Capital Interest June 2016

DARREN WOOLWAY ARPS ABOUT LIFE AS A FREELANCE PHOTOGRAPHER

THORESBY THE END OF THE MINE BY CHRIS UPTON ARPS

CAPITAL INTEREST JUNE 2016 / VOLUME 2 / NUMBER 6 / WW.RPS.ORG

‘The best images happen without warning’ Mike Longhurst FRPS on photographing people photographing London

JUNE 2016

IN THIS ISSUE Page 2

RPS book making workshop, DOPTY, The Magic Gallery

Page 4

Photographing tourists in London: Mike Longhurst FRPS

Page 8

The London interview: Darren Woolway ARPS

Page 12

Stuart Smith at Photo London

Page 14

Thoresby The End Of The Mine – an introduction to Chris Upton’s book

Page 17

Review: Fox Talbot: Dawn of the Photograph at the Science Museum

by Lynsey Ford

Page 18

Distinctions: Robert Gibbons, ARPS and Fred Adams, LPRS

Page 22

Breathing London Update by Judy Hicks and Jen Pedler

Page 24

Useful links

RPS LONDON NEWS

WELCOME! Summer fun is awaiting and you might feel ready to try something new. Why not explore a more unusual technique of photobook making? The RPS is offering a workshop on the 23th of July in which artist Malcolm Raggett teaches how to make handmade photobooks. Skills learnt can be used to continue making books at home to any size. To book, follow the link.

Image © Malcolm Raggett

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Britta Giersche Capital Interest Editor

DOCUMENTARY PHOTOGRAPHER OF THE YEAR PHOTO COMPETITION This year, as a first, the Documentary Photographer of the Year photo competition (DPOTY) by the Documentary Group is opening the competition to ALL members of the RPS. In a nutshell:

• Free to enter • Two categories - Colour & Monochrome • 5 images per entry in just one category • Last date for entries: 31 August 2016 • Two fabulous Olympus Pen-F cameras each with a 17mm f/1.7 lens for the winners of each category. Each kit has a retail value of £1,200.

• Other prizes to be announced.

• Exhibition of winning entries Image: Ovambo meets Himba © Marilyn Taylor ARPS, Expert Third Place Winner 2015

Full details of how to enter and much more can be found at http://dpoty.com.

PRECIOUS, POSSESSIVE AND POSSESSED The Magic Gallery in the Underground Arcade leading to Charing Cross tube station is an exhibition space where the RPS has started a collaborative series of exhibitions that showcase the work of students alongside that of the Fellows of the Society.

The first exhibition brings together Jane Hilton FRPS's beautiful and tender images of working girls photographed at legalised brothels including Madam Kitty's Cathouse and in conjunction with Rakesh Mohindra's intriguing images of a hidden presence. What is being withheld from our view? Is it something precious? Do we want to possess it?

Until Saturday 24th June. More information here Poster design © Jonathan Taylor

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CAPITAL INTEREST TOPICAL

ABOVE Out in all weather

DOING LONDON London welcomes around 30 million visitors each year. As the high-season

for London visits has begun, Mike Longhurst FRPS is telling the story of his book project about photographing tourists in London.

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Like most Londoners, I suppose I viewed tourists as simply people who seemed to want to

stand in front of anything I was taking pictures of and generally clutter the place up. A benefit to the economy, but hardly an asset for photographers.

So it was with some trepidation that I decided at the start of the 2015 season to turn the tables and make them my subjects. I had not studied them as such and apart from a fetish for selfies

and a habit of pointing cameras at anything that stood still for a second or two, I was not really sure what they did, or what photo opportunities they offered. When anything is so obvious, I

believe it is worth starting there in the hope that other things suggest themselves as one goes

along. Certainly in street photography it is clear that the best images happen without warning, usually while you’re concentrating on something else, so by focusing initially on selfies and

shooting them shooting us, I had a chance to decide what to look for when tedium set in and those subjects were done to death.

I should say at the outset that I had decided it was all going to be about street candids. Tourists

are very obliging and happy to do whatever you want, so it would be easy to stage-direct them, but I decided this was going to be au naturel. What point otherwise? I would also, as far as

possible, try to put them into a context and give clues to where they were, without being too distracted by the attractions they were enjoying.

BELOW Doing London

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It was not long before I realised they ate on the hoof, wherever they happened to be and much

as we might do in foreign lands, sampling foods was a significant part of their itinerary. Some nice snaps there of wrinkled noses, perching in uncomfortable places and picking and choosing.

Many were led by group organisers and the determination of these people to get large phalanxes

from A to B intact, in time and without too much hassle, impressed me. They often looked like the officer leading a cavalry charge and I tried to depict them that way. I was very surprised by the number of children in tow and to be enjoying themselves. Not a

to be throwing themselves into when it came to the street of the sight of Yoda statues very did act as useful magnets to attract

with his mouse in several locations.

the fact that they actually seemed

‘I had decided it was all about street candids’

beach in sight, but they appeared the London experience, especially performers. I must say I got sick

quickly, but some of the performers tourists and I met the Mad Hatter

People seeing statues apparently

hovering in space for the first time offered pictures I probably won’t get again, when they are

simply “that old thing”. Audiences became one of my categories of shots, as did navigators

shoppers, chillers and the kids themselves. Ironically I got a couple of my better kids shots in Piccadilly Circus shortly after being arrested in Leicester Square. On that occasion I had left the

BELOW Regent St navigator

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OMD EM1 at home and just had the little Fuji x30 with me, so I assume looked a bit surreptitious,

especially when snapping a few instant opportunities from the hip. I was suddenly surrounded by a posse of young-looking male and female plain clothes police and asked to accompany them to a quiet spot. I had my RPS card, which was a help, but really, they were so confused about what

pretext they were questioning me on that I found myself lecturing them on the art and practice of street photography and how to tell it from someone casing a joint. They finally admitted they had no reason at all to interfere with me and pointed out a guy blowing huge bubbles down in

Piccadilly and attracting crowds of kids. So with full police approval I started shooting kids. I have

to say deciding where the shot was in the chaos that was going on was a test and I was relieved

to get at least one that had some merit beyond being simply a photo record. Wet weather turned up on cue and allowed me to explore the determination with which tourists continue doing what they’d come for and I was also impressed by how they refused to stop seeing the sights on their

last day, trailing bags around with them after checkout, until it was time to head for the airport or Eurostar. I have often been asked how I got so close in many shots and yes a wide angle from the hip played a role, but I have to admit the thin end of a nice constant f2.8 35-100 Lumix lens on the micro 4/3 Oly was also a great help.

All images Š Mike Longhurst FRPS BELOW With police approval

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LONDON INTERVIEW

DARREN WOOLWAYARPS The freelance commercial photographer’s main areas of interest are Automotive, Car and Still Life. In his spare time, he loves to dive, fish and travel – and, so he told Dave Harris LRPS when he came to interview him, he has hopes to combine his hobby with his profession. Find out what he would like to do.

© Mike Chopra-Grant ARPS

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Can you give us a little history as to how you

as a car photographer for various magazines

came to be a professional photographer?

including Classic Ford, American Car, Custom

Back in 2003 I was studying for a degree in

Car, Performance Vauxhall and Retro Cars.

Garden Design when another student showed

Although photographing these beautiful

me some images from his DSLR camera - they

vehicles is great fun, my passion really lies

were amazing. Pin-sharp with lots of detail. This

in advertising. It is my goal to push forward

was the start of my passion for photography. I

into photographing campaigns. Having been

quickly bought a model similar to my friend’s -

brought up with motors since an early age,

a Canon 350D - and so my journey began.

automotive photography comes naturally

I went to work for Royal Caribbean as a

to me. Although the mechanics of the car

cruise ship photographer. When I returned,

never really interested me, the design and

I continued to cover weddings and portrait

shape of the body and interior did. It was that

sessions part-time and did a bit of teaching

appreciation of this design that led me to

photography privately, also working full time

photograph cars. I feel I am able to take an

in a school as a web and graphic designer.

object that is already beautiful and enhance

In October 2012 I decided to give myself

that beauty to its fullest.

the time to refine my photography, find my specialism and build industry contacts. I

Did anyone inspire you?

enrolled at Ravensbourne College to study

In terms of photographic inspiration, it was

Digital Photography and graduated with

Tim Wallace. He showed me that you can start

a first class degree in the summer of 2015.

photography later on in life and build a career

Since leaving University I have worked mainly

from it. My other inspiration is my fiancée, Dora.

RIGHT ‘One of my favourite images I have taken to date is the 2015 Citroen DS Prototype. I love the flow of the image, the wide stance of the vehicle, and the subtle inclusion of the tourists in the background.’

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LEFT ‘I really enjoy my image of a BMW 218d which is falling into bits. The idea behind this is that lots of people dream of owning a BMW, but as they start to wake from their dream, the car disappears and fades away.’

After being made redundant for the second

What’s been your most challenging

time she encouraged me to follow my dreams.

assignment?

What are you trying to say with your images?

My most challenging assignment to date is

With my images I want to create a story. When

one that I am currently working on. I have been

I look at each car, I see it has its own character.

asked to create moving image as well as stills

And that character will determine how I

and I have done very little moving image work.

photograph it, how it is lit and the location that

It is the first RWB Porsche build by RWB UK

I shoot it in.

and I have to document the build and the final stills sets. It includes many sponsors both on

Do you have any unfulfilled ambitions?

the automotive and photographic side. This

There is one thing I would love to do. For many

has meant liaising with lots of creative and

years I have been in touch with Scubazoo in

marketing people to make sure we have the

the Maldives who produce all the footage for

best equipment and brands involved, and that

the Discovery Channel. In the Maldives there

it receives the highest amount of exposure.

are issues with coral bleaching and fish species

The car’s design has been used in The Need for

dying off. My plan, as a qualified scuba diver, is

Speed video game and has a massive following.

to document the devastation and ask questions

The last GoPro video of a build hit 10.5m views

around how much is to do with global warming

on YouTube, so I am really feeling the pressure.

and how much is to do with pollution from the

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run off of rubbish. I have been warned that this

Is professional photography a viable income

is a really risky project but is something that

stream in our fast-changing digital world?

I am really interested in. If anyone would like

You can earn a good living from photography

to fund this project for me I would be most

and some people can become rich from it, but

grateful!

it doesn’t happen overnight. You can become a

salaried photographer and jobs will range from

Give one piece of advice to an aspiring

£14-35K but quite often you are signing away

photographer.

your copyright. It’s hard to earn a good living

Never give up if this is what you really want.

doing ‘Editorial Only’. You need to be shooting

You will get plenty of knock-backs on a daily

for lots of magazines to get regular enough

basis but you only need one person to say

work to earn a living. There is good money in

yes. Things do not always move as quickly as

advertising and fashion but there is also a lot of

you want them to. Remember your urgency to

competition!

get somewhere is not the same as someone else’s urgency to commission a piece of work.

How do you see yourself five years?

Network a lot, be seen and create alliances with

In five years from now I see myself working

other photographers and brands. Remember

mainly on automotive advertising projects.

the acronym for FAIL is First Attempt In

This is a natural follow-on, as I now work mainly

Learning. There is no such thing as failure, only

editorially. On a personal level I want to buy a

giving up. Learn as much as you can from your

house and get out of the money grabbing pit of

failed attempts and eventually you will succeed.

renting; and to get married to my fiancée who I have been with for five years.

All images © Darren Woolway ARPS 11

CAPITAL INTEREST EXPERIENCE

ABOVE The David Bowie wall was from the Berlin Gallery - Camera Work

PHOTO LONDON 2016 REFLECTIONS BY Stuart Smith

Photo London is an ambitious art fair, set primarily within the palatial labyrinth of Somerset House. With over 80 galleries displaying photographic art from all eras. If you ever do go to Photo London, my one big tip would be plan in advance. There is a lot to see. For the photography art lover it is an Aladdin’s cave of delights, with temptations around every corner. This is, however, a largely commercial art fair and so less commercially compatible photographic exhibits are rarer.

Picking highlights, from such rich offerings, is difficult but from the fairs headliners here are my impressions of four of the exhibits.

Sergey Chilikov - Photoprovocations Sergey Chilikov has been linked to the Soviet Pop Art movement and Photo London under the curation of the Multimedia Art Museum brought together a collection Chilikov’s ‘new’ photography from the 1970’s Brezhnev era. Photoprovocations is a well-crafted portmanteau word, neatly summarizing Chilikov’s collection. The viewer is presented with photographs of subjects seemingly at ease away from the mainstream public gaze. In this relaxed space several photographs have women exposing breasts and lifting skirts in assertive provocation. This is an alien Soviet Union and reminds us that even in the strictest of regimes self-expression finds a way.

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Walter & Zoniel The artistic duo Walter and Zoniel have a heavily infectious enthusiasm for their work. Photo London saw them creating the largest Tintype photographs in the world by converting a cellar room in Somerset Houses into a camera to create full size images of people. The pair demonstrated the highly physical and chemically laden process that goes into creating their images. Theoretically, Tintypes last forever and are unique. Ironically, although digitized images are frequently stored and copied within the cloud of the Internet, there is concern about the archiving of them. This is because file formats, compatible software and hardware for displaying images, is constantly changing. Unlike a finished Tintype print, which is ready to be seen and physically robust, a digital image needs something to present it on. I think Walter and Zoniel through this project provoke questions about what are our images are for, why are we producing so many? Does it matter that we might not be able to view our current online images in 10 or 20 years time?

Don McCullin Don McCullin has created many era defining images. Time and time again, he has spotted ‘the moment’ where one picture seems to say it all. McCullin has recorded war, social upheaval and the strife of day-to-day existence. However, in his later years he has shifted his attention to landscapes.

Perhaps, unsurprisingly for a man who has seen so much pain there seems to be a moving melancholy to the scenes. The presentation of these in black and white adds to the haunting quality. Maybe it is because these landscapes, like McCullin himself, have witnessed much human drama and tragedy and his images reflect that.

Craigie Horsfield Twelve is a selection of the Turner Prize nominated artists expressive and intimate portraits. They are presented on wall-sized prints and offer an incredible depth of quality. The subjects range in age and sex and are unsmiling. Go in close and you can see the texture of the subjects skin in sharp relief. Unlike advert hoardings of similar size, where flaws are edited away, Horsfield seems to have preserved them, treasured them. Through them and the often-intense gaze of the subject we are invited to connect at a deeper level.

Conclusion There is a lot to take in at such a large-scale artistic event, like Photo London. An event, such as this in London, says not only is art important to the city but specifically photographic art is important. At a time when many photographers struggle to create a financially viable living with their art Photo London is a valuable rallying point in the artistic calendar for the capital.

All images Š Stuart Smith 13

CAPITAL INTEREST SPECIAL

THORESBY THE END OF THE MINE Official Fujifilm X-Series Photographer Chris Upton ARPS talked to Capital Interest’s Peter Parker about documenting the final days of the last pit in Nottinghamshire.

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It was a chance conversation after a camera club lecture that led Chris Upton to the unique opportunity to photograph Thoresby Colliery, the last pit in Nottinghamshire, and the start of an amazing twelve month photographic project.

Initially he thought he’d be allowed to visit a couple of times and that would be it. It never occurred to him that the project might develop in the way it did with a series of exhibitions, a book and extensive media coverage.

Thoresby’s closure in July 2015 brought to an end hundreds of years of mining in the county. It was such a significant part of our industrial and social heritage and Chris clearly felt a real sense of responsibility to do his best to capture the spirit of the colliery and create an enduring record for posterity.

As a Travel and Landscape photographer, Social Documentary was a new departure for Chris and he was faced with a number of decisions to take early on, not least how to present the images. He wisely decided to produce the project in black and white because of the nature of the subject, the timeless feel and the fact that the bright orange safety clothing would prove a distraction to the subject. The result is obviously a gritty feel to the pictures to reflect the industry but also a series that portrays a mood and sensitivity.

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The images were printed on Fotospeed’s Platinum Baryta 300 paper and look stunning. An exhibition soon followed in Mansfield, featuring over 50 large framed black and white images. To support the exhibition and showcase many more images Chris decided to investigate producing a book. After much work and overcoming many hurdles he managed to obtain some sponsorship and self published the book, Thoresby The End Of The Mine. The exhibition and the book proved to be a great success.

“The whole project has been a wonderful experience as well as creating a valuable archive. It stretched me as a photographer, taught me new things, raised my profile and opened up many opportunities. I can highly recommend shooting a project to inject life and purpose into your photography,” says Chris.

The book Thoresby The End Of The Mine is available from Chris’ website 330x240mm, Paperback, RSP £25 plus £4.99 UK p&p 138 pages featuring over 200 black & white images, the powerful quotes from the miners give us an insight into their work in this tough, uncompromising industry. This is a record of the buildings, the site and the people of the last remaining pit in Nottinghamshire, in it’s final days before closure bringing to an end hundreds of years of mining in the county.

All images © Chris Upton ARPS 16

THE REVIEW

By Lynsey Ford

FOX TALBOT: DAWN OF THE PHOTOGRAPH Exhibition Details Until 11 Sep 2016, open daily, from 10am to 6pm ABOVE Carpenters at work, Lacock, Wiltshire, William Henry Fox Talbot © Public Domain

The Science Museum celebrates the life and career of Victorian photographer and inventor William Fox Talbot with a new exhibition. Over 170 images from The National Photography collection have been selected, covering this invaluable exhibition of artistic endeavour, scientific discovery and industrial achievement.

A leading Cambridge-educated scientist, Talbot’s techniques have formed the basis of World photography over the last 150 years, with an estimated 3.4 trillion images taken over the last two centuries.

It was during his honeymoon to Lake Como, Italy in 1834 that he began to hone his photographic skills with a camera lucida. His scientific trials from the trip were a result of his failings to recapture the breath-taking scenery through his poor sketching of the local landscapes.

Talbot started developing the salted paper and calotype processes, essential for the production of permanent photographs. Talbot placed writing paper in a very weak solution of sodium chloride, carrying out salt printing. Drying out the paper, Talbot lightly brushed silver nitrate across one side. This produced a coat of lightsensitive silver chloride which darkened from light exposure. He created a commercial photo

book ‘The Pencil of Nature’ between 1844-1846, which features prominently in the Fox Talbot display.

Across the first five rooms of Media Space, the show concentrates on the enduring legacy of Talbot and his European counterparts including French rival, Louis Daguerre who devised the ‘daguerreotype’ (a polished image on a silverplated copper), and inventor Hippolyte Bayard.

A section, ‘Sun Pictures in Scotland, 1845’, is dedicated to Talbot’s travels to The Highlands.

Here, Talbot would take photographic engravings around Abbotsford, Melrose and Dryburgh Abbey. Beautiful images of family life are interwoven between the commercial images; Talbot’s daughter, Ela, poses serenely in white linen.

Glass cases of artefacts also line the exhibition, where one can see apparatus from Michael Faraday, and private photo scrapbooks document life around Lacock Abbey, Talbot’s retreat.

This great exhibition, co-curated by Greg Hobson and Russell Roberts, is superb for any budding photographer, who has a real passion for science and art.

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DISTINCTION SUCCESSES

ROBERT GIBBONS ARPS

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LEFT Orange Frittalaria RIGHT Purple Calla Lilies

I gained my LRPS in June 2014 and like most, my panel was an eclectic mix of my best images of the previous few years. However, having decided to pitch for Associateship I knew it was task of a wholly different magnitude. I therefore chose a specialised subject I knew I would enjoy and planned my portfolio before shooting to show all of the images in portrait format so that when judged as a set they made for easy viewing. What also occurred to me was that success would only come if my panel stood out from the crowd and I had seen many brilliant flower panels in the past.

I had to ask myself what I could bring to the subject that could match the level of excellence that had gone before me.

I noticed that most flower photographs were generally ethereal close ups where the natural limited depth of field was exploited and sometimes enhanced to create a romantic mood. As beautiful as these photographs are, they can miss out some of the magic and intricate detail of the subject.

I therefore decided to move in the opposite direction so that hopefully, I could present to the judges a fresh and exciting panel of photographs. I planned to show the whole bloom not just part of it and more of the stunning colour, detail, structure and texture of each flower by taking multiple exposures (up to 25) at differing focus points and merging them into one photograph with each flower sharply drawn. This of course is not a new photographic technique but it is a recent one and I had not seen it used so far with my subject which gave me a narrow window of opportunity. I am delighted to have been awarded the distinction of Associate of the Royal Photographic society in March of this year and the great sense of achievement this has given me. I’m sure my pre planned approach helped me reach my goal.

P.S The RPS in Bath have asked to retain my prints for their educational programme and also to show my panel on the main website. Not surprisingly I have agreed. Have you ever seen a dog with two tails?

All images Š Robert Gibbons ARPS 19

DISTINCTION SUCCESSES

FRED ADAMS LRPS

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LEFT ‘Ebb & Flow is one of my panel favourites as it’s a spontaneous long-exposure visualisation of a location I’d never seen before, caught just before the light faded for the day.’ RIGHT ‘Hainault is another favourite, a shot that I’d pre-visualised in these specific conditions not having been to the location before - I was particularly pleased with this as I’d never seen anyone attempt anything remotely similar at the time.’

On reading about RPS as Britain’s oldest photographic institution a couple of years back, little did I ever imagine then that I’d ever aspire to an RPS accreditation, or that I’d have featured in the RPS journal as an RPS-365 competition winner. Having joined in early 2015 and having done my first two solo exhibitions in 2015, I possessed of a number of A3+ sized self-produced prints which acted as a prompt to finally enrol for the LRPS. I’d previously attended an LRPS advisory session as a spectator, which demystified what the RPS assessors would look for. I did also eventually book my own advisory day review, and I can’t emphasise enough the value of having my panel constructively criticised by two fellows of the RPS. Whilst being very encouraging, they also picked up on some minor fringing issues on a couple of pictures that stemmed from having printed so large. Lucky to have an Epson printer at home, I duly downsized the panel to A4 prints with 50 x 40 mounts, in the knowledge that my A2 exhibition mounts might have struggled to fit RPS HQ’s presentation rails! It was great to see the other panels on the day and I was duly impressed by the standard and diversity of other LRPS entrants covering many differing styles and subjects.

All images © Fred Adams LRPS 21

BREATHING LONDON The latest RPS London project aims to capture the diversity of London’s Open Spaces. It will run until Spring 2017, with monthly competitions and walks, workshops and events during the year. For June, the event organisers Judy Hicks and Jen Pedler have put together focuses.

The two winners of our April competitions,

OPEN GARDEN SQUARES WEEKEND – 18th

selected by Award-winning wildlife and

& 19th June

landscape photographer Robert Canis, were:

In June we are going to run a special “On

Spring Energises Birds and Animals: Pat

the Spot Points League” based on Open

Simmons and Spring Energises People Too:

Gardens weekend. Spread across London and

Beverley Poynter. Congratulations to you both.

ranging from traditional private squares to

Your framed print will be winging its way to you

contemporary roof gardens, not to mention

very shortly. By the time you read this, the May

skips, barges, museums, schools and allotments

competition “Bugs in May” will have closed,

there should be something for everyone in the

but you have until midnight on 5th June to

programme. For Breathing Londoners, this

upload those fabulous images which you took

has to be the focus for the month. In addition

during the month. Please watch the website

to our postings, the website to watch is: Open

and FB pages for more details.

Garden Squares Weekend.

LEFT Winning image: Robin singing to his mate © Pat Simmons

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UPDATE Our “On the Spot Points League” competition will take place over the weekend: how many squares can we capture for BrL as a team in the two days? (Hint: all 200 we hope). How many will you be able to capture as an individual to

waterfowl on the lake, lakeside plants and

head up the bonus points league? (No hints

flowers and reflections, the famous fountains,

here!).

and the evening light on the river from the beautiful Peace Pagoda. Don’t miss this

All details to follow but do put the time aside

opportunity: you can sign up here to book

to join us as we plan to meet up on Sunday

your place.

19th after the gardens have closed in a Central London location to celebrate, to congratulate

FINALLY the Breathing London website has

the winner and – hopefully – to see each other’s

moved to its permanent home and we look

images on a rolling screen!

forward to seeing all your wonderful images.

OUTDOOR NATURE PHOTOGRAPHY WORKSHOP – 15th June This month we are running a very special

We do need volunteers to help out, particularly those willing to act as “Green Gurus” and take responsibility for their local Borough or Ward – but any offers of help are welcome.

evening Outdoor Workshop – our second in a series of four. Led by Robert Canis, we

Please contact Jen or Judy at greenlondon@

have obtained special permission to shoot

rps.org if you have even a few hours to spare

in Battersea Park, where we should find

occasionally.

opportunities to photograph herons and other

LEFT Winning image: A “Bum’Dance of Life © Beverley Poynter

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USEFUL LINKS

RPS LONDON GROUPS RPS LONDON BLEEDING LONDON BREATHING LONDON LONDON, CINE LONDON, NATURALLY LONDON, STREET LONDON, URBAN FIRST TUESDAY

Have you got a story to tell?

Or pictures to show? Have you been on a trip, at a workshop or to a fair? Are you working on a project or preparing an exhibition? Have you met a photographer who your fellow RPS London members should know of or visited an exhibition they should see? We love to hear from you.

Get in touch with Capital Interest to share your experience.

Click here.

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