more details about opening times and how you can buy a reducedprice exhibition catalogue, visit rps.org/dbl The Society members’ 2015 Biennial Exhibition attracted nearly 3,300 entries. The top 100 have been selected and the first display of the exhibition takes place from 9–31 January at the Grant Bradley Gallery in Bristol. Details about the splendid award-winning images, and the other venues the exhibition will visit, can be seen on the RPS website. The opening of a special exhibition, as part of the UNESCO International Year of Light 2015, takes place at Burlington House, London, on 28 January. Fifty images will be presented on display stands for visitors to walk around and learn about the science behind them. The exhibition will tour venues around the country including Edinburgh and Birmingham. The curator is Gary Evans ASIS FRPS, and the exhibition has been realised with the support of the Scientific and Technical Facilities Council.

DEREK BIRCH ASIS HonFRPS President of The Royal Photographic Society

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10 | IN FOCUS | INSPIRATION

ART DEBATE REIGNITED BY RECORD SALE

Society Fellow Peter Lik hit the headlines last month for selling the most expensive photograph ever. Lik’s image, Phantom, sold at auction in December for 6.5 million US dollars. The sale sparked a debate in the arts press about whether photographic works should be counted as fine art, like paintings and sculptures. Followers of The Royal Photographic Society Facebook page also joined in: ‘Art covers so many diverse disciplines it would be absurd to exclude photography’, said Tony Morgan. OBITUARY

LAURIE FRIEND

Laurie Friend was one of the New South Wales Chapter founding members in 1985, with Tony Hilton and the late Brian Woodward, the Chapter’s secretary. For the first 15 years of the Chapter he was treasurer. He was a Leica enthusiast, and was still using his beloved M2 right up until he became ill about 12 months ago. Friend, a private man, and one of nature’s true gentlemen, always kept his enthusiasm and bore his illness bravely. Friend was also a founding member of The North Sydney Leagues Photographic Camera Society (Norths), some 40 years ago. His cheery disposition and expertise will be greatly missed. Laurie Friend d. 30 October 2014

‘IT DOES MAKE ME PROUD TO HEAR I’M A ROLE MODEL’ Ronald Smith, nominated by Peter Dazeley FRPS Many of us have one person who sparked our love of photography. For Peter Dazeley FRPS, that person is Ronald (Ron) Smith, a teacher of photography at London’s Holland Park School from 1958 to 1983. The Journal spoke to Smith, now 94, to find out just why he was such an inspiring man. ‘Peter Dazeley and his brother Charles were on the photography course at Holland Park School, which was the first school in the country to have a photography department,’ Ron recalls. ‘I had no formal training, but I’d carried a camera as a boy and a young man. I went into the Territorial Army in 1937 and came out in 1946. From the army I went to college to do teacher training. ‘I was given the Hood Award from The Royal Photographic Society in 1976,

Vivid Reflections, Albert Dock (boat) by Ron Smith

for pioneering the teaching of photography in schools. ‘The year before had been Jacques Cousteau, and before that was Lord Snowdon. So I was in good company.’ Ron is now registered blind, a condition that he hugely regrets. ‘Every now and then I burst into tears

ANALOGUE RESURGENCE Special Interest Group holds first meeting

After an enthusiastic response to a feature on analogue photography in the October issue of the Journal, the new Analogue Imaging Group will meet for the first time later this month in Lichfield. ‘Film and alternative processes like cyanotype are growing in popularity,’ says David Healey ARPS, who set up the Analogue Group for the Society. ‘Film sales crashed after digital took off, but its very distinctive qualities are increasingly appreciated, and film sales are no longer in decline.’

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because I can’t control it,’ he says. ‘I’ve got a good brain, but that’s not enough. But it does make me proud to hear that I’m a role model. I’ve had a busy life. Photography was my first love.’ Who’s your inspiration? Let us know, by contacting us by post or email at the address opposite

FILM AND ANALOGUE

One One imaging imaging technol technology ogy has has been been the bedrock bedrock of the of photogr photography aphy since since our our forefath forefathers ers began began ‘fixing ‘fixing the the shadow shadows’: using using silver s’: silver (film) (film) and and other other lightlightsensitiv sensitivee emulsio emulsions ns like like Cyanoty Cyanotype pe to capture capture images. to images. The The purpose purpose of of this this article article is is to to propose propose the the formatio formationn of new new special of aa special interest interest group: group: a a group group that will will foster that foster skills skills and and interest interest in, in, and and promot promotee the the potentia potentiall of, of, film, film, darkroo darkroom m and and alternat alternative ive photogr photographic process processes. aphic es. For For the the momen momentt lets lets call call itit ‘the ‘the analogu analoguee imaging imaging group’. group’. Why? Why? My My last last two two years’ years’ experie experience teachin teachingg photogr nce photography aphy to to some some one one hundred hundred 12 12 to to 18 18 year year olds olds has has shown shown me me how how the the young young can can enjoy enjoy film film photogr photography, aphy, develop developing ing and and printing printing.. The The cry cry ‘Sir, ‘Sir, we we want want to to learn learn how how itit used used to to be be done’ done’ indicate indicatess how how predicta predictable ble digital digital photogr photography aphy has has become become for for aa generat generation ion who who know know nothing nothing else, else, and and their their desire desire to to learn learn about about film film photogr photography. aphy. As As Winston Winston Church Churchill ill said said ‘the ‘the further further back back you you look, look, the the further further forward forward you you can can see’! see’! The The film film renaissa renaissance nce is is wider: wider: in in further and higher education, photogr photographic aphic darkroo darkrooms ms are are not not dying, dying, and and neither neither is is film, film, especia especially lly in in medium and large formats. Profess Professionally ionally II meet meet photogr photographic aphic lecturer lecturerss and and technic technicians ians who who are are commit committed ted to to teachin teachingg photogr photography aphy student studentss both both film film and and digital, digital, and and who testify testify to who to how how satisfyin satisfyingg many many student studentss find find using using film. film. In In the the industry industry,, German German photo photo compan companyy Spürsin Spürsinnn have have recently recently introduc introduced ed two two new new films films and ‘Images in Medicine and one one univers univers : Aal al develop developer. er. Harman Harman Ilford’s Symposium film Ilford’s for Producer film sales sales are are s and not not declinin decliningg – Users’ bringsthey – in in fact, fact, they together, are are produci for the ng produci ng aa steady steady stream first time, thenew stream of new people of analogu analogu producin ee product g product s. s. Film medical images Film is is still still being being withmanufa manufa those who ctured ctured and and Ferrania use them in clinical Ferrania is plannin plannin is practice. gg aa comeba comeback. ck. Fuji Fuji Instax Discussions Instax and Imposs and Imposs will take ible’s ible’s place Polaroid Polaroid replace replacement across four areas ment films are are very films very in which popular popular.. Amongs Amongstt profess medical photogra professional and and amateu ional phy amateu is rr photogr photographers aphers intimately connecte the the APUG APUG and and FADU FADU d withforums forums underlin underlinee lively clinical medicine lively interest : dermato . logy, ophthalmology,It’s It’s oralnot not & just just about about aa renaissa renaissance maxillofacial‘old’ nce in ‘old’ surgery, in techniq techniq and ues. ues. Workin Workingg in medical educatio in analogu analoguee can can n. help help digital digital photogr photographers aphers become This is a unique become more moreopportun informe informeity dd photogr photographers. for anyone working aphers. It It is is widely widelyinconside conside or with red red that that student student ss who who are are good good darkroo darkroom m printers printers are are better better digital digital image image editors. editors. Using Using slide slide film— film— where where almost almost everyth everything ing has has to to be be right before before you right you press press the the shutter—teaches teaches planning of framing shutter— , composition, lighting lighting,, filtration filtration and and exposur exposure. e. And And film film does does certain certain things things uniquel uniquely: y: you cannot cannot create you create aa transpa transparency rency with with Fuji Velvia’s Velvia’s look Fuji look and and feel feel using using digital. digital. The success of Imposs The ible’s Instant Lab

One imaging technol ogy has been the bedrock developing and of printing. The cry photography since ‘Sir, we want to learn how it our forefathers began used to be done’ ‘fixing the indicates how shadows’: using predictable digital silver photography other light-sensitive (film) and has become for a generation emulsions such as Cyanoty which knows pe to nothing else, and images. The purpose capture their desire to learn about film article is to propose of this photography. As Winston the formation of a Churchill said: special interest ‘The further back group: a group you look, the further to foster skills forward and interest in, you can see.’ and promote the potential of, film, The film renaissa darkroom and nce is wider: alternative photogr in further and higher educatio aphic n, processes. Let’s photographic for now call it darkrooms are not ‘the analogue dying, and neither imaging group’. is film, Why? My last especially in medium two years and large teaching photogr formats. Profess aphy to around ionally I meet a hundred 11 to photographic 18-year-olds has lecturers and shown me how technic ians who the are enjoy film photogr young can to teaching photogr committed aphy, aphy students both film and digital,

Back to our roots

LEARN MORE ABO IMAGES IN MED UT ICINE

ABOUT THE AUTHOR DAVID HEALEY MSc ARPS David shoots film and digital, and has his own darkroom. A part-time film and digital photograp hy tutor, he works for Keyphoto, a digital and analogue equipment and materials supplier to services including education , the police and museums . He was awarded an Associateship for his MSc research on the development and marketing of the Advanced Photo System

David Healey ARPS proposes the forma Special Interest Group tion of a Society , based on analog ue photography

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The inaugural meeting will take place on 31 January at Lichfield Cathedral and costs £7 for members and £10 for non-members, plus £3 for an optional cathedral photography outing. For more details, contact Andy Moore by email at andy@rps.org

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2014 / THE RPS

JOURNAL / 627

IT’S ALL THERE IN BLACK AND WHITE Tetenal has announced its European Black and White Analogue Photography Competition. Closing date: 31 March. Visit bit.ly/tetenalcomp

JANUARY 2015

| IN FOCUS | 11

CORRESPONDENCE

WAR TRIBUTE At our Watford Camera Club, I was encouraged to send you my tribute to the Great War, which was published on the front page of the Watford Observer. When President Derek Birch came to open our camera club exhibition, we asked him to pass on our congratulations to you for such a fabulous revamped Journal. Jaffer Bhimji LRPS

I WISH I’D TAKEN

SEBASTIÃO SALGADO’S GENESIS PROJECT

PEERLESS PANEL The articles about successful Distinction submissions in the December issue were excellent. I liked the Professional and Applied ARPS panel by Emma Delves-Broughton but I found the LRPS panel from Ken Bingham quite outstanding. He has demonstrated ability in several aspects of photography, coupled with a high standard of printing and presentation. Lionel Squire ARPS

Landscape and travel photographer David Noton

When did you first see this image? I have of course known of Sebastião Salgado for years. Who hasn’t? I have his excellent book Workers, a truly monumental achievement. But I have only just laid eyes on this exquisite image in the last few days, having just bought his latest book, Genesis. What’s the big deal about it? Aesthetically it’s just a beautiful picture, with a simple, bold, uncluttered composition, as with all the best images. There’s a

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

«clikpic»

quality to the black and white reproduction that is sumptuous, with rich blacks, sparkling highlights and wonderful gradation of tone. The subject is intriguing, and the image tells a story as part of the huge project to capture the world in its natural state, which is what Genesis is all about. How has it influenced you? Just looking at this image, and indeed the whole book, just fuels my desire to sally forth into the great wide open with a project in mind.

It also reminds me just how powerful the medium of black and white is. But the big influence that stems from this image is all about commitment. Great pictures like this don’t just happen by chance. Salgado has devoted his life to capturing such moments, and that commitment is truly inspirational. See more of Noton’s work, and learn about his book, The Vision, at davidnoton.com Genesis by Sebastião Salgado is published by Taschen.

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Visit www.clikpic.com for a FREE 14 day trial VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 11

12 | IN FOCUS | WHAT NOT TO MISS PENELOPE UMBRICO: SUN/SCREEN Photographers’ Gallery, London UNTIL 28 JANUARY

The Photographers’ Gallery hosts this new work by award-winning New York-based artist Penelope Umbrico. It continues her exploration into the production and consumption of photographs online, particularly the persistence of sunset imagery within popular photography. thephotographersgallery.org.uk

UNTIL 22 FEBRUARY

In 1862, the Prince of Wales (later King Edward VII) was sent on an educational

tour of the Middle East, accompanied by the British photographer Francis Bedford (1815-94). This fascinating exhibition documents the journey through the work of Bedford, the first photographer to join a royal tour. He later published a set of 172 photographs, which were

first exhibited in August 1862 and made available for sale. Cairo to Constantinople also explores the cultural and political significance that Victorian Britain attached to the region, which was as complex and contested back then as it is today. bit.ly/cairophoto

UNTIL 22 FEBRUARY

The winning images from the 2014 competition, including James Woodend’s shot of green aurora dancing across the Icelandic night sky and reflected on a glacial lagoon in Vatnajökull National Park. rmg.co.uk/astrophoto JANUARY ONWARDS

ALSO SHOWING

VICKI!LEA BOULTER: PHOTOGRAPHIC ART EXHIBITION Hannahs at Seale Hayne, Newton Abbot, Devon

CHICHESTER CAMERA CLUB ADVANCED WORKERS’ EXHIBITION North Mundham Village Hall, West Sussex

UNTIL 31 JANUARY

10 AND 11 JANUARY

This is the first exhibition by Vicki-Lea Boulter ARPS, a photographer and digital artist. As well as being a member of the Visual Art group, Boulter’s image of a mermaid has graced the cover of the Journal (September 2013). vickiboulter.com

‘This is for “advanced workers” of Chichester Camera Club, many of whom hold Fellowships of the Society, such as Iain McGowan, Janey Devine and Graham Sargeant,’ says the club’s Cath Walter. bit.ly/mundham

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THE CITY OF SIX TOWNS Albion Square, Stoke-on-Trent UNTIL 20 FEBRUARY

Fifty new works by Magnum Photos member Mark Power illustrating the city of Stoke-onTrent. ‘Stoke is a place in constant flux, driven forwards by the vitality of its people,’ says Power. ‘Photography is good at revealing this. A picture made yesterday might be impossible to recreate today, as the world moves on.’ grainphotographyhub.co.uk

Landscape Photographer of the Year, Waterloo Station, London. Until 31 January W64071: Photography by DeMontfort Graduates, The Leicester People’s Photographic Gallery. 12-30 January The Stonemason, by Stewart Wall ARPS. Caistor Arts and Heritage Centre, Caistor, Lincs. Until 31 January Joan Fontcuberta: Stranger Than Fiction, National Media Museum, Bradford. Until 5 February Conflict, Time, Photography. Tate Modern, London. Until 15 March

FRANCIS BEDFORD © ROYAL COLLECTION TRUST /© HER MAJESTY QUEEN ELIZABETH II; STILL FROM SUN/ SCREEN, PENELOPE UMBRICO; AURORA OVER A GLACIER LAGOON © JAMES WOODEND; DARREN AND VINNIE © MARK POWER; AFTER THE RAIN, PIETRO ROCCHICCIOLI ARPS; WE ARE THREE, VICKI(LEA BOULTER ARPS

CAIRO TO CONSTANTINOPLE: EARLY PHOTOGRAPHS OF THE MIDDLE EAST The Queen’s Gallery, Buckingham Palace, London

ASTRONOMY PHOTOGRAPHER OF THE YEAR Astronomy Centre, Royal Observatory Greenwich, London

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14 | IN FOCUS |

‘I LEARNED SO MUCH’

SOCIETY NEWS

ELECTIONS This year, the Society will be holding elections for its Officers, Council and the Advisory Board for the 20152017 term. Nominations can be made using the forms enclosed with this issue of the Journal, or it can be downloaded from rps.org/ election2015. The full timetable for the election can

also be found at this web address.

presence on the Society’s website.

Society member celebrates award of MA in photography

BEQUEST The Society gratefully acknowledges a bequest of £2,000 from the late John Truman ARPS. It will be used to support a specific project.

NOMINATIONS Nominations are now open for the Society’s Combined Royal Colleges Medal 2015. Go to rps. org/awards/ nominate. Closing date: 20 February.

NEW CHAPTERS Overseas Chapters in Sri Lanka and Chongqing, China, now have a

ADVICE ONLINE This year, the Society will launch an online Distinctions advisory service.

IF raising children while running a graphic design business wasn’t tough enough, Society member Nicky Callis LRPS has just completed an MA in photography from De Montfort University. ‘My son Jasper got a Commended award in this year’s Pink Lady Food Photographer of the Year awards and through this I met Society DirectorGeneral Michael Pritchard,’ Callis said. ‘Michael also graduated from De Montfort and gave a me lot of moral support and encouragement.

Taking a closer look at food

The course was tough but I learned so much.’ Callis is now preparing for her ARPS and is exhibiting at the Leicester People’s Photographic Gallery. For more information, see nickycallis.com

DISTINCTION SUCCESSES

Well done to all the Members on their achievements in recent months Simon Jenkins, Hertfordshire Helen Jones, Dorset Nigel Jones, Kent Stephen Jones, Dorset Abbas Kapadia, UAE Malcolm Lander, Shropshire Kah-Wai Lin, New Jersey Moises Martinez, Spain Shibu Mathew, UAE Anthony Mcdonnell, Worcestershire Phillip John Mundy, Middlesex Adetokunbo Ojo, Queensland Debbie Ram, Hertfordshire Seamus Martin Reid, Middlesex Tracey Robilliard, Guernsey Arunaa Singh, Uttar Pradesh

Alan Jones LRPS 14 / THE RPS JOURNAL / JANUARY 2015 / VOL 155

Vivek Sinha, Berkshire Tina Smith, Hampshire Mike Snelle, Pembrokeshire Cheryl Wilkes, Suffolk Mick Yates, Gloucestershire LRPS 11/14 Janine Ball, Kent Michael Bigger, Bristol David Blake, Wiltshire Graham Borthwick, Gloucestershire Barrie James Brown, Surrey Mike Church, Worcestershire Alan Crossland, Middlesex Michael Leonard Dallenger, Dorset Jean Dimond, Gloucestershire Clive Eaton, Norfolk Christine Eltherington, Cumbria Philip Field, Somerset Mark Graham, West Yorkshire Sue Green, Greenwich Susan Green, Somerset Mike Hemmings, Northamptonshire Robert Herringshaw, Gloucestershire Nigel Higson, East Sussex

Ian Johnston LRPS

Christopher James Hilton, Dorset Ian Johnston, Isle of Wight Alan Jones, Malaga Philip Jones, Lancashire Christine Longman, Cornwall Rosie Mathisen, Dorset Jim McCabe, Kent Conor Molloy, Cheshire Glen Parker, West Midlands Catherine Pyetan, Surrey Jill Riggs, Dorset Fay Rogers, Somerset Peter Smith, South Gloucestershire Mark Stanton, Somerset Alan Stone, Devon Peter Street, Hampshire Kara Sutherland, Inverness-shire David Taylor, Shirehampton Gilbert Turner,

Gloucestershire Theunis Viljoen, Shropshire Diane Walker-Cleveland, West Sussex James Wilmot, Spain FRPS NATURAL HISTORY 11/14 Gill Cardy, Wiltshire FRPS VISUAL ART 11/14 Philip Cooling, Worcestershire David Jordan, Norfolk FRPS CONTEMPORARY 11/14 Mike Naylor, Malaga FRPS PROFESSIONAL * APPLIED 11/14 Yap Kok Hing, Malaysia FRPS TRAVEL 11/14 Hazel Mason, Selkirkshire See images from the recent successful Fellows on page 18

NICKY CALLIS LRPS

LRPS 09/14 Richard Connolly, Warrington LRPS 10/14 Clement Carol, UAE Paul Connor, East Sussex Jennifer Crook, Kent John William Cuthell, Worcestershire Barbara Anne Davies, Carmarthenshire Tim Downton, Dorset Sue Dyson, Somerset Dorcas Eatch, Lincolnshire Ken Farge, Essex Andy Gilbert, Cheshire Nicky Guard, Cambridgeshire Sylvia Elizabeth Gummery, Essex Simon Hawkins, Kent Paul Hayward, Shropshire Alison Jenkins, Hertfordshire

JANUARY 2015

365 WINNERS

YOUR THEME: BOUNDARIES

December’s online competition winners BLACK DURGONS AT BOATSWAIN BIRD ISLAND By Paul Colley LRPS It was taken at one of the most remote dive locations in the world, Ascension Island in the South Atlantic Ocean. It is a split-level image, half in and half out of water, which is a particularly difficult technique. The exposures and depth of field in each half of the image are quite different and so hard to control.

STOP AT THE CROSSING! By Nick Kemp This picture was one of those ‘grab it or miss it’ occasions. The stationary traffic tailing back and the sole pedestrian in a bright yellow dress on the crossing were all too stunning to miss. I used a Canon 40D with Canon 24-105mm lens @ 24mm. (f/10 @ 1/400 sec, ISO 1600). My technique can be described: panic, frame, click. There was no second chance.

| IN FOCUS | 15

PEACE WALL, BELFAST By Steve Morris I am a regular street photographer and often visit Belfast. I took this shot as a tourist began to add a message to the Peace Wall, the dividing line between the nationalist and unionist communities. I used a Canon 5D MK11 with an EF 24-70 F/2.8L fitted lens, at a 70mm focal length. The camera was set at 400 ISO, aperture priority set at f/8 for a reasonable depth of field, with an exposure of 1/250 sec.

ENTER NOW SUBMIT PHOTOS FOR THE NEXT COMPETITION AT RPS(365.ORG

VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 15

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BOOK REVIEWS

| IN FOCUS | 17

TOKYO CAMERA STYLE John Sypal Thames and Hudson (£14.95) Photographer and blogger John Sypal describes himself as a ‘sartorialist’ of the camera world, and this book is an entertaining chronicle of Japanese camera obsessives and their cherished gear. While even the most ardent camera geek might start to flag by page 200, Tokyo Camera Style is an endearingly obsessive collection of curiosities, and it’s great to see long-forgotten cameras still being cherished by collectors, hipsters and flaneurs on the other side of the world. GEOFF HARRIS LRPS

One of the book’s ‘quieter, more reflective’ images – taken by Simon Roberts HonFRPS

LANDMARK WORK

An intriguing round-up of approaches to landscape imagery

LANDMARK: THE FIELDS OF LANDSCAPE PHOTOGRAPHY William A Ewing Thames & Hudson (£39.95) If you are interested in new ways of photographing landscapes, this new collection from Thames & Hudson gives lots of food for thought. It’s a beautifully presented volume, featuring more than 230 images by over 100 photographers, and the work is fantastically diverse. The first sections, Sublime and Pastoral, include more conventional approaches, but never predictable or dull; anyone who has not yet seen the wonderfully minimalist, Zen-influenced landscapes of Michael Kenna is in for a treat. Pastoral includes some dramatic “storm chasing” images from the USA by Mitch Dobrowner, which rub shoulders with quieter, more reflective work by Simon Roberts HonFRPS. As the book progresses, the definition of landscape photography gets looser and looser, as more and more people, buildings and artefacts appear.

Some readers may find some of the later section headings – Enigma, Hallucination etc – a little diffuse and self-indulgent, but the work is eclectic and thought provoking. One of the best sections is Scar, which shows the destructive effect of human activities on the landscape. There is some great work here, including John Davies’ haunting images of what’s left of coal-mining facilities in the north-east, and Simon Norfolk’s poetic work from Afghanistan. Edward Burtynsky’s monumental work features strongly in this section too. It’s the sheer scope of this book which really impresses – you have everything from quite intimate, some would say parochial, images of stuff by the side of the road, through to epic shots of space. Landmark: The Fields of Landscape Photography is a tremendously stimulating book and reminds you that the only boundaries when it comes to shooting outdoors are those set by the photographer. JOHN FLEMING ARPS

ROBERT DOISNEAU Jean Claude Gautrand Taschen (£44.99) Doisneau is the archetypal Gallic photographer, but there is more to his work than Parisian romanticism, as this book reveals. Indeed, Doisneau has become typecast by his iconic image of the kissing couple, and overshadowed by his better-known contemporary and fellow Leica user, Henri Cartier-Bresson. With this wonderfully produced book you are really struck by Doisneau’s instinctive ability for tight compositions, with distractions kept to a minimum. TOM SETCHELL

I WAS HERE: PHOTOGRAPHS OF DARK TOURISM Ambroise Tézenas Dewi Lewis Publishing (£35) Looking for travel photography with a difference? Ambroise Tézenas really did go on some holidays from hell, visiting a dozen major sites of “dark tourism” across the world. The images are quiet and understated but are powerful in their own way, particularly the work from Chernobyl and the Dallas ‘JFK’ trial. JANE NORTON

VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 17

FELLOWSHIP SPECIAL WHAT ARE DISTINCTIONS?

Distinctions are standards of achievement recognised throughout the world

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

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

Photography of excellence

he Distinctions Panel Assessments begin each year in January, and continue until November. Last year, almost 1,100 applications were assessed – equivalent to 10 per cent of the Society’s membership. In autumn 2014, the Panel reviewed some outstanding work, and our congratulations are due to six new Fellows of the Society, covering a wide range of photography in the Applied, Contemporary, Nature, Travel and Visual Art categories. In Visual Art, David Jordan’s submission, Interactions was an exploration of light and shade, texture, diffusion and distortion. In contrast, and illustrating the range in the Visual Art category, Philip Cooling’s submission was based on the theatre. None of the images existed in reality, but were the result of distortion and inversion, ‘before being reformed to provide perspectives … of other worlds’. Exploring the reality of our own world were two very different Panels. In the Travel category, Hazel Mason portrayed life on the streets of Bara Bazar on the east bank of the Hooghly River in Kolkata – 18 / THE RPS JOURNAL / JANUARY 2015 / VOL 155

WE’D LIKE TO CONGRATULATE SIX NEW FELLOWS OF THE SOCIETY

and in the Applied Category Yap Kok Hing from Malaysia, already a Fellow in the Travel category, submitted a series of prints depicting life in the municipal dump of Anlong Pi, in the city of Siem Reap in Cambodia. In the Natural History category, Gill Cardy was successful with a panel of bird photography. The images paid emphasis to bird activity, including flight, display and hunting throughout the seasons, including some fine images of winter action. Mike Naylor, newly appointed Chapter Organiser for Southern Spain, was successful in the Contemporary category, with a very carefully thought-through Panel on the despair and loneliness which can be generated by a diagnosis of cancer. Individually, they are excellent examples of their own genres of photography. Together, they reveal the imagination, knowledge and understanding of their subject, and technical excellence, which show the Society and Photography at its best. Our congratulations to each of them. Roy Robertson HonFRPS, Chairman, Fellowship Board

XX XX

| DISTINCTIONS | 19 FEATURE SPONSORED BY

‘Amid the haze of fumes, I saw Cambodia’s most destitute people fighting to survive,’ recalls photographer Yap Kok Hing, from Malaysia

PROFESSIONAL ! APPLIED

Yap Kok Hing

‘Life in a Dumpsite, Anlong Pi, Siem Reap’ INSPIRATION

‘You can’t get much needier than being a child living on a rubbish dump. Help for these children must be one of our greatest priorities,’ said Ron Newby, from the charity Global Care. Early in 2013, I was told that not far away from the worldrenowned Angkor Wat existed a group of unfortunate people, mostly children, who live, work and struggle to make a living in the direst conditions. I decided to document their lives, with the hope of raising concern from the relevant authorities. TIME TAKEN

HANGING PLAN

‘I decided to document their lives, in the direst conditions, with the hope of raising concern from the authorities’

I arrived in early April 2013. Amid the haze of fumes, I saw Cambodia’s most destitute people fighting to survive. When I got home to Malaysia I noticed there were too many repeated images. I went back to the same location two further times to cover more shots, including some close-ups and foregrounds. I feel thankful to have had the assistance of David Tee, a professional retoucher who helped me develop an appropriate colour mode for my entire portfolio. SIGN OF SUCCESS

At the time of writing I have yet to display these works, and there are limited platforms for me to show work in my country. WHAT’S NEXT

Most of my photography so far has focused on human interest. My next project will concentrate on either contemporary or visual art. VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 19

20 | DISTINCTIONS | FELLOWSHIP SPECIAL

VISUAL ART

David Jordan FRPS ‘Interface’ INSPIRATION

It goes back to an image I took (after I obtained my Licentiateship in 2008) of a fern, just touching a steamy, wet pane of glass – there was an interaction between these elements. When I found a derelict plastic tunnel greenhouse, full of out of control plants and abandoned equipment, I realised I had a potential Fellowship subject using the interaction idea. I really believe ‘the panel finds you’. TIME TAKEN

I took the first photographs in September 2012, making a total of five trips to the tunnel. Some additional images were taken at another tunnel on holiday in July 2013. I applied for a Fellowship Distinctions Advisory Day in March 2014. Ray Spence FRPS ran the meeting and after some very helpful feedback suggested I submit a portfolio for assessment in the Visual Arts Category, which I submitted in May 2014. HANGING PLAN

I made small prints of 50 images and started to arrange a panel. My wife was a great help - she is the “sequencing queen”. When initially assessed the portfolio was held in referral, and it was suggested I change three images due to possible repetition. When I looked, the repetition was obvious, but sometimes you cannot see the wood for the trees. SIGNS OF SUCCESS

What I have learned is the ability to take a “creative” image correctly in the first place, extract what I want, then print and present it to the highest possible standard, and how subtle tonality can greatly aid a composition.

HANGING PLAN

‘What I have learned is the ability to take a “creative” image correctly in the first place … ‘

WHAT’S NEXT?

I want to experiment using my Lensbaby for some soft, gentle flower photography, and try to produce some atmospheric monochrome landscape work. But you never know what is around the corner. 20 / THE RPS JOURNAL / JANUARY 2015 / VOL 155

XX XX

| DISTINCTIONS | 21 FEATURE SPONSORED BY

‘When I found a derelict plastic tunnel greenhouse, full of out of control plants, I realised I had a potential Fellowship subject,’ says David Jordan FRPS

VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 21

22 | DISTINCTIONS | FELLOWSHIP SPECIAL

HANGING PLAN

‘I found that I had one essential image – my favourite – and it was the only one in portrait format’

NATURAL HISTORY

Gill Cardy INSPIRATION

I am fascinated with birds, and their varying activities and behaviour. TIME TAKEN

I have been watching and photographing birds for over 30 years and I gained my ARPS in 1992. I never considered that my images were good enough 22 / THE RPS JOURNAL / JANUARY 2015 / VOL 155

FEATURE SPONSORED BY

to go further but the enthusiasm and encouragement of Joan Ryder Rathband FRPS persuaded me to put a panel together about four years ago. I began to make a collection of wildlife in the winter, but two years ago I decided to concentrate on bird behaviour throughout the year, as this has been a particular passion of mine. HANGING PLAN

I found that I had one essential

image – my favourite – and it was the only one in portrait format, so that had to go in the centre. Others were arranged more or less according to season and behaviour, showing feeding, mating display, flight, courtship etc. SIGN OF SUCCESS

Too early to say, but I have been asked to contribute to a book on Wild Wiltshire, to be published by the Wiltshire Wildlife Trust.

WHAT’S NEXT?

My husband and I help to look after a small urban nature reserve and I shall continue my efforts to engage visitors, and especially children, in wildlife by means of photographs on notice boards, on our blog, as well as talks and any other way I can to promote the cause of nature conservation and enjoyment of birds. VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 23

24 | DISTINCTIONS | FELLOWSHIP SPECIAL

‘I knew what I wanted, but with each location being very different it as the colour grading that turned out to be the most challenging’

CONTEMPORARY

Mike Naylor INSPIRATION

People often feel lonely, but none more so than those touched by cancer. Whether it be those who might die, or the ones left behind, many will see their friends and neighbours drift away. As if unable to find the right words, the unaffected will suddenly have other, more important, things to do. Being touched by cancer can bring about an overwhelming feeling of

despair. For those living alone, many will find themselves isolated. The comfort of home provides a safe place to hide, but with their friends gone, life will become boring and repetitive. They become detached from their surroundings, floating aimlessly, merely existing, and without purpose. Simple decisions, what to eat or where to sit, become harder. It’s a downward spiral. Some knowing their life is nearing an end. The bereaved, forever recounting the suffering they once shared.

24 / THE RPS JOURNAL / JANUARY 2015 / VOL 155

TIME TAKEN

About three months. I needed consistency to emphasise similarities and a way of conveying their feeling of detachment from their surroundings. I knew what I wanted, but with each location being very different it was the colour grading that turned out to be the most challenging. HANGING PLAN

The images are repetitive, but so is the feeling of social isolation. So the order in which they are displayed

breaks the expected, adding texture to the underlying structure, enticing the eye to wander. Attention is extended and gives time to connect with the issue. SIGN OF SUCCESS

Being awarded a Fellowship, of course, but also hearing how people who have been touched by cancer immediately empathise and tell me that is exactly how it is. WHAT NEXT

To have a go at doing something different and move on.

XX XX

| DISTINCTIONS | 25 FEATURE SPONSORED BY

‘Simple decisions, what to eat or where to sit, become harder. It’s a downward spiral,’ says Mike Naylor

HANGING PLAN

‘The order in which they are displayed breaks the expected, adding texture to the underlying structure, enticing the eye to wander’

VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 25

26 | DISTINCTIONS | FELLOWSHIP SPECIAL

HANGING PLAN

‘If the number of images in a Fellowship Panel was 18 life would be so simple. Three rows of six prints – 90 per cent of entrants would probably opt for that’

VISUAL ART

Philip Cooling INSPIRATION

My inspiration comes from a desire to invent scenarios that are outside of my normal experience. They allow me to wander in a world of my own making; they are my escape from reality. TIME TAKEN

It has taken two years to complete my portfolio. Each image is a composite of many separate photographs. The time taken on each one was between a few hours and more than 100. Added to this are the many, many images that, for one reason or another, didn’t make it into the panel. HANGING PLAN

If the number of images in a

Fellowship Panel was 18 then life would be so simple, three rows of six prints, and 90 per cent of entrants would probably opt for that. The beauty of 20 images is that 20 isn’t divisible by three which is more challenging and gives variety to how the panels are hung. Most of my images are quite geometric in composition and include lots of leading lines, steps and so on. For that reason I chose a formal grid arrangement where the lines could converge to the centre and the steps could lead the eye vertically. WHAT’S NEXT

Now this [my Fellowship] has been achieved I look forward to creating images for my own enjoyment, but would relish the challenge of working to a commission.

26 / THE RPS JOURNAL / JANUARY 2015 / VOL 155

XX XX

| DISTINCTIONS | 27 FEATURE SPONSORED BY

‘I was passionate about some images that meant more to me, and in which I felt I knew more about the characters,’ Hazel Mason says

TRAVEL

Hazel Frost

‘The streets of Kolkata around Bara bazar’ INSPIRATION

I am inspired by the work of Steve McCurry HonFRPS. I first travelled to Kolkata in transit to Nagaland, in north-east India, and was inspired by the people I met on the street there. I wanted to document vignettes of their life. TIME TAKEN

This panel was the result of several trips to Kolkata over a two-year period. I have, however, been travelling to this part of the world for 25 years. HANGING PLAN

HANGING PLAN

‘I wanted to show a balanced colour palette with dark images and the central characters in shafts of light’

My hanging plan took time. I wanted to show a balanced colour palette with dark images and the central characters in shafts of light. I was passionate about some images that meant more to me, and in which I felt I knew more about the characters. As a consequence I printed up many. I am grateful to Roy Robertson HonFRPS, Barbara Robertson and Peter Paterson FRPS for helping with the final plan, and convincing me that a favourite image may not necessarily fit. SIGN OF SUCCESS

I feel very privileged to have attained my Fellowship. I feel that the process and journey have enhanced me as a photographer. WHAT NEXT

I wish to continue to progress, and with my husband James Frost FRPS we will hopefully continue to enjoy documenting the world together. VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 27

28 | DISTINCTIONS |

New categories for 2015 In September we informed members of changes to the Distinctions Categories for 2015. Here’s a reminder

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Get up to speed with the latest Distinction categories

Visual Art

This category has been replaced by two new, separate categories: Pictorial: The emphasis is on the use of the camera to create the image. Images are not fundamentally altered in post-production or with in-camera manipulation Creative: Submissions must be based on photography, but the photographer will subsequently have creatively altered the reality of the images through manipulation either in-camera or postprocessing. All imagery must be photographically based and must be produced by the applicant.

Contemporary

This category has now become Conceptual and Contemporary. The category considers applications which explore, define, illustrate or

evaluate issues through photographic images. The number of prints for a Fellowship application in this Category is now set at 20, consistent with the other cateogries.

Applied

This category was formerly Professional & Applied. Applied photography can be defined as photography which has a specific end purpose or use. This by definition includes all professional photography as well as many other disciplines such as; documentary, portraiture, theatrical, record, architectural, wedding, visual journalism, astronomy and palaeontology. For more details on all the Distinction categories download guidelines at rps.org/distinctions/ downloads

WWW.PERMAJET.COM/ACADEMY 28 / THE RPS JOURNAL / JANUARY 2015 / VOL 155

EXPERT ADVICE Turn to our member guide on page 71 to find dates for Advisory Days, where you can gain expert advice on your portfolio

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TURVEY HonFRPS 30 | INTERVIEW | HUGH

H G U H EY V R U T

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VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 31

PHOTOGRAPHER PROFILE HUGH TURVEY Hugh Turvey HonFRPS (b.1971) trained as a designer and art director, but on discovering photography changed tack and worked under rock photographer Gered Mankowitz. In 1996 he began dabbling with x-rays after being asked to create an album

cover. He went on to create Xograms for everything from Science Photo Library to Waitrose, and was awarded an Honorary Fellowship by The Royal Photographic Society in September. He is artist in residence for the British Institute of Radiology and has created an app, x is for x-ray, available for iPads.

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XOGRAMS ÂŠ GUSTOIMAGES/HUGH TURVEY

TURVEY HonFRPS 32 | INTERVIEW | HUGH

HUGH TURVEY HonFRPS

| INTERVIEW | 33

Clockwise from left: Hugh Turvey on the scooter he’s about to x-ray; Xograms being digitised; the badge; Turvey with presenter Barney Harwood; inside the x-ray bay

ugh Turvey’s Xograms may be beautiful but the suite of offices and x-ray labs where he makes them is not. ‘They’re looking for stress factors in welding joints on aircraft,’ Turvey says, ‘and because that can have an impact on whether your plane flies or not, I appreciate the work that they do. I’m using their industrial technology but I’m manipulating it to an aesthetic.’ It’s an aesthetic that has brought me to Turvey’s workshop-cum-studio – along with a BBC television crew from children’s favourite Blue Peter. They’re filming him as he makes x-rays of fish, headphones and a classic Lambretta scooter. It’s a friendly and strangely invigorating environment where the worlds of art, photography, science, industry and television form a very curious mix. Pinned to a lightbox on the wall are some of the intricate Xograms (his modified take on the traditional x-ray) Turvey has made since he started x-raying in 1996 – superfine renditions that reveal the inner workings of flowers, toys and a grooming kit. Despite the delicacy of the results, x-raying is a simple process using three variables of time, depth and intensity to expose the 14 x 17 inch film. ‘On the surface it is simple and under the surface it is simple,’ says Turvey, who was in September awarded an Honorary Fellowship by The Royal Photographic Society for his work. ‘It is a very rudimentary process of image capture. It’s similar to putting an object on a photosensitive surface under the sun and getting a shadow from it. ‘The reason I’ve stuck with this

MAKING AN X%RAY HAS A HANDS%ON ASPECT, PART OF WHY I FELL IN LOVE WITH PHOTOGRAPHY particular technology and fallen into using industrial equipment is because it’s very much the same equipment that I was using right at the beginning. It’s not lost its roots and tradition in early photographic film processes. Making an x-ray like this has a hands-on aspect to it which is part of why I fell in love with photography in the first place.’ The hands-on appeal is apparent when the Blue Peter crew begin filming a segment on x-raying a pair of sea bream. Barney Harwood, the jovial presenter, Emma, the producer, and researcher Ben all peer at the two fish as if to visualise what the x-rays will reveal, while Turvey’s wife Artemi – a

food photographer by trade – inspects the edges of the fins. With the cameras and sound on, Turvey and Harwood take the fish into the x-ray bay, an isolated, shielded room which when the door is closed protects its users from radiation. They come out, the x-ray exposes an image on to a negative, and they go back and do it again. And again. And then we stand around for a bit. ‘There’s a lot of standing around when you’re filming,’ says Ben. But finally, with the fish in a final composition, Turvey and Harwood exit the bay, the x-ray film is exposed and ready for the darkroom, where it is taken out of its protective wrapping and placed in the developing machine. Eight minutes later it emerges, ready to be viewed on a special lightbox. This is where the childlike wonder kicks in. Paul Stuart (the photographer) and I peer deep into the flesh and bones of the fish. ‘There’s not much that stops me in my tracks in photography,’ says VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 33

TURVEY HonFRPS 34 | INTERVIEW | HUGH Clockwise from left: Hit the switch in an emergency; Turvey works in the darkroom; checking the results on a special lightbox

INSIDE STORY

Hugh Turvey’s three favourite Xograms

IN THE BEGINNING IT WAS LIKE I HAD BEEN BLIND FOR ALL THESE YEARS Stuart, ‘but this does. It’s amazing.’ Turvey recognises the fascination from his early days making x-rays. ‘In the beginning it was like I had been blind for all these years,’ he says. ‘Everything in here is constructed in some way that is hidden from us and x-ray allows you to push through the surface into the material of the object. It’s like understanding the character of a person. Skin is the first thing that shows a person’s expression, but when you get to know a person you look deeper and you get to know the person inside and it’s that same process. I’m finding the personality in the objects.’ It is the “personality” of the objects that has brought Blue Peter here, in particular that of a 1961 Lambretta which has been part of a process where 20 individual x-rays are made, scanned and stitched into one 3GB file that will later be colourised; an example of Turvey’s passion for an art that is intimately connected to science. ‘Technology drives every art form,’ he says. ‘For example, when artists developed different blue pigments in painting, there was a science behind it that led to a succession of 34 / THE RPS JOURNAL / JANUARY 2015 / VOL 155

developments in colour. It’s the same in all arts. The creative possibilities are extended by science. There’s nothing different in this process. I’m trying to help people see what I see, and if you can demonstrate visually the workings of an object then it’s done.’ Turvey is using the immediacy of the visual in his educational work with the Institute of Radiology and the Wellcome Trust. ‘There was a project we did at Yeovil District Hospital with The Wellcome Trust where we invited the public in, gave them access to the x-ray machinery and I helped them realise their hidden dreams of discovering things inside their everyday objects.’ It is not the only example of realising hidden dreams. For Barney Harwood the day filming with Turvey is a chance to explore his own love of photography; when they finish, Turvey presents him with a Royal Photographic Society badge, and a certificate from the British Institute of Radiology. Turvey, for his part, gets his long-coveted Blue Peter badge (after bringing his son into the studio for a peek behind the scenes). Turvey laughs: ‘It’s a milestone. Perhaps more for my eight-year-old ... but I’m very proud.’ Hugh Turvey’s work will be on show at London Contemporary Art from 16 February - 7 March. Catch his work in Cheltenham, Gloucester and Dunbar during 2015. See xogram.com

DIRTY WEEKEND I called this dirty weekend due to the positioning of the feet, just my cheeky boy sense of humour. I did it for an exhibition in New York, got rid of the clothes and did it all in red. It looked great. TO BE REVEALED … I haven’t made it yet but I know what I want, using a printing technique that makes 3D x-ray into glass. They fire two lasers and where it hits it makes a dot in the glass. We want to make these glass monoliths with 3D images of the sea life you get in the Thames. We’ll have the monoliths embedded in the Thames, so they’re visible at low tide but disappear at high tide. It’ll challenge you to go close.

XOGRAMS © SCIENCE PHOTO LIBRARY/GUSTOIMAGES/HUGH TURVEY

FEMME FATALE My wife’s leg, done in 1998. We would not be allowed to take an x-ray like that now because of health and safety – but the amount of exposure is nothing compared to a long-haul aeroplane flight. It’s one of my first colour Xograms.

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BROWN FRPS 36 | SHOWCASE | SUSAN

Calm after the storm

The latest exhibition by Susan Brown FRPS includes the quietly fascinating details that she found washed up on the shoreline 36 / THE RPS JOURNAL / JANUARY 2015 / VOL 155

SUSAN BROWN FRPS

| SHOWCASE | 37

Sea Frenzy, far left, taken at Porthleven in Cornwall, and images from the Isle of Skye: Heart of Stone, left, and Seaweed and Foam, below

t was on a visit to the Isle of Skye that Susan Brown FRPS first turned her attention to the detail she found at her feet. Better known for her long-exposure seascapes, these images of seaweed, rocks and jellyfish mark a departure for Brown and will form the backbone of her coming exhibition at Fenton House. The show, entitled Lure of the Coast, opens later this month. A photographer with 30 years’ experience, Brown sits on the Licentiate

and Visual Art panels and her work has been published widely, including a recent Arena book, The Coast. She is also a PermaJet lecturer, a member of the Devon Guild of Craftsmen, a member of the Arena group of photographers, and is part of the art cooperative ARTSIX, a multidisciplinary group in South Hams in Devon. Can you tell me a little about the exhibition and the work you’ll be showing? They’re all coastal works. I’ve included

a set of close-up images that I call ‘beach art’, taken on the Isle of Skye. By beach art a I don’t mean my art, I mean nature’s art. They include images of seaweed and the areas where volcanic sand mixes with white sand during tidal changes. They form a body of work of nine images. Along with those, I’ve included some of my more signature images of tidal sea pools I’ve taken over the last few years, as well as some shots of stormy seas I took earlier in the year. VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 37

BROWN FRPS 38 | SHOWCASE | SUSAN

Clockwise, from left: Cradled Seaweed, Beach Art and Beach Spine

What inspired you to make the ‘beach art’ series? They were taken on my first visit to the Isle of Skye. My husband had gone for a long walk and I was able to spend time alone with my camera. It was a dreary day and therefore poor light for the wider landscape. I felt encouraged to study the effect of the local tide, the way volcanic sand mingles with the whiter sand and the way that rough seas had sculpted designs around stones and deposited bubbling foam. There were small rivulets of water flowing freely. I enjoyed the challenge of seeing what I could produce from just 50 yards of beach in a relatively short time. Did you see anything unusual? On close inspection, I started to see life forms – the spinal column, the heart with arteries. The beach seemed to come to life. The jellyfish was almost perfectly formed and the seaweeds vibrant. I felt I was working against the clock, as it was all so transient. The next change of tide would design a completely different landscape.

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THE NEXT CHANGE OF TIDE WOULD DESIGN A COMPLETELY DIFFERENT LANDSCAPE screaming of seagulls and the deafening roar of waves. Many fishermen lost their boats when a protected harbour became unprotected. They are still counting the costs.

Do environmental concerns underpin this work, or are you more interested in the aesthetics of photographing the coast? On this occasion, my enjoyment was aesthetic. The beach was sadly covered in detritus, but by isolating small details, nature had designed its own beauty in an otherwise uninspiring landscape. Also, 2014 will be remembered in the south-west for its storms. There was a lot of devastation along the coastline, and much of it will never recover. I wish I could attach a soundbite to the image Sea Frenzy, taken at Porthleven during the stormy weather, with the

What equipment do you use and was there much post-processing involved? I use a Canon 5D Mk III and a 24-70mm lens. There wasn’t a lot of post-processing, just a lot of cropping to make the images the shape that I wanted. I also made some adjustments to make the exposures’ colours match. Sea Frenzy was made using a 70mm-300mm lens, as it was too dangerous to get close. Can you see this project going further? Yes, it probably will. While I have done imagery with beach patterns before, I have not made such close-up, detailed work. Different beaches have their own characteristic tidal flows which form designs that reflect their identity.

SUSAN BROWN FRPS’S EXHIBITION WILL RUN FROM 14 JANUARY UNTIL 26 FEBRUARY AT THE ROYAL PHOTOGRAPHIC SOCIETY, FENTON HOUSE, 122 WELLS ROAD, BATH BA2 2AH

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BIENNIAL 40 | EXHIBITION | MEMBERS’

Boguslaw Maslak Last Taxi Home

The photograph was taken in January 2009 in a remote part of south-east Morocco. When the overcrowded taxi was heading towards the setting sun, I felt melancholic while leaving the friendly, desert people behind. It was one of those moments when you realise what you’ve experienced, what’s

happened to you and the impact of the whole journey on yourself. It’s a photo about the intimacy of travel. It’s about the travellers buried in their thoughts, contemplating, having plans, memories. Had the mirror not been rounded, I would most likely not have taken it.

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MEMBERS’ BIENNIAL

| EXHIBITION | 41

Spice of life

Images from the Society’s International Members’ Biennial

VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 41

BIENNIAL 42 | EXHIBITION | MEMBERS’

very two years, The Royal Photographic Society stages its International Members’ Print Exhibition. With images drawn from its 11,000-strong member base, the results make for a visual feast. This year, nearly 3,300 images were entered from members worldwide. The selectors, Robert Albright FRPS, Steve Smith FRPS, Tessa Mills FRPS and Monica Weller FRPS had the difficult task of selecting just 100 for the exhibition. They worked well together in choosing images that sing of all places, faces and facets of our amazing world. The selected photographers represent 16 countries including Brazil, China, Malaysia, New Zealand, the Philippines, Taiwan and the USA, as well as the UK. The International Biennial Members’ Print Exhibition opens at the Grant Bradley Gallery in Bedminster, Bristol, from 9 to 31 January, after which it will tour the UK. See more at rps-biennial.org

Steve Jones LRPS Joie de Vivre

I have been a wedding and a pet photographer, but nothing has been quite so compelling as when I started photographing spirited horses like Cambio, the young Lusitano stallion featured.

42 / THE RPS JOURNAL / JANUARY 2015 / VOL 155

Shot on a French stud farm, Cambio encapsulated passion for me with his flying mane, thundering hooves and the graceful arch of his neck. He symbolises a freedom lost to so much of mankind.

Marc Aspland HonFRPS Louis Smith

Louis and I met before the Beijing Olympics in 2008. When we met again in mid-January he was preparing for the Commonwealth Games and said to the interviewer over and over again: ‘I only get ONE (clap)

chance on the pommel horse, ONE (clap) chance at a gold medal and ONE (clap) chance to be the best in the world (clap).’ So for the photo, I simply asked him to scoop up the chalk dust and clap, very, very loudly.

MEMBERS’ BIENNIAL

| EXHIBITION | 43

WITH IMAGES DRAWN FROM THE SOCIETY’S 11,000%STRONG MEMBER BASE, THE BIENNIAL MAKES FOR A VISUAL FEAST VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 43

BIENNIAL 44 | EXHIBITION | MEMBERS’

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MEMBERS’ BIENNIAL

Julie McGuire

Philip Joyce ARPS

This is one of the first images I made at the Penang Animal Welfare Society, Malaysia. The light, setting, and regal pose drew me straight to him; a graceful hound among relative chaos.

I saw this pig’s head sitting on the counter in Oxford Market and asked the butcher to hold it, which he was happy to do. He was delighted with the result, so a print is now going to go on his shop wall.

| EXHIBITION | 45

Lord of the living room The Butcher

Sean Hawkey Nicolas Janampa Huacho: Silver Miner The ingredient of image chemistry is silver, so I went to a silver mine in Peru. It’s certified by

Fairtrade and its motto is Mining with a Human Face. Nicolas is one of the human faces I found there.

Ann Miles

On Sand Hills I noticed miniature landscapes among the sand patterns with hills and cloudy skies. In Photoshop, I blended one of these patterns with a

monochrome landscape containing trees. I adjusted the tonal range and added colour, giving an image with a strong impact.

VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 45

BIENNIAL 46 | EXHIBITION | MEMBERSâ&#x20AC;&#x2122;

Leigh Eros

Lost In Finnich Glen, a 40+ image panorama was taken with a wide aperture to provide a sense of depth and space, the feeling of

a wanderer alone. I altered the colour scheme to highlight the feeling of otherworldliness. It is unreal, yet believable.

David Poole

Sandra Barrett ARPS

Trampoline

This is my daughter trying out our new trampoline. The photo was taken 46 / THE RPS JOURNAL / JANUARY 2015 / VOL 155

Lotus Flower Gatherer against the sun on an iPhone and processed in camera using PicsPlay Pro.

This was on Lake Inle, Myanmar. A woman was harvesting the plentiful lotus plants

and I felt an empathy with her as she went about her daily toil in blazing humidity.

MEMBERS’ BIENNIAL

| EXHIBITION | 47

John Caton Ronaldo People of the 3rd Aguilar Dimension I took this image at a Kraftwerk concert at the Latitude Arts Festival. They had run out of 3D glasses when I tried to get some so I didn’t stay long. Just as well – these people can’t have been too happy when I blasted them with my flashgun.

Charles The Under My Skin project uses double exposure and selfportraits to pay homage to my heroes, where the background represents them. Charles is very dear to me as it was the first of the series, he is one of my biggest heroes, and I like the idea that the concept of Darwin’s philosophy is somehow printed on me.

VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 47

PORTRAITS 48 | TRAVEL | PUNJAB

Faces of the Punjab

These portraits by Dr Afzal Ansary FRPS are the result of years of visits, and a strong ethical code

DR AFZAL ANSARY ASIS FRPS HAS made the journey from his base in the UK to the Punjab region of Pakistan many times over the years. Each time he has added new faces to a striking and colourful collection of portraits. Here, he tells us what his guiding principles are, and how he manages to persuade perfect strangers to become photographic friends.

How was your passion for the people of Punjab sparked? I’d travelled to Pakistan a few times and I was so taken aback by the colours, the busy streets, the people, the culture and the hospitality. Because I was dressed like one of the locals and spoke their languages, Urdu and Punjabi, that hospitality was extended. So I thought I will go back and do a small project, photographing environmental portraits of people in their own habitat. This resulted in two exhibitions. What is the background of Punjab? Punjab is divided between India and Pakistan. The place I’m talking about is the one in Pakistan. The name Punjab comes from words used in the days of the Mughal emperors. Punj means five and ab means water – there are five

Preparing Evening Meal 48 / THE RPS JOURNAL / JANUARY 2015 / VOL 155

Calligraphy in Silk

Clockwise from above: Destitute; Mali Retired Gardener

PUNJAB PORTRAITS

| TRAVEL | 49

VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 49

PORTRAITS 50 | TRAVEL | PUNJAB

Gulam Fatima

Porter in Multan

rivers in the Punjab. It’s a Muslim country, and you have to understand and respect their religion and culture. One photographer, Ed Kashi, summed up the challenges of taking photographs there when he went on assignment for National Geographic in 1997: ‘Pakistan can be an extremely closed society,’ he wrote. ‘It can also be a hard place to photograph if you don’t know anyone, and for the first few weeks I didn’t. Every night I’d come back to my room frustrated.’

IT’S A MUSLIM COUNTRY, AND YOU MUST UNDERST AND AND RESPECT THEIR RELIGION AND CULTURE

didn’t want to miss an opportunity to make money. He was so apologetic, each time one arrived he said ‘excuse me, back in a minute’ and he would run and pick up these huge, heavy suitcases and immediately return to our conversation.

How do you take a photograph of someone you’ve never met before? I just leave the camera hanging on my shoulder and I approach people with a smile. If they smile back, I pick up my camera and I nod at them. If they are okay with it I take one general shot, I smile again and speak to them in their language, then I’ll go closer and take a picture of their face. If they don’t smile, and look away, then I’ll go away. The funny thing is hardly anyone ever refuses me.

You must have heard some amazing stories. Yes, but people don’t expect you to publish those stories with the pictures. Some of them are offloading their emotion to you because you are a stranger and sympathetic, and they can confide in a foreigner. I respect their confidentiality. I very strongly believe that no matter what you do, there’s a code of conduct.

Tell us about how you put your subjects at ease. I built up a rapport with the people I met. I got to know their stories. I sat with them, I ate their food, I spoke to them in their language. By doing this I really got to know them and I felt I was able to photograph their inner selves. Do you believe that there is a certain ethical code to taking photographs on your travels? Susan Sontag wrote that ‘to photograph people is to violate them … it turns people into objects that can be symbolically possessed’. I take this very seriously. People who go to New York or Paris to photograph famous monuments know those places, they know their history. But when they photograph human beings they don’t have that. Do they ever go home and say who was this person? What did he do, where did he come from, where did he live, is he rich or poor, did he get two meals a day? 50 / THE RPS JOURNAL / JANUARY 2015 / VOL 155

Have there been any particular people that you’ve grown attached to on your visits? When I first visited the region with my camera I got talking to a group of beggars under a mango tree – there were nine of them. It was summertime and the sun was very hot, but I went every day and photographed them. There’s one woman, called Gulam Fatima, who had a blanket around her and hazel eyes. I shared the food that she’d gathered from the dustbins around the food stalls, and she told me her story and became a friend. I remember a porter I met in the city of Multan who, although he was talking to me, kept his eyes wide open looking for taxis and tongas because he

Will you continue visiting the region? Yes, I have made many friends there. You know, the reason I embarked on this can be illustrated by a quote from The Quran: ‘Oh mankind,’ it says, ‘we created you from a single pair of male and female and made you into nations and tribes, that you may know each other, not that you may despise each other.’ With photography, people can get to know tribes and nations without even visiting them. It is a very powerful tool – a photograph can make you smile, cry, laugh, or evoke many other emotions. AUTHOR PROFILE DR AFZAL ANSARY ASIS FRPS has been involved in medical and scientific photography all of his professional life. Now retired, he pursues his passion for travel, landscape, natural history and portrait photography as well as chairing the Society’s Medical Group and North West Region

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TO VISIT 52 | TRAVEL | PLACES

Top 10 photo destinations

The world is your oyster for great images, says Chelin Miller LRPS

INDING GREAT destinations that consistently offer photographic rewards is something of a personal journey. Some people enjoy photography workshops or tours because they want to improve their skills, but the advantages of camaraderie can be also prove frustrating if you are not able to find your own ‘voice’. I enjoy both approaches and try to make the most of what each situation has to offer. However you travel, a good guide is essential, and make sure you explain to your guide/fixer exactly what your expectations are and what you would like to do during your trip. Preparation and research are key, but be ready to improvise and let yourself be surprised. Serendipity can be a beautiful thing.

Myanmar 1 Why? Traditional, unspoiled

and genuine. Most famous for its beautiful temples and friendly people. When? All year round, but check out dates for special religious festivals. If you want to catch the hot-air balloons over the temples of

Bagan, make sure they haven’t stopped for the summer. How? Best way is by air, via China or Thailand. Be prepared to improvise: the tourism industry in Myanmar is still very new. Coaches, boats and aeroplanes can often be delayed or cancelled without notice.

Yosemite national park

If you’re pleased with your images, why not enter Travel Photographer of the Year? This year’s competition opens in spring, but you can get inspiration from the 2014 winners at tpoty.com

Mongolia Why? True adventure: infinite blue skies and vast grasslands. When? Winter is extremely cold and renders some areas inaccessible. In summer don’t miss the national sports festival of Naadam, or in autumn the Golden Eagle festival. In spring nomads migrate to the grasslands. How? Fly to Ulaanbaatar via Beijing or Seoul.

52 / THE RPS JOURNAL / JANUARY 2015 / VOL 155

Iceland 4 Why? Mountains, geysers,

volcanoes, waterfalls, and natural thermal spas. Plus Icelandic horses, friendly people, and the aurora borealis. When? Late autumn and winter for the northern lights; summer for camping and trekking. How? By air or sea.

Antarctica 3 Why? A trip of a lifetime for

those who can afford it. Stunning landscapes, great for wildlife. When? Summer in the southern hemisphere only (November to March), due to rough crossings. How? From Ushuaia (Argentina) and Punta Arenas (Chile) by cruise or air. Workshops with professional wildlife photographers are available.

Join fellow enthusiasts on one of the Society’s Travel Group trips for 2015. Read more on page 76

CLOCKWISE FROM LEFT: SHUTTERSTOCK X 2; SIMON MORRIS/TPOTY; PHILIP LEE HARVEY/TPOTY; SHUTTERSTOCK; DAVID LAZAR/TPOTY; RICHARD LEWIS ARPS; © JOHN CURGENVEN, WWW.PHOTOGRAPHY(AND(IMAGING.COM

Do more

PLACES TO VISIT

| TRAVEL | 53

Yosemite 6 Why? The mecca for

landscape photographers, where you can follow in the footsteps of Ansel Adams and capture wonderful waterfalls, vegetation and stunning scenery. When? All year round. Summer is the most popular season and can get very crowded; in winter some areas of the national park are closed. How? Hire a car or, even an RV.

BRITISH BEAUTIES

Cuba 7 Why? Its beautiful Spanish-

UK IMAGES FROM TOP: CHRIS RENK; DAVE FIELDHOUSE; SYLVIA SLAVIN ARPS

colonial architecture is still unspoiled by mainstream tourism. Great for street photography of neighbourhoods full of character and charm. When? All year round. How? By air. A good guide is essential.

DORSET Capture the dramatic cliffs of the Jurassic Coast.

Istanbul 9 Why? From the soaring

minarets of the Blue Mosque to all that glitters in the labyrinthine Grand Bazaar, the city that straddles Europe and Asia is a cultural feast. When? Spring and autumn months offer clear skies and a comfortable climate. How? The city has two international airports, Atatürk, in the heart of old Istanbul, and Sabiha Gökçen, which is popular with budget airlines.

PEAK DISTRICT Ancient landscapes that transform in our changing weather.

Venice 5 Why? One of the most romantic

and enchanting destinations. Squares, Gothic palazzi, churches and museums offer plenty of antique glory. When? It can get very crowded and touristy in spring and summer. Crunch times are carnival, the film festival and the art biennial. How? By air or better still, on the Orient Express.

Puglia

Maasai Mara, Kenya

8 Why? Sun-bleached

landscapes, photogenic architecture in the white-walled, cone-shaped trulli, olive groves and beautiful coastline. When? Avoid the crowds and fiercest heat by visiting in June or September. How? Fly to Bari or Brindisi. Alternatively, Naples is only a three to four-hour drive away.

10 Why? Meet tribespeople and

ISLE OF SKYE Long days in May and June offer fairy-tale mountain scenery.

watch Africa’s great migration, the annual journey of two million wildebeest from Tanzania to the grasslands of the Maasai Mara. When? Late July to mid-August to see the great migration, but all year round you can get find views and wildlife. How? By air to Nairobi, then short flight to national reserve. VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 53

54 | EXPERT EYE |

Inner voices David Penprase FRPS discusses how a photographerâ&#x20AC;&#x2122;s personal stamp is as important in digital as it is in the darkroom 54 / THE RPS JOURNAL / JANUARY 2015 / VOL 155

| EXPERT EYE | 55 OUT OF THE DARK Inviting viewers to see his work at close quarters is one technique employed by David Penprase The images selected here represent my own way of working. I prefer to print dark, to demand that the viewer gets close and by doing so will hopefully pick up on any elements within, in particular those that play some part in the narrative intended. If I print too open I feel the image can be taken in at a glance and offer no challenge, so at the printing stage I often “play down “ certain areas, even though they may have an important role. GIRL WITH MOTH This has many of the ingredients that make up one of my images. Among the decaying textures on and around the body there is this wonderful face, which although appearing to decay is still rather beautiful. Caring hands that seem to come from behind support the body. Although there is in this case no intended narrative, the image does lend itself to many interpretations. For me this in itself makes the image worthwhile. PREGNANT NUDE Sometimes, as I rarely title work, the viewer may interpret a different scenario from my intended one. With this one the shears could suggest the cutting of the umbilical cord. However, for my part, it was a symbol of cutting the ties from being her mother’s child to that of a child’s mother.

irstly I’d like to clarify that this article is not a tutorial, but more my opinion and feelings – that good imagery comes from within, from a love of a particular subject, whether that be landscape, still life, or figurative. When coupled with a desire to make prints that have mood and impact, these attributes are without doubt the finest basis for good imagery. The world of photographic imagery was turned upside down with the advent of the digital camera. A lot of opinions were bandied around back then, and many felt that digital would never replicate the quality of film-based work. While digital capture has come a very long way since that day, there is no doubt that film has a quality of its own, and there are still

many, including myself, who have yet to embrace the digital process. As a monochrome worker I have decided, for the time being at least, to stay with film. The darkroom process is one I enjoy immensely. I like the fact that by using the skills I have gained over the years that process allows me to take an image to where I originally saw it, in my head, at the time of conception. I like the total control from capture to print, with my choice of film, its development and printing paper. Of course, there are many photographers that do not, by choice, print their own work but would rather leave that to a hand printer with whom they have built up a trust, and one that understands exactly how they like their work to be interpreted. VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 55

56 | EXPERT EYE |

GIRL WITH GAMEBOY A reflection on how we are obsessed with appliances such as the mobile phone, the iPad, and here the Game Boy. The model is concentrating on the “unseen” screen. The arrow on her body refers to the fact that we pay more attention to our appliances than to the basic principles of life. GIRL WITH MIRROR At first glance she seems to be wearing a dress. She has admired herself in the mirror, eyes closed, oblivious to the fact that her “dress” is falling apart. The dress is in fact pages torn from style magazines. The narrative is how many of us take on board the latest styles in fashion after seeing them again and again, until the obscure, the ridiculous, become acceptable.

So where does this lead us? With digital, as with film, there will always be a huge hunger for techniques and print quality. I notice at my lectures that invariably the questions asked are on how a particular effect was achieved. I am definitely not saying that achieving a certain effect in digital is easy – quite the reverse. Achieving quality in any medium requires time and effort. However, the groundwork and ease of capture of producing a perfectly exposed and focused image is far easier with today’s autofocusing multimetered cameras. Add to that, many can afford an inkjet printer capable of producing a high-quality print that in the past would only have been possible from a professional lab. Then, with the ease of getting the exposure, and importantly at that stage, being able to view and check that image either on the back of a camera or a laptop, surely, this should leave more time for the most important ingredient, that of content? How has the author interpreted the subject matter? How has the image been framed or cropped? Has it perhaps been taken from an odd viewpoint thus giving the viewer an angle that would be away from the norm? Has the image been given a mood that enhances it, or has it just been printed as taken? Most photographers would want to get the best from

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IMAGE QUALITY MUST NOT TAKE PRECEDENCE OVER CONTENT AND INTERPRETATION an image, and strive for their work to be recognisable as theirs. The photographer must not only be more aware at the taking stage but also in its postproduction. To ensure the images stand out it is paramount that this final stage must be given the same attention as at the point of capture. As with any medium to do it well takes skill – and this is once again an opportunity for the photographer to put his or her own stamp on to the image. We would hope that our images register not only on a visual but an emotional level, that they may ask something from the viewer as to the intended message within the image, or on the other hand that the mood or treatment given has some emotional impact and has pleased or, if intended, displeased. The most important factor is that it has registered in some way. As a chairman for the Applied and panel member for the Visual Arts Distinction Panels, virtually every panel of work we assess is digitally produced and there is no doubt that the majority is of a very high standard in respect of clarity and print quality. However there is, on occasion, a submission that is beautifully printed and presented but lacks any personal input from the photographer. I am not saying that image quality isn’t vital or that it isn’t an essential, but it must not take precedence over, and should be there to complement, those most important of ingredients: content and interpretation. Standards for achieving a Distinction within the Society have risen because of the digital process. This applies to all three Distinctions but especially the Fellowship, where there must not be any room for complacency. To be given the Society’s highest Distinction, the work should have that wow factor, with all 20 images being absolutely first class in every respect. They should compliment one another, hold together as a panel and have the recognisable look of one photographer’s work. Once achieved, Fellowship is a “badge” to be worn with pride. In conclusion, I believe the digital process offers, more than ever, a golden opportunity for the photographer to concentrate more on the content and interpretation, and importantly to put one’s “signature” within the image. AUTHOR PROFILE DAVID PENPRASE became a fellow of The Royal Photographic Society in 1986 and is chair of its Professional and Applied Distinctions Panel. He has won many awards, and has published six books including Salt of the Earth, in aid of the Newlyn Fishermen’s Mission, now available on eBay

PORTRAIT BY JAN PENPRASE

THE MOST IMPORTANT FACTOR IS THAT THE IMAGE HAS REGISTERED

| EXPERT EYE | 57

VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 57

THE MUST TRY

CRAFT JANUARY 2015

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

Lytro Illum

Is it time to scrap most of what you know about photography and start again, asks Gavin Stoker

he Illum is a device for creating what its maker terms ‘living images’, by virtue of it being able to capture light at multiple angles and within a selectable depth of field – or ‘light field’ – controlled via a depth scale shown on the tilting 4-inch touchscreen. The real wow is the ability to then, with a finger tap, selectively alter the portion of the image that is in focus after the shot has been taken. The Illum is also able to focus as close as having the lens glass

actually touching a foreground subject. It’s great fun. Because the resultant 60MB image file is comprised of rich 3D data, however, the best application for the Illum isn’t really flat 2D prints. This is very much a camera for the digital age that tears up the supposed rulebook. Image files can be exported as animations, revealing focus jumping from one subject to another within the frame, and hosted online. There is an option to get a code from Lytro to embed such imagery on

PRICE: £1,299 SENSOR: 40 ‘Megaray’ light field sensor based on CMOS technology LENS: 30-250mm equivalent (8x zoom) with constant f/2 aperture SCREEN: Four-inch tilting touchscreen LCD display WEIGHT: 940g without battery MORE: lytro.com IN BRIEF: It’s rare that we take a look at a camera and truly feel it’s a one-of-a-kind device, but that’s certainly a deserving description of the pioneering Illum

your website, or upload to its site. Files exported to Photoshop must be sent as a layered file. Because of the big file sizes a high-capacity SD card with a fast read/write speed is advised. Also, although wi-fi is offered here, at the time of writing the device was compatible with iOS, but not Android. Still, this substantial bridge camera-sized device feels very much like a serious concern. We’re glad of that, as the £1,299 asking price is a lot to pay for a toy. This is one you really must try for yourself.

VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 59

60 | THE CRAFT |

LATEST KIT

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Is it a camera, or is it a phone? Find out for yourself as Panasonic trials UK sales panasonic.co.uk

Second generation of the full-frame compactsystem camera series aimed at semi-pros sony.co.uk

1 LED lighting is not only constant, it

2 This slim, smartphone-like camera

3 Sony’s A7, now in mark II iteration,

doesn’t get hot like a tungsten bulb. There’s also the quality of the light it provides: namely evenly balanced and widely dispersed. As an alternative to standard flash, the Rotolight RL48 offers an equivalent to 80 watts and runs on three AA batteries for up to four hours. It fits most DSLRs via a standard hotshoe, or it can be fitted to a tripod. Mounting studs, clamps and articulating arms are also available by way of system-expanding accessories. Apart from the standalone single LED light option, there is a RL48 Creative Colour kit (including a stand, colour filter set and carry pouch) or the Interview Lighting kit – two Rotolight RL48 ring lights plus two stands.

was originally destined for only mainland Europe, but is now available as part of an initial trial in the UK. The premium-feel CM1 focuses (forgive the pun) on the photography aspect, with a one-inch sensor supplying a 20-megapixel resolution, coupled with Leica-branded lens. It also adds the latest must-have of 4K video, and boasts the practical advantage of a large 4.7-inch rear-panel handset-like display and familiar Android operating system, making its nearest competitor the likes of Samsung’s Galaxy Camera. Coupled with the larger-than-average sensor for its dimensions, lens aperture is a respectable f/2.8, suggesting better images than your average smartphone.

is the only full-frame camera with optical five-axis image stabilisation, providing the equivalent of 4.5 stops. Auto focus response is 30 per cent faster that the previous generation, while start-up is 40 per cent quicker too. The 24.3-megapixel A7 II has a redesigned body, with the shutterrelease button placed forward on the grip and a different front control wheel. Outwardly indicating semi-pro status, it still resembles a miniaturised DSLR, with eye-level shot composition offered via 2.36 million-dot OLED EVF. Also impressing is wide autofocus area coverage thanks to a 117-point phasedetection AF sensor in combination with 25-point contrast-detection AF.

IN BRIEF Neat solution from a British company taking advantage of the fact that portable constant LED lighting is on the rise due to more DSLRs capturing video THREE MORE TO TRY Limelite Mosaic Solo LED light, Strobies LED/flash macro ring light, Hama LED macro light

IN BRIEF The world’s first communication device with a one-inch camera sensor ups the ante and has won a UK trial, but rumoured high pricing could stymie progress THREE MORE TO TRY Samsung Galaxy Camera 2, Nikon S810c, HTC One M8

IN BRIEF High-end full-frame compact is faster in operation than its predecessor, with a redesigned body ensuring this is a good time to jump aboard Sony’s system THREE MORE TO TRY Fujifilm X-T1, Olympus OM-D E-M1, Samsung NX1

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MEMBER TEST

Canon PowerShot G7X £499 REVIEWED BY ANDY FINNEY

An infrared enthusiast who enjoys photography in all its forms tries out Canon’s latest premium compact

Olympus M.Zuiko Digital ED Hama Alpenpod 40-150mm f/2.8 Pro £1,499.99 £29.99 Large yet lightweight super telephoto zoom for Micro Four Thirds-system cameras olympus.co.uk

4 This weather-resistant ‘Pro’ version

Combine photography with walking with this anti-shock walking stick-cum-monopod uk.hama.com

5 Hama’s two-in-one device – a

for Olympus’s Micro Four Thirdssystem cameras offers a usefully bright f/2.8. Better suited in practice to the likes of the OM-D E-M1 than its Pen range, chiefly because of the body to lens weight and size ratio, this is a very useful optic for candid wedding portraits, sports photography, or for anyone wanting an all-in-one option to leave on the camera. When coupled with a Four Thirds sensor this lens provides an equivalent 35mm focal length – double that given on the barrel – so 80-300mm. Also handy, although taking a bit of initial familiarisation, is the push-pull lens ring mechanism that allows one to quickly switch from auto to manual focus.

walking stick-cum-monopod – features a comfortably anatomic handle, a 2D monopod head built in, plus shock absorbers, making it a practical addition for photographers who like to stroll. It looks the part too, while not obviously resembling a piece of photographic gear. Spikes on the monopod ‘foot’ aid grip, as does a provided wrist strap, while, should you take a wrong turn, an on-board compass will set you back on the right path. With a ¼-inch screw thread and three leg sections the maximum extendable height is 141cm, while minimum height is 67cm. Weight is an important factor when going for a stroll/shoot, and the aluminium-made Alpenpod is a manageable 360g.

IN BRIEF Super telephoto zoom with advantage of a bright aperture throughout the focal range and a sturdy yet relatively lightweight build given its equivalent reach THREE MORE TO TRY Olympus 40-150mm f/4-5.6 ED, Tamron 14-150mm f/4.0-5.6 Di III, Sigma 60mm f/2.8 DN

IN BRIEF Love walking and photography? Unite the two with this combination walking stick and camera support THREE MORE TO TRY MeFoto WalkAbout Series 3 aluminium monopod, Camlink CMP1 walking stick monopod, Leki Photosystem aluminium walking pole

I expected this to marry convenience with better image quality … plus a few bells and whistles. Operationally it felt familiar but with extra solidity. My only concern would be how long it would be before the generous LCD screen got scratched. There’s a useful thumb plate that makes it easy to hold single-handed, with a strap to catch it if you slip. The controls are a bit fiddly, although I found them acceptable as I have relatively small hands. The advanced controls really need the 200-page user manual download; even then, I have the feeling I only scratched the surface. I deliberately didn’t read up on the operation before my first outing and the camera worked perfectly. On a second, better-informed, trip I used aperture priority and JPEG+RAW which also went smoothly, although my computer won’t handle this new version of Canon’s CR2 RAW files. Image quality is excellent, probably due to the larger than usual sensor. ‘Point and shoot’ is excellent too with quick autofocus and spot-on exposure. Shooting into the sun (a good test) produces very acceptable contrast with strong diaphragm stars. IN BRIEF A perfect pocket camera with great versatility – despite having perhaps too many features it does the basics extremely well.

Punts by Magdalene College, Cambridge

VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 61

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TECHNIQUE MASTERCLASS

| THE CRAFT | 63

How to shoot the perfect plateful Lucilla Nitto LRPS reveals her secrets to great food shots

‘To achieve a shallow depth of field with a selective point of focus, set a wide aperture and a high shutter speed’

hen photographing food, it is crucial that you consider the freshness of your subject. You’re trying to distil the taste and feeling of the ingredients in an image, so it’s vital that everything is looking at its best – the brightest colours, the perfect plate and the most flattering light. If you’re just starting out, you’re unlikely to be working with an art director, so be prepared to get your hands dirty. And while a good understanding of food – how it is produced, cooked and consumed – will help, you certainly don’t need to be an expert chef to take great food images. ANGLE: 90°

ABOUT THE AUTHOR LUCILLA NITTO LRPS An artist and architectural photographer, Nitto has a passion for portraiture and food photography. Her work has been published and exhibited internationally. A member of the Society since 2010, she gained her LRPS distinction last year. lucillanitto.com

Set-up

1 The most suitable light is soft daylight. Reflectors can help give a more balanced light that reduces harsh shadows. I prefer fixed focal-length lenses, with 50mm my most frequent choice, but between 35mm and 80mm is a good option. Set the ISO to 100 and check the white balance. Finally, to achieve a shallow depth of field with a selective point of focus, set a wide aperture and a high shutter speed.

Colour

2 Colour is a fundamental part of good food photography. Often, you can add garnish to contrast the colour of the food or balance the composition using detail that complements the food’s hue. In the picture above I played with the contrast of green basil leaves, red tomatoes and yellow pasta. They are simple raw ingredients but they nonetheless evoke a delicious plate of spaghetti on a hot summer’s day.

ANGLE: 45°

Camera angle

3 With food photography

there are three main camera angles to consider: the view from 0 to 15 degrees, 45 degrees, and 90 degrees. If you imagine sitting at a table with a plate of food in front of you then you are, roughly speaking, looking at it from 45 degrees, and thus it will feel the most natural angle for shooting – but don’t be afraid to experiment. The lower view,

TOP TIPS

Plan your shoot and avoid leaving food lying around for too long Carefully select props that complement the

from 0 to 15 degrees, enhances the height of the plate and will include a lot of the background in the frame. The view at 90 degrees (directly above the subject) enhances the visual patterns and the textures, creating a more two-dimensional composition. The type of food and the emotion you want to convey will be key when considering the best camera angle. ANGLE: 0°,15°

food, such as plates, cutlery, napkins and a nice glass of wine Carry a few props around

with you, such as your favourite cake slice or the finest strawberry punnet you’ve clapped eyes on

When photographing fruit and veg, use a few bursts from an atomiser to give them a just-picked look VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 63

MASTERCLASS IN DEPTH 64 | THE CRAFT | TECHNIQUE

Food on the move How do you take five-star food images? Carl Pendle, a three-time finalist in the Pink Lady Food Photographer of the Year competition, shares some tips 64 / THE RPS JOURNAL / JANUARY 2015 / VOL 155

started out as a press photographer before moving into travel and lifestyle, and it was down to working in these areas – as well as my passion for the subject – that led me to food photography. I am now a lifestyle food photographer and film maker, but when I started out, lifestyle food photography was a niche pursuit, with few of us in that field. Most food photos were taken in the studio, with lots of lighting. Over the last 10 years or so, a more spontaneous and

journalistic style of food photography has become popular, which suits me. I trained as a press photographer in the pre-digital days and you were expected to do six assignments a day and get a good photo out of nothing. So to succeed at lifestyle food photography you need to be able to “see” a picture before taking it. There’s not as much time to be fumbling around with your camera trying to work out the correct settings, as you’ll end up missing the picture.

TECHNIQUE IN DEPTH

A taste of summer

| THE CRAFT | 65

Mince pies meet a festive sugar shower

Bobbing for apples – from a strikingly alternative viewpoint

Winning on the street

This image of a Bangkok street food vendor, left, a finalist in the 2014 Pink Lady contest, is a good example of my “shooting from the hip” style. She was moving quickly,

Location, location, location Winning a food photography competition is a great way to raise your profile and even attract commissions, but there’s no simple formula to succeeding. My image of the Bangkok street food vendor, one of the finalists in the 2014 Pink Lady Food Photographer of the Year, was my least favourite of the images I entered. You just can’t predict what the judges are looking for. That said, markets seem to do well, and you will notice quite a few successful

images of them in the Pink Lady competition. Photos of people with food do well too – either producing it, cooking it, selling it or eating it. An interesting location is a big advantage when entering competitions. The winner of the 2014 Pink Lady competition was a great portrait of a noodle maker at work near Hanoi, Vietnam, taken by Tessa Bunney. Hanoi, and south-east Asia generally, are great for food photography – you have pictures coming at you from every direction. It’s frantic

so to convey this with blur I took a panning shot, using a relatively slow shutter speed – 1/6 second at f/4, with an ISO of 400. The image was taken in 2007 on

and crazy. Go to a sleepy, middle-class German town, however, and you might find it more challenging.

Dealing with people

When it comes to deciding what to shoot in lifestyle food photography, again there’s no easy answer. It largely comes down to experience and intuition. I tend to see the world in terms of shapes, lines and colour, and this comes in useful with food photography. This is one of the reasons that Matisse is one of my favourite painters.

quite an old camera, the Canon EOS 5D, with a 17-40mm lens at 27mm. So you don’t always need the latest, most up-to-date gear to take winning images.

It also helps if you enjoy photographing people, as you’ll be more attuned to finding interesting faces and characters. As with travel, one of the biggest challenges in this kind of lifestyle food photography is avoiding rather cheesy, posed shots, where people are grinning or pulling faces. It really helps if you don’t stand out and aren’t too obtrusive. After a while people tend to forget you are there, and just get on with their jobs. The image of the guy in Singapore cutting

VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 65

MASTERCLASS 66 | THE CRAFT | TECHNIQUE chillies is a great example of this. It is sometimes good to get direct eye contact, however, and get that interaction going with your subject. If the person really doesn’t want to be photographed, don’t push it. Politely respect their wishes and walk away. I once tried to shoot an old lady rolling tobacco at a market in Turkey. She came up to me and smashed my SLR and lens into my face. Then, at a market in Chile, I was warned that some guys were about to come over, cut my throat and steal all my gear. These are extreme examples, but you can easily get robbed in markets so take care.

Less is more

When it comes to equipment for lifestyle food images, a big, heavy SLR and a long lens can soon start to hurt your back. This is one reason I changed to smaller and lighter Micro Four Thirds mirrorless cameras. For lifestyle food photography with a travel angle, try shooting in

Loftus has taken shots of Jamie Oliver’s food since the chef’s early days

A Singapore chilli cutter

aperture priority mode, using the exposure compensation button to adjust exposure according to the light. If the light is changing, manual mode can slow you down and you will miss shots. This style of photography is all about wandering around and grabbing the image as you see it, so again, try to think like a press photographer. A range of lenses works best, primes and zooms, but for portraits of people with food it always helps to get in closer. Macro lenses are great for close-ups of food, too, as you can get in as close as 1:1. Find out more about Carl at carlpendle.photoshelter.com

OPINION

Develop a taste for moving images ‘A video I made about mushroom hunting won the Unearthed Food in Film award in the 2014 Pink Lady competition,’ says food photographer Carl Pendle. ‘Video is becoming more and more important to me, as it’s harder and harder to make money from lifestyle food photography stills. Stock library rates have gone through the floor and the chance of an art editor commissioning a photographer to go and shoot in some far-flung

location is becoming increasingly unlikely. ‘I retrained myself to also shoot video. Once I got better at shooting and editing, I could start to charge for it, and my clients, who include Waitrose and the Italian Tourist Board, love it. There is a big market for food and lifestyle-related video, but you have to know how to edit, use

FANCY A NIBBLE?

a mic and edit sound. Clients can’t do it themselves and many photographers don’t want to move into this field, even though their cameras can now shoot HD video. ‘Now is a good time to get into video because more and more stills cameras enable you to shoot in 4k. I believe 4k is the future, and you can pull decent stills from it too. I use the Panasonic GH4 as it’s small, light and you can get high-quality lenses for it for just a few hundred pounds.’

CLOSING DATE IS FEBRUARY 8

66 / THE RPS JOURNAL / JANUARY 2015 / VOL 155

Natural selection

Pink Lady judge David Loftus reveals what makes a great image As a judge of the Pink Lady Food Photographer of the Year competition, what will you be looking out for? Something a little different from the norm, something inventive, something new. And ultimately if the food shot doesn’t look as if one could eat it off the photo, then the photo doesn’t work. What are the key elements to taking great photographs of food? Long gone are the days of shooting boot-polished turkeys and lard for ice-cream. Food should, in my mind, be shot as naturally as possible, quickly, as fresh as can be, with as little spit and polish as possible, and preferably in natural light. You’ve worked with highprofile chefs, such as Jamie Oliver. Are there any added pressures to working with someone so famous? It honestly depends on the chef. I’ve worked with Jamie since the

start of his career and we have become very close friends, so working with him is easy, although his technical knowledge of everything, including photography, can be a little daunting at times. What has been the most unusual dish that you’ve ever photographed? I was with a group of cowboys on a Wyoming mountainside when I shot the removal of the testicles of a terrified calf, which were then rolled in flour, dipped in camp-side boiling oil, and eaten as ‘prairie oysters’. Rarely have I felt so sick.

THERE’S STILL TIME TO ENTER THE 2015 PINK LADY FOOD PHOTOGRAPHER OF THE YEAR COMPETITION. VISIT PINKLADYFOODPHOTOGRAPHEROFTHEYEAR.COM

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| THE CRAFT | 69 M Y FAV O U R I T E C A M E R A

Nikon D800 Landscape Photographer of the Year Mark Littlejohn on the camera that has become his workhorse

A BEGINNING AND AN END The image that won Littlejohn top prize, shot during a very heavy cloudburst in Glencoe

When I was asked to contribute to My Favourite Camera, I must admit that nostalgia influenced my initial thinking. However, when I considered it I realised that my favourite camera is the one that I’m still using. My Nikon D800 has been in constant daily use for the last two years. When the model was brought out, I read various articles suggesting that advice from the manufacturer was that only certain lenses were suitable due to the resolution. Other users suggested that it should be used on a tripod with mirror up and a remote release

for the same reason. However, the 36-megapixel resolution and the impressive dynamic range indicated it was the camera for me despite my reservations. As it stands I’ve been using it as a glorified point and shoot for a year or two with no real issues. The majority of my favourite shots have all been spontaneous. They have involved me reacting to a situation and have therefore been handheld and filterless. The dynamic range has ensured that I’ve never had an issue with blown highlights and keeping the shutter speed up has avoided any blur that is noticeable to me. Its ability to

resolve detail at my usual apertures of f/5.6 to f/8 is nothing short of remarkable and the results from Nikon’s budget range of 1.8G lenses have left me wondering why I would ever spend any more on a lens (to be fair I usually wonder this, having just forked out a fortune on a fancy piece of glass). I also find that it fits my hand perfectly, the grip matching the contours of my hand and the length of my fingers as though made to measure. In short, despite the 800E and the addition of the D810 to the range I feel no requirement to change, either now or in the future.

AUTHOR PROFILE MARK LITTLEJOHN Based on the edge of the Lake District, Littlejohn offers bespoke workshops and Lakeland tours. The Take A View Landscape Photographer of the Year is at Waterloo Station until 31 January. For details see take-a-view.co.uk

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The Photography Show is the event for professional and aspiring photographers of all levels. Join us in March and discover the latest kit and accessories from world-class brands, explore our interactive live stages and gain access to a wealth of information and networking opportunities to enhance your photography.

Book your tickets today at:

photographyshow.com

646 / THE RPS JOURNAL / NOVEMBER 2014 / VOL 154

MEMBER Coastal creativity

| GUIDE | 71

GUIDE

YOUR RPS EVENTS ! COURSES PROGRAMME

JAN!FEB!MAR GO TO RPS.ORG/EVENTS FOR THE LATEST UPDATES

Above: Three Cliffs Bay Image: Chris Palmer FRPS

Join the Northern Group in Cumbria for a packed weekend event

ook yourself a treat this year, with the Northern Group’s Netherwood Hotel Weekend in Grange-overSands, Cumbria. The event, which takes place from 13-15 March and is open to all, will play host to four guest lecturers working in a variety of disciplines. There will also be plenty of opportunity to get out and about to take pictures of the area. Grange-over-Sands is situated at the southern edge of the Lake District, and overlooks Morecambe Bay. Speakers include Roy Elwood FRPS, the much-admired

monochrome photographer whose career stretches back to the moment he ‘swapped coffee and cigarettes’ for a Zeiss. As he approaches his 90th birthday, he will talk about ‘A Snapper’s Progress’ – more than six decades taking pictures. Attendees can also hear from Chris Palmer FRPS and Adrian Lines ARPS. Palmer will talk on the use of colour, and his recent Fellowship panel. Lines has garnered great acclaim for his creative work, which has won him two gold medals.

Left: The Dress Image: Roy Elwood FRPS

Below left: No Fishing Image: Adrian Lines ARPS

For full details see page 72 VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 71

GROUPS 72 | GUIDE | REGIONAL

REGIONS

Meet photographers and view work in your area CENTRAL

GO TO RPS.ORG/EVENTS FOR THE LATEST UPDATES

MIKE SHARPLES ARPS, 07884 657535 MIKES.SHARPLES(VIRGIN.NET

Ralph Bennett ARPS, as above For more details see Nature Group

FRIDAY 13 - SUNDAY 15 MARCH

LONDON DEL BARRETT ARPS LONDONEVENTS(RPS.ORG

DANNY GREEN: THE BEST OF BRITAIN WEDNESDAY 7 JANUARY / 19:00-21:00

FOTOSPEED LECTURERS DAY

£10/£7.50 RPS members Danny Green will be showing us some of his favourite images from his nature and wildlife collection, The Best of Britain Near Marble Arch, London, Wetherby Preparatory School, Bryanston Square, (entrance on George St), London W1H 2EA Del Barrett ARPS, as above

SUNDAY 25 JANUARY / 09:30-17:00

£19.50 Speakers include members of the Society, the London Salon of Photography and other prestigious UK photography groups Smethwick Photographic Society, The Old Schoolhouse, Oldbury, West Midlands B69 2AS Mike Sharples ARPS, as above

NORTH WALES

RPS AND SMETHWICK PHOTOGRAPHIC SOCIETY FRIDAY FOCUS GROUP JOINT EVENT

DON LANGFORD LRPS, 01758 713572

FRIDAY 20 FEBRUARY / 19:30- 22:00

SATURDAY 7 FEBRUARY / 13:30-17:00

£3.50/£2.50 RPS members Photography with a Difference by Glyn Dewis Smethwick Photographic Society, The Old Schoolhouse, Oldbury, West Midlands B69 2AS Ray Dowding, 0121 550 5594, raydowding@btinternet.com

Annual general meeting, following by members’ mini-exhibition Llandudno, Craig-y-Don Community Centre, Queens Road, Llandudno LL30 1TE Christine Langford, as above

DONCHRISLANGFORD(BTINTERNET.COM

ANNUAL GENERAL MEETING

EAST ANGLIA

AFZALANSARY(AOL.COM

IAN WILSON ARPS, 07767 473594

MONOCHROME TECHNIQUES IN PHOTOSHOP

IAN(GREENMEN.ORG.UK

DISTINCTIONS ADVISORY DAY

SUNDAY 18 JANUARY / 11:00- 13:30

£5/£3 RPS members John Barton will demonstrate different techniques of converting from colour to monochrome in Photoshop Wilmslow Guild, Bourne Street, Wilmslow SK9 5HD Alan Angel FRPS, 0161 980 0106

SATURDAY 21 MARCH / 10:30- 16:30

£20/£15/£10 spectators Distinctions Advisory Day Foxton Village Hall, Hardman Road, Foxton CB22 6RN Ann Miles FRPS, 01223 262637, ann@pin-sharp.co.uk

PHOTOBOOK MASTERCLASS

EAST MIDLANDS RALPH BENNETT ARPS, 01636 651277

SUNDAY 8 FEBRUARY / 10:30- 16:30

RALPH.EMRPS(GMAIL.COM

£20/£15 RPS members Run by Brian Steptoe FRPS Hough End Centre, Mauldeth Road West, Manchester M21 7SX Dr Afzal Ansary ASIS FRPS, as above

CELEBRATION OF DISTINCTIONS SUNDAY 8 FEBRUARY / 10:30-16:00

£10 We will be showing successful print Licentiates, Associates and Fellowships Park Inn by Radisson Nottingham, Mansfield Road, Nottingham NG5 2BT Ralph Bennett ARPS, as above

NORTHERN JANE BLACK ARPS, 0191 252 2870 J.BLACK70(BTINTERNET.COM

ADOBE LIGHTROOM WORKSHOP WITH DAVID MALLOWS

WILDLIFE, WILDPLACES JOHN GARDENER AND HUMMINGBIRD ADDICTION IAN NEWTON ARPS £10 Park Inn by Radisson Nottingham, Mansfield Road, Nottingham NG5 2BT

£225 Netherwood Hotel, Lindale Road, Grange-over-Sands, Cumbria LA11 6ET Price includes two nights’ dinner, bed and breakfast and lecture programme Brian Pearson ARPS, 0191 257 5051, brianpearson41@btinternet.com Read more about the lecturers on page 71 SCOTLAND JAMES FROST FRPS, 01578 730466 JAMES.FROST11(BTINTERNET.COM

DISTINCTIONS ADVISORY DAY SATURDAY 17 JANUARY / 11:00-16:00

£20/£15/£10 spectators For those working towards a Distinction in Professional and Applied and Visual Art Bridge of Allan Church Hall, Keir Street, Bridge of Allan FK9 4NW James Frost FRPS, as above SOUTH EAST TERRY MCGHIE ARPS, 01323 492584 SOUTHEAST(RPS.ORG

ANNUAL GENERAL MEETING OF SOUTH EAST REGION 2015 SUNDAY 1 FEBRUARY / 10:00 - 10:30

NORTH WEST DR AFZAL ANSARY ASIS FRPS, 07970 403672

SUNDAY 15 MARCH / 10:30-16:00

NETHERWOOD HOTEL WEEKEND

SUNDAY 1 FEBRUARY / 10:30-16:00

Hear from Danny Green in London on 7 January Image: Red Deer Stag by Danny Green

72 / THE RPS JOURNAL / JANUARY 2015 / VOL 155

£20/£15 RPS members Backworth Hall, Backworth, Newcastle upon Tyne NE27 0AH Brian Pearson ARPS, 0191 257 5051, brianpearson41@btinternet.com For details see Digital Imaging Group

Free The AGM will be held immediately before the members’ day Beechwood Sacred Heart School, 12 Pembury Road, Tunbridge Wells, Kent TN2 3QD Terry McGhie ARPS, as above

SOUTH EAST REGION MEMBERS’ DAY SUNDAY 1 FEBRUARY / 11:00 - 16:00

£7.50/£5 RPS members A full-day event at which members and non-members can meet and display examples of their work Beechwood Sacred Heart School, 12 Pembury Road, Tunbridge Wells, Kent TN2 3QD Terry McGhie ARPS, as above

OFFICIAL OPENING OF VISUAL ART GROUP MEMBERS’ EXHIBITION 2015 SATURDAY 28 FEBRUARY / 11:00-15:00

Fairfield Halls, Park Lane, Croydon CR9 1DG David Wood ARPS, wood.david.j@virgin.net For details see Visual Art Group

VISUAL ART GROUP MEMBERS’ EXHIBITION 2015 SATURDAY 28 FEBRUARY - SATURDAY 14 MARCH

Fairfield Halls, Park Lane, Croydon CR9 1DG Jay Charnock FRPS, jaypix@hotmail.co.uk For details see Visual Art Group

| GUIDE | 73 SOUTH WALES CONTACT RPS HEADQUARTERS 01225 325720, RECEPTION(RPS.ORG

SOUTH WALES AUDIO VISUAL GROUP: LINDA GIBBS AND EDGAR GIBBS FRPS MONDAY 12 JANUARY / 19:00-21:30

£3.50/£3 RPS members Heath Citizens Community Centre, Cardiff CF14 4EP Edgar Gibbs FRPS, 02920564850, edgar.gibbs@ntlworld.com For details see Audio Visual Group SOUTH WEST MARTIN HOWSE ARPS, 01326 221939 MGHVKH(BTINTERNET.COM

AFTER CHRISTMAS BLOW THE COBWEBS AWAY SATURDAY 3 JANUARY / 10:30 - 16:00

Free Start the new year with an exploration of Hayle and its surroundings Graham and Carol’s chalet, Philack, Hayle TR27 5AE Graham Hodgson, graham.hodgson@artslive.org.uk

WEST CORNWALL GROUP MEETING TUESDAY 20 JANUARY / 19:30-21:30

£2.50 Chacewater Village Hall, Church Hill, Chacewater, Truro TR4 8PZ Vivien Howse ARPS, 01326 221939, vivien939@btinternet.com

A DAY WITH ADRIAN LANGDON ARPS SUNDAY 25 JANUARY / 10:30-16:00

£12/£8 RPS members Two talks by Adrian Langdon ARPS entitled Wild Cornwall and Scandinavia The Dolphin Hotel, Station Road, Bovey Tracey TQ13 9AL Martin Howse ARPS, as above

REGIONAL AGM SUNDAY 22 FEBRUARY / 10:30-16:00

Free South West Region AGM and viewing successful local panels in addition to some other panels The Dolphin Hotel, Station Road, Bovey Tracey TQ13 9AL Martin Howse ARPS, as above

WEEKEND AWAY IN PORTLAND FRIDAY 27 FEBRUARY - SUNDAY 1 MARCH

Field trips and presentations of work Portland Heights Hotel, Yeates Road, Isle of Portland DT5 2EN Martin Howse ARPS, as above

HAND%MADE BOOK%MAKING WORKSHOP SATURDAY 21 MARCH / 10:30-16:00

£95/£85 RPS members Lori Sauer will lead a two-day

Aim for images like this during the South West Region’s weekend away in Portland Image: Lyme Regis, Paul Sanders

DIG THAMES VALLEY: PHOTOSHOP FOR MOOD AND EXPRESSION

hand-made book-making day The Dolphin Hotel, Station Road, Bovey Tracey TQ13 9AL Martin Howse ARPS, as above

SUNDAY 11 JANUARY / 10:00-15:30

A DAY WITH CATHY ROBERTS FRPS AND SUSAN BROWN FRPS SATURDAY 28 MARCH / 10:30-16:00

£10/£8/£5 group members The Dolphin Hotel, Station Road, Bovey Tracey TQ13 9AL Linda Wevill, 01752 873162, linda.wevill@btinternet.com For details see Visual Art Group

THAMES VALLEY DISTINCTIONS ADVISORY DAY SUNDAY 18 JANUARY / 10:00- 16:00

SOUTHERN PETER HARTLAND ARPS, 07774 184120 SOUTHERN(RPS.ORG

DI GROUP SOUTHERN CENTRE: ‘A PERSONAL RESPONSE’ PRINT LECTURE BY CHRIS PALMER FRPS SUNDAY 18 JANUARY / 10:00 -16:00

£8/£6 group members Greyfriars Community Centre, 44 Christchurch Road, Ringwood BH24 1DW Barry Senior HonFRPS, 01425 471489, digsouthern@rps.org For details see Digital Imaging Group

£20/£15/£10 spectators Thames Valley Distinctions advisory day This will cover LRPS and ARPS Amersham Community Centre, , Chiltern Avenue, Amersham HP6 5AH Mark Buckley-Sharp ARPS, as above

DIG THAMES VALLEY: JEFF MORGAN, GADGETS AND GIZMOS SUNDAY 15 FEBRUARY / 10:00-15:30

£12/£8 group members Wooshill Community Hall, Emmview Close, Wokingham RG41 3DA Laurie Pate, digthamesvalley@rps.org For details see Digital Imaging Group

VISUAL ART GROUP MEMBERS’ EXHIBITION 2015

DISTINCTIONS ADVISORY DAY VISUAL ART & TRAVEL

WEDNESDAY 25 MARCH

SUNDAY 15 FEBRUARY / 10:30- 14:30

£20/£15/£10 spectators Please book in advance Kinson Community Centre, Millhams Road, Kinson, Bournemouth BH10 7LH THAMES VALLEY

£12/£8 group members Wooshill Community Hall, Emmview Close, Wokingham RG41 3DA Laurie Pate, digthamesvalley@rps.org For details see Digital Imaging Group

Landmark Arts Centre, Ferry Road, Teddington Jay Charnock FRPS, jaypix@hotmail.co.uk For details see Visual Art Group WESTERN

MARK BUCKLEY,SHARP ARPS, 020 8907 5874

TONY COOPER ARPS, 01225 421097

MARK.BUCKLEY,SHARP(TISCALI.CO.UK

TONY(PHOTOSCOOP.CO.UK

VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 73

| GUIDE | 75 WESTERN REGION ANNUAL GENERAL MEETING AND SPEAKER PRESENTATION SUNDAY 11 JANUARY / 10:00-12:30

AGM free/speaker presentation £7 AGM incorporating election of the Region’s organiser, treasurer and other committee members, followed by a talk from David Spears FRPS on his Distinction success through the ASIS route Bath, RPS HQ, Fenton House, 122 Wells Road, Bath BA2 3AH Tony Cooper ARPS, as above

WESTERN REGION MEMBERS’ MORNING IN ILTON SUNDAY 18 JANUARY / 10:00-13:00

£5 Charlotte Nadin LRPS’s presentation of the techniques by which she achieved her Distinction Ilton, Merryfield Hall, Copse Lane, Ilton TA19 9HG Mick Humphries, 01823 443 955, mick@somersite.co.uk

WESTERN REGION MEMBERS’ MEETING IN BATH SUNDAY 8 FEBRUARY / 10:00- 12:30

£2 Members’ own digital work – digitally projected images, panoramas, AVs Bath, RPS HQ, Fenton House, 122 Wells Road, Bath BA2 3AH Tony Cooper ARPS, as above

Spend a day with Cathy Roberts FRPS with the SW Visual Art Group (See page 76 for details) Image: Pale Trees in the Mist by Cathy Roberts FRPS

PAUL HILL AT YORK SUNDAY 25 JANUARY / 10:30- 16:30

£20/£15 Group members Crown Room, The York Hotel, Station Road, York YO24 1AA Robert Helliwell, 07802 413570, bobhelliwell@clara.co.uk For details see Contemporary Group

SUNDAY 15 FEBRUARY / 10:00-16:00

£8/£7/£5 group members Ilton, Nr Taunton, Merryfield Village Hall, Ilton TA19 9HG Glenda Colquhoun, digwestern@rps.org For details see Digital Imaging Group

SUNDAY 1 MARCH / 10:30-16:30

£20/£15/£10 LRPS and ARPS in travel Star Theatre, National Railway Museum, York YO26 4XJ Robert Helliwell, 07802413570, bobhelliwell@clara.co.uk

SUNDAY 8 MARCH / 10:00- 16:00

SUNDAY 15 MARCH / 10:00-13:00

£5 An opportunity for members to show and discuss their work Highnam, Parish Rooms, Highnam Community Centre, Newent Road, Highnam GL2 8DG Bob Train, 07825 325799, bobtrain@tiscali.co.uk

LRPS AND ARPS DISTINCTIONS ADVISORY DAY SUNDAY 29 MARCH / 10:30-16:30

£20/£15/£10 LRPS & ARPS (Pictorial/Creative and Natural History) Distinctions

SALISBURY CATHEDRAL THURSDAY 12 MARCH / 10:00

£6.50 Photograph one of England’s finest cathedrals Salisbury Cathedral, Salisbury, Wiltshire, SP1 2EF Ken Keen FRPS, 01753 886036 AUDIO VISUAL HOWARD FISHER LRPS, 0115 9372898 HANDJAF(VIRGINMEDIA.COM

SOUTH WALES AV GROUP: LINDA GIBBS AND EDGAR GIBBS FRPS MONDAY 12 JANUARY / 19:00-21:30

ADVISORY DISTINCTION WORKSHOP

WESTERN REGION MEMBERS’ PRINT COMPETITION

WESTERN REGION MEMBERS’ MEETING IN HIGHNAM

YORKSHIRE MARY CROWTHER LRPS, 07921 237962 PHOTOBOX50(GMAIL.COM

DI GROUP WESTERN: DISTINCTION APPRECIATION

£7 Print competition for Society members. Bath, RPS HQ, Fenton House, 122 Wells Road, Bath BA2 3AH Tony Cooper ARPS, as above

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

£3.50/£3 RPS members A presentation of the speakers’ Digital Magic Lantern Show – a miscellany of digital stories, images and sounds Heath Citizens Community Centre, opposite 183 King George V Drive East, Heath, Cardiff CF14 4EP Edgar Gibbs FRPS, as above CONTEMPORARY PETER ELLIS LRPS, 07770 837977

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

SPECIAL INTEREST GROUPS

Explore more about aspects of photography and imaging 3D IMAGING * HOLOGRAPHY

WORDSNPICSLTD(GMAIL.COM

PAUL HILL AT YORK SUNDAY 25 JANUARY / 10:30- 16:30

£20/£15 group members Paul Hill MBE will discuss his work and how to approach galleries and publishers Crown Room, The York Hotel, Station Road, York YO24 1AA Robert Helliwell, 07802 413570, bobhelliwell@clara.co.uk CREATIVE

PETER FREEMAN LRPS, 01462 893633

BARRY COLLIN LRPS

3D(RPS.ORG

CREATIVECHAIR(RPS.ORG

ARCHAEOLOGY * HERITAGE

DIGITAL IMAGING

RODNEY BERNARD THRING LRPS, 01276 20725

JANET HAINES ARPS, 07779 728844

RODNEY.THRING(NTLWORLD.COM

DIGCHAIR(RPS.ORG

VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 75

INTEREST GROUPS 76 | GUIDE | SPECIAL PHOTOSHOP FOR MOOD AND EXPRESSION

ANNUAL GENERAL MEETING

GO TO

SUNDAY 11 JANUARY / 10:00-15:30

£12/£8 group members Led by Clive Haynes FRPS and Martin Addison FRPS. Booking essential Wooshill Community Hall, Emmview Close, Wokingham, RG41 3DA Laurie Pate, digthamesvalley@rps.org

RPS.ORG/EVENTS FOR THE LATEST UPDATES

SATURDAY 28 MARCH / 10:30,16:00

The AGM and presentations will be followed by a guided tour of the Drawn by Light exhibition National Media Museum, Bradford Donald Stewart, 01592 840277, donaldstewart42@aol.com

some of the west’s remarkable scenery, including Banff National Park, the Icefield Parkway, the Athabasca Glacier and falls, Clearwater, Whistler and Vancouver Island. Aline Hopkins, alinehopkins@btinternet.com VISUAL ART

IMAGING SCIENCE

VIVECA KOH FRPS, 07956 517524

DI GROUP SOUTHERN CENTRE: ‘A PERSONAL RESPONSE’ PRINT LECTURE BY CHRIS PALMER FRPS

DR TONY KAYE ASIS FRPS, 020 8420 6557

SUNDAY 18 JANUARY / 10:00 -16:00

DR AFZAL ANSARY ASIS FRPS, 07970 403672

£8/£6 group members Chris’s personal creative approach to print making, including his Fellowship Panel Greyfriars Community Centre, 44 Christchurch Road, Ringwood BH24 1DW Barry Senior HonFRPS, 01425 471489, digsouthern@rps.org

OFFICIAL OPENING OF VISUAL ART GROUP MEMBERS’ EXHIBITION 2015

AFZALANSARY(AOL.COM

SATURDAY 28 FEBRUARY / 11:00-15:00

VIVECA.KOH(GMAIL.COM

TONYKAYE(HOTMAIL.CO.UK MEDICAL

MEDICAL GROUP AGM FRIDAY 16 JANUARY / 18:30-20:30

Our speakers will be Catherine Draycott and Carly Dakin Moorfields Eye Hospital, 162 City Road, London EC1V 2PD Dr Afzal Ansary ASIS FRPS, as above

ADOBE LIGHTROOM WORKSHOP WITH DAVID MALLOWS SUNDAY 1 FEBRUARY / 10:30-16:00

NATURE

Official opening and awards presentation of the Visual Art Group Members’ Exhibition 2015 Fairfield Halls, Park Lane, Croydon CR9 1DG David Wood ARPS, wood.david.j@virgin.net

VISUAL ART GROUP MEMBERS’ EXHIBITION 2015

£20/£15 RPS members Lightroom introduction and workshop Backworth Hall, Backworth, Newcastle upon Tyne NE27 0AH Brian Pearson ARPS, 01912575051, brianpearson41@btinternet.com

MARGARET JOHNSON LRPS, 01159 265893

SATURDAY 28 FEBRUARY-SATURDAY 14 MARCH

M.JOS(BTINTERNET.COM

Fairfield Halls, Park Lane, Croydon CR9 1DG Jay Charnock FRPS, jaypix@hotmail.co.uk

DIG THAMES VALLEY: JEFF MORGAN, GADGETS AND GIZMOS

SUNDAY 15 MARCH / 10:30-16:00

WILDLIFE,WILDPLACES, JOHN GARDENER AND HUMMINGBIRD ADDICTION, IAN NEWTON ARPS £10 Park Inn by Radisson Nottingham, Mansfield Road, Nottingham NG5 2BT Ralph Bennett ARPS, 01636 651277, ralph.emrps@gmail.com

SUNDAY 15 FEBRUARY / 10:00-15:30

£12/£8 group members Learn how gadgets and gizmos can strengthen your creative photography Wooshill Community Hall, Emmview Close, Wokingham RG41 3DA Laurie Pate, digthamesvalley@rps.org

VISUAL ART GROUP MEMBERS’ EXHIBITION 2015 WEDNESDAY 25 MARCH

Visual Art Group Members’ Exhibition 2015 is to be shown at the Landmark Arts Centre, Ferry Road, Teddington Jay Charnock FRPS, jaypix@hotmail.co.uk

TRAVEL KEITH POINTON LRPS, 01588 640592 BAGPOINT(AOL.COM

A DAY WITH CATHY ROBERTS FRPS AND SUSAN BROWN FRPS SATURDAY 28 MARCH / 10:30-16:00

DI GROUP WESTERN: DISTINCTION APPRECIATION

PILGRIMAGE TO JEREZ TUESDAY 31 MARCH - MONDAY 6 APRIL

£1,795 A visit to southern Spain during Holy Week 2015 Hotel Casa Grande, Plaza las Angustias, 3, Jerez de la Frontera Colin Howard, colin.howard@me.com

SUNDAY 15 FEBRUARY / 10:00-16:00

£8/£7/£5 group members Presentations of successful panels Ilton, Nr Taunton, Merryfield Village Hall, Ilton TA19 9HG Glenda Colquhoun, digwestern@rps.org

DI GROUP: AGM 2015 + PRINT SELECTION + GUEST SPEAKER ADRIAN LINES

IMAGES OF MYANMAR TUESDAY 26 MAY - THURSDAY 4 JUNE

£1,750 An escorted photo visit to Myanmar Yangon, Mandalay, Bagan Keith Pointon, as above

SUNDAY 22 FEBRUARY / 10:00- 16:00

DI Group: annual general meeting + print selection + guest speaker Adrian Lines Smethwick Photographic Society club rooms, The Old School House, Churchbridge, Oldbury B69 2AS Janet Davies, digsecretary@rps.org

TRIP TO ZAMBIA AND MALAWI FRIDAY 3 JULY - SUNDAY 19 JULY

DOCUMENTARY AND VISUAL JOURNALISM MO CONNELLY LRPS, 01590 641849 DVJ(RPS.ORG HISTORICAL JENNIFER FORD ARPS, 01234 881459 JENNYFORD2000(YAHOO.CO.UK

£10/£8/£5 group member Cathy Roberts FRPS and Susan Brown FRPS show their work to the SW Visual Art Group The Dolphin Hotel, Station Road, Bovey Tracey TQ13 9AL Linda Wevill, 01752 873162, linda.wevill@btinternet.com

Visit Salisbury Cathedral with the Archaeology and Heritage Group Image: Shutterstock

76 / THE RPS JOURNAL / JANUARY 2015 / VOL 155

£3,479 Opportunity to photograph wildlife, rural and fishing life, and to contribute to the Book Bus literary project Liz Rhodes, lizrh@tiscali.co.uk WESTERN CANADA SATURDAY 29 AUGUST , SATURDAY 12 SEPTEMBER

£2,169 From Calgary to Vancouver, through

PATRONAGE

Society patronage has been granted to the following exhibitions and salons MAITLAND INTERNATIONAL SALON OF PHOTOGRAPHY Closing date: 19 January 2015 maitlandsalon.org BRISTOL SALON OF PHOTOGRAPHY Closing date: 24 January 2015 bristolphoto.org.uk

| GUIDE | 77

WORKSHOPS

Hear from the experts and hone your skills

Workshops take place at The Royal Photographic Society’s headquarters and other venues around the country The Royal Photographic Society, Fenton House, 122 Wells Road, Bath BA2 3AH For further information, go to rps.org/events and search under ‘Workshops’ or call 01225 325733 or email reception@rps.org

ONE%DAY INTRODUCTION TO YOUR DIGITAL SLR SATURDAY 17 JANUARY / 10:00-17:00

£85/£63 members Get more creative with your camera

INTRODUCTION TO PHOTOSHOP SUNDAY 18 JANUARY / 10:00-17:00

£95/£71 members

INTRODUCTION TO THE CREATIVE EYE

St Pauls Learning and Family Centre, 94 Grosvenor Road, Bristol

Learn how to shoot successfully at night

£95/£71 members A practical workshop

SATURDAY 24 JANUARY / 10:00-16:30

£95/£71 members

STUDIO PORTRAITURE SAT 24 JANUARY 10:00 - SUN 25 JANUARY 16:30

£160/£135 members A beginners’ workshop for taking great images in a studio Lacock, Wiltshire

WILDLIFE PHOTOGRAPHY SATURDAY 31 JANUARY / 10:00-16:30

£45/£33 members Designed to give you an insight into how to photograph birds and mammals

ONE%DAY INTRODUCTION TO YOUR DIGITAL SLR SATURDAY 7 FEBRUARY / 10:00-17:00

£85/£63 members Get more creative with your camera

WEDDING PHOTOGRAPHY SATURDAY 8 - SUNDAY 9 FEBRUARY

£160/£135 members How to take great wedding images and the basics of starting a business

LIGHTROOM

WEDDING PHOTOGRAPHY

SATURDAY 21 FEBRUARY / 10:00-16:00

WEDNESDAY 4 MARCH / 10:00-17:00

£95/£71 members Provides a simple way to create an archive of your growing image library

£160/£135 How to take great wedding images and the basics of starting a business Lacock, Wiltshire

ART NUDE PHOTOGRAPHY SATURDAY 21 FEBRUARY / 10:00-16:30

£115/£90 members Lighting a nude and producing high-quality photographs Lacock, Wiltshire

ONE%DAY INTRODUCTION TO YOUR DIGITAL SLR SATURDAY 7 MARCH / 10:00-17:00

£85/£63 members Get more creative with your camera

HOW TO PHOTOGRAPH CHILDREN AND BABIES

INTRODUCTION TO THE CREATIVE EYE

SUNDAY 22 FEBRUARY / 10:00-17:00

SATURDAY 14 MARCH / 10:00-16:30

£95/£71 members Lacock, Wiltshire

CREATE YOUR OWN PHOTOBOOK SUNDAY 22 FEBRUARY/ 10:00-17:00

£85/£63 members Make your own book with Blurb

PHOTOSHOP 'TWO DAYS(

£95/£71 members Learn how to see the photographic potential of the world around you

NIGHT SHOOT SATURDAY 14 MARCH / 18:00-22:00

£35/£26 members Explore the wonders of night-time photography in this hands-on workshop Bath Abbey, Bath

SAT 28 FEBRUARY-SUN 1 MARCH / 10:00-17:00

AMBROTYPES WORKSHOP SATURDAY 14 FEBRUARY / 09:30-17:00

£120/£95 members Learn to make your own ambrotypes St Pauls Learning and Family Centre, 94 Grosvenor Road, Bristol

WET COLLODION NEGATIVES AND PRINTS

£165/£140 members Following on from the one-day introduction to Photoshop workshop

SHOOTING FOR STOCK MONDAY 2 MARCH / 10:30-16:30

SAT 28 - SUN 29 MARCH/ 10:00 -16:30

£160/£135 members A beginners’ workshop for taking great images in a studio Lacock, Wiltshire

£65/£48 members Get the most from your images with the potential to license and sell

COASTAL LANDSCAPES

CREATIVE TECHNIQUES IN PHOTOSHOP

£95/£71 members An afternoon and evening of landscape photography North Devon, Hartland Quay

SATURDAY 21 - SUNDAY 22 FEBRUARY

£120/£95 members Learn how to make your own wet collodion negatives

STUDIO PORTRAITURE

TUESDAY 3 MARCH / 10:00-16:30

SATURDAY 28 MARCH / 12:00-19:00

VOL 155 / JANUARY 2015 / THE RPS JOURNAL / 77

& EXHIBITIONS 78 | GUIDE | PATRONAGE 102ND SOUTHAMPTON INTERNATIONAL Closing date: 8 February 2015 southamptoninternational exhibition.co.uk STROM Closing date: 8 February 2015 fotostrom.eu PCA SALON 2015 Closing date: 21 February 2015 pca-exhibition.com/corsica ALL PHOTOGRAPHERS ARE ONE WORLD Closing date: 22 February 2015 photoclubkragujevac.com PERN IMAGES 1ST INTERNATIONAL

INTERNATIONAL IMAGES FOR SCIENCE EXHIBITION 2013: BARNSLEY

PHOTOGRAPHY COMPETITION & EXHIBITION 2015 Closing date: 25 February 2015 bspabd.com

UNTIL SATURDAY 7 FEBRUARY

AVON VALLEY PHOTOGRAPHIC SALON Closing date: 1 March 2015 avonvalley.photography/salon

The Civic, Hanson Street, Barnsley S70 2HZ

GERMAN INTERNATIONAL DVF%PHOTOCUP 2015 Closing date: 15 March 2015 www.germanphotocup.de

FRIDAY 16 JANUARY - SUNDAY 15 FEBRUARY

EXHIBITIONS

INTERNATIONAL PRINT EXHIBITION: LONDON

Advisory day in Brussels, 21 February Image: Shutterstock

Royal Albert Hall, Kensington Gore, London SW7 2AP

INTERNATIONAL PRINT EXHIBITION: STAFFORD SATURDAY 14 MARCH - SUNDAY 10 MAY

Shire Hall Gallery, Market Square, Stafford ST16 2LD

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

ADVISORY BOARD JOURNAL REPORT SEPTEMBER 2014

INTRODUCTIONS The President welcomed those attending the meeting, who then introduced themselves. MINUTES OF THE PREVIOUS MEETING The minutes of the Advisory Board held on 22 March 2014 were proposed by Edgar Gibbs, seconded by Mark BuckleySharp, and accepted by those present as a true record of the meeting. MATTERS ARISING Website. Mark Buckley-Sharp provided the meeting with an update on the website from its launch in January to the current position. He noted that a number of significant updates had taken place over the summer and that the majority of the defects had been resolved, and some new functionality which had been requested by users had been provided. Work on the forum was separate to the website but an imminent release was likely to resolve many of the reported issues. He asked that the meeting record its thanks to Emily Mathisen, Tony Mant and the web team. Tony Cooper added his thanks to Emily Mathisen who had dealt with the website and the demands of users with good humour. Janet Haines commented that the Digital Imaging Group wished to migrate from the old forum to the new one but felt that it had moved backwards in terms of functionality. Edgar Gibbs asked that priority be given to business-critical issues which Mark Buckley-Sharp confirmed was the case. Other suggestions for new functionality

would be assessed and prioritised. PRESIDENT’S REPORT The President’s Report had been previously circulated and Derek Birch summarised its content. He advised the meeting of a recent decision which had been taken by Council to identify the most appropriate location for The Society and to start the search for a new building. Geoff Blackwell shared Council’s long-term strategic view and emphasised that the process was likely to be a long one. Edgar Gibbs thanked Council for its transparency. INDIVIDUAL TRUSTEES’ REPORTS The Trustees presented reports on their areas of responsibility. Walter Benzie reported on recent Society activities including the International Print Exhibition opening and Awards evening. Geoff Blackwell noted ongoing discussions with Barclays Bank and progress on the 2015 budget. Vanessa Slawson reviewed membership activities and initiatives. Rod Wheelans spoke about the Society’s relationship with camera clubs and initiatives to work with them and the PAGB. David Cooke updated the meeting on education projects, including online courses. Robert Gates spoke about the Society’s exhibitions and patronage. Representatives raised questions and discussed particular points. Roy Thomas on behalf the PAGB reported that Leo Rich was now president and that all was working well with the PAGB and the federations.

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THE RPS JOURNAL John Innes and Clare Harris from Think Publishing gave a presentation on the changes made to the Journal since June and the feedback that had been received from members. The meeting congratulated Think Publishing for its work. THE OVERSEAS CHAPTERS Richard Tucker presented a detailed report on the position of the Chapters and recent deliberations of Council which had culminated in a letter from the President to the Chapter Organisers restating the position of the Chapters within The Society. He noted that the Chapters represented 13.6 per cent of The Society’s membership, and initiatives within The Society which were increasingly taking account of the needs of the overseas membership. He noted that for the Society to retain overseas members it needed to offer more than a monthly magazine, the website and online competitions. He asked Regional Organisers and Group Chairs and any UK member travelling overseas to make contact with a Chapter Organiser and offer to give a presentation or workshop. OBJECTIVES OF THE ADVISORY BOARD Derek Birch and Walter Benzie outlined the position of the Advisory Board under The Society’s charter and rules and asked the meeting for its views on the content and conduct of the meetings and if they were still appropriate. They noted the success of the Regional Organisers day in July and forthcoming meeting for the Special Interest Groups. An extended discussion

took place. There was a view that the Advisory Board and the elected members could be doing more for The Society and working more closely with Council. Much of the content of the current meeting could be done by reports being circulated which would allow the formal meeting to be more productive and interactive. A number of specific points were made and recorded in the minutes. ANY OTHER BUSINESS Volunteer recognition. Vanessa Slawson updated the meeting over the volunteer recognition scheme. Mark Buckley-Sharp stated that it was incumbent on any Chair or Organiser to ensure that their volunteers were properly recognised and to provide the data to the Membership Department at Fenton House. A number of certificates were presented. REGIONAL BOUNDARIES The Council decision taken in July following the Regional Organisers meetings to revise the London boundaries was discussed. Regional Organisers would be kept informed and any changes would be discussed in advance. Janet Haines reminded the meeting that members can opt to join an alternative region. The meeting closed at 1.15pm. Following the formal meeting the Advisory Board heard from Del Barrett on the Documentary and Visual Journalism Group’s Great War Project and the London Region’s Bleeding London project. The Group and Regional representatives held brief meetings.

| GUIDE | 79

OVERSEAS CHAPTERS

Royal Photographic Society members around the world AUSTRALIA Elaine Herbert ARPS, eherbert@ alphalink.com.au BENELUX Stephen Johns, Steve_johns@ me.com DISTINCTIONS ADVISORY DAY IN BRUSSELS SATURDAY 21 FEBRUARY / 10:00 - 16:30

Swedish Church and Cultural Centre, 35 Avenue des Gaulois, Brussels 1040 Stephen Johns, +32 (0) 479 01 63 20, steve_ johns@me.com CANADA John Bradford, jb.rps@cogeco.ca CHINA BEIJING Yan Li, yanli88@yahoo.com

CHINA SHANGTUF Guo Jing, shangtuf@ yahoo.com.cn CHINA QUANZHOU Xiaoling Wang, hgudsh@163.com GERMANY Tony Cutler LRPS, aec.flynn@t-online.de HONG KONG Shan Sang Wan FRPS, shansangwan@yahoo. com.hk INDIA Rajen Nandwana, rajennandwana@

COUNCIL REPORT OCTOBER 2014 Council was joined by Tim Rutherford and Alexandra Whittaker from The Society’s solicitors Stone King who introduced themselves and took questions from the trustees on a range of issues. A number of legislative changes were likely in 2015 which The Society would need to be aware of. Council agreed that at the first Council meeting following each Society election the new trustees would be given guidance on their role and responsibilities. SOCIETY FINANCE Geoff Blackwell presented the thirdquarter management accounts. He noted that The Society had recovered from a slightly weaker half-year position. Excluding legacies there was a small surplus, with income down but expenditure also down. He anticipated a break-even position for the current year. SOCIETY PREMISES A detailed building specification would be defined and work would be undertaken to narrow down The Society’s preferred headquarter location. MEMBERSHIP Membership stood at 11,076. Vanessa Slawson expressed her view that there was a need to encourage all Regions to meet a set of minimum standards. The strategic plan would need to include these and she would circulate a document in advance of the November meeting. GROUPS/REGIONS/ OVERSEAS CHAPTERS The Director-General reported that David Healey had received more

than 70 positive responses to his Journal article about a proposed Analogue Group. Council approved the formation of this new Special Interest Group. As there had been no activity from the Film and Video Group Council agreed that the group should be closed and steps taken to form a new group dealing with the moving image. Vanessa Slawson reported that the appointment of a new South Wales Organiser was in hand. A group chairmans’ meeting would be held in February 2015 and a regional organisers meeting would be held in July 2015. AWARDS The Director-General reported that Society Awards recipients Steve McCurry and John Swannell had donated prints to The Society’s Collection. McCurry had provided a print of Afghan Girl which would feature in the Drawn by Light exhibition. Jon Tonks had also been in contact and would be supplying a print. The nomination form for the 2015 awards was available on the website and would be circulated to Council. STAFF AND MANAGEMENT MATTERS Council approved the expenditure for the refurbishment of the shared office car spaces with its neighbour Echoes of Service. DISTINCTIONS AND QUALIFICATIONS Council noted the feedback from the Creative Group on the Distinction panel name changes. Andy Moore confirmed that the next meeting of the Distinctions Panel chairs and the Fellowship Board would take place on 25

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

NEW ZEALAND Mark Berger rps@moothall.co.nz SINGAPORE Steven Yee Pui Chung FRPS, peacock@ sandvengroup.com SOUTHERN SPAIN Mike Naylor, mike@ mikenaylor.es EXHIBITION IN LA CALA DE MIJAS UNTIL THURSDAY 8 JANUARY

Centro Cultural de La Cala de Mijas,

November with the Distinctions Advisory Board meeting on 26 November. He reported that the new handbook and forms were all available on the website and that the Distinctions marketing brochure would be ready before next Council. Exhibitions. Lesley Goode updated Council with the latest exhibitions showings. The biennial had closed with 3,000 entries. Selected images from the IPE 157 were being shown in China. The monthly competition for an image for the Society’s 2015 membership card had attracted 1,130 entries. A meeting was being held regarding sponsorship for the next IPE. EDUCATION, WORKSHOPS AND TRADE SHOWS Geoff Blackwell would be attending the affiliation meeting in November. Vanessa Slawson would prepare and deliver a ‘how to recruit’ workshop for Council and staff at the March 2015 Council, just prior to The Photography Show. RPS JOURNAL The October Journal distribution had been delayed by a few days and Think Publishing had secured a rebate from the mailing house. The Director-General reported that there had been no complaints from members. The Director-General reported that a mailing which included a sample Journal and a membership discount had been sent to 1,900 lapsed members. The exercise had covered its cost, with 25 to date rejoining The Society. WEBSITE The website statistics

Boulevard de la Cala, La Cala de Mijas, Malaga 29649 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

had been circulated and Emily Mathisen noted the increased use of the forum. SEO work had been undertaken on The Society workshops and Facebook had also been successfully used to promote these. Robert Gates noted in the meeting that Society workshops now appeared on the first page of Google. Council asked that the contact name on Regional pages be reviewed and that it be made clear when the contact was the organiser or the webmaster. ADVISORY BOARD Derek Birch proposed inviting the elected advisory board members to the January Council meeting to discuss and set the agenda for the March advisory board meeting which they could lead. Future meetings of the advisory board could be led by the elected members of the advisory board. Walter Benzie, with the support of Derek Birch and the other Council members, recommended co-opting two more Council members. EXTERNAL ORGANISATION The Director-General would ask the awards manager to ensure the PAGB President was on the longlist of invitees for The Society’s Awards evening. ANY OTHER BUSINESS Council noted the feedback from the Nature Group but in the light of the consultation with the group before it approved the definition it considered the matter closed. Vanessa Slawson would arrange an induction day for volunteers on 16 February 2015.

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THE RPS COLLECTION 80 | TIMES PAST | FROM

An SLR success story

Popular with photographers and celebrities alike, the Pentax Spotmatic was a landmark product introduction of the Pentax Spotmatic in 1964. The prototype of the Spotmatic was shown at Photokina in 1960. For the first time, the camera’s builtin photoelectric cell was not directed at the subject but at the ground-glass focusing screen, providing very accurate metering. The principal advantage it offered was that changing a lens or adding extension tubes or filters would not require any adjustment as it was only the light entering the camera that was being measured. The CdS cell was accurate and quick. Turning the prototype into a commercial product took longer than envisaged and it was not until the end of 1964 that the Spotmatic was

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shown to the press. The camera body was smooth and sleek, with minimal clutter, and made use of AOC Takumar screw-mounting lenses. By 1971, the AOC was claiming the camera as ‘the world’s best selling’, and advertised it as ‘the Computer Camera’, because it included electronics that controlled the exposure. During its production the Pentax Spotmatic was one of the biggest successes in the history of the 35mm single-lens reflex (SLR) camera production, with some four million cameras manufactured. This is an extract from The History of Photography in 50 Cameras by Michael Pritchard FRPS (Bloomsbury)

DID YOU KNOW?

There are 8,000 items of photographic equipment in the Society’s Collection Photographers who loved the Spotmatic include Cecil Beaton and Sebastiao Salgado, who said photography with it was ‘incredible’ DATELINE

1964 Beatlemania is at its height; A Hard Day’s Night is released and more than 300 people injured as the mop-tops return to Liverpool. George Harrison is seen carrying an Asahi S-Type on a trip to Paris.

CORBIS

he Asahi Optical Company (AOC) was established in 1919 as a lens and optical manufacturer. After the Second World War, it began to diversify with the introduction of photographic equipment and differentiated itself from competitors by designing a 35mm reflex camera rather than copying traditional rangefinder cameras. The first camera designed and made by the AOC was the Asahiflex, introduced in 1952. The Asahiflex developed into the Asahi Pentax camera, introduced in 1958. A completely new design, the camera incorporated a pentaprism for right-wayround viewing. New models developed the design until the

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