Capital Interest July 2016

KATE WENTWORTH LRPS ENJOYED PHOTOBOOK BRISTOL

ROSE TEANBY ARPS: A CELEBRATION OF ROBERT HOWLETT

CAPITAL INTEREST JULY/AUGUST 2016 / VOLUME 2 / NUMBER 7 / WW.RPS.ORG

“You can lie to the world, but you can’t lie to yourself” Magnum photographer of extreme portraits Bruce Gilden quotes his uncle to explain the role of the self in his work

IN THIS ISSUE Page 3

A Londoner abroad, the Magic Gallery

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Del Barrett ARPS spoke to Bruce Gilden, the legendary Magnum street photographer

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Kate Wentworth LRPS was at Bristol Photobook Festival

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Rose Teanby ARPS celebrates the life and work of London photographer Robert Howlett

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Barry Hoffman LRPS shares his approach to shooting fine art nudes

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An update on the Bookworm Club’s activities by Jennifer Hurstfield

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Jen Pedler reports on Breathing London

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Dave’s Diary: Not Bedlam at all

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Useful links

RPS LONDON NEWS

HELLO!

School will be out shortly and I am sure that many of you will go on holiday in the next couple of months, taking cameras. Why not share your

photographs? It’s been in a long while since we had an ‘A Londoner abroad’ feature. So don’t forget to send your holiday images with a short text to Capital Interest. If you stay in the city, maybe you fancy invigilating at the Magic Gallery (see right) for a couple of hours? Please contact london@rps.org for more details. We will be back in September. Until then whether you work or play, enjoy the summer!

Capital Interest Editor

LEFT Morning coffee in Palma, Majorca © John Westwood

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Brian Griffin’s Himmelstrasse at the Magic Gallery

Exciting Opportunity The RPS is looking for outstanding talent to exhibit alongside Brian’s work. For information on what to do next, click here

For Himmelstrasse Brian Griffin Hon FRPS has documented the railway tracks in Poland that transported approximately three million prisoners from around Europe to the Nazi extermination camps during WWII. Himmelstrasse (Heaven Street) was a cynical Nazi joke used to describe the final journey to the gas chambers. Brian’s tranquil images of the railway tracks are hauntingly beautiful and very moving. The Himmelstrasse exhibition will run at the Magic Gallery in Charing Cross station from 20 July for ten weeks.

IMAGE © Brian Griffin Hon FRPS

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CAPITAL INTEREST INTERVIEW

ABOVE NYC142479

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BRUCE GILDEN Del Barrett ARPS phoned the great photographer to learn that it has taken him almost fifteen years to do what he is doing now and that much of his work is about “me photographing me”.

It’s not every day that you have ‘Phone Bruce Gilden’ on your to-do list, but that’s just what I was lucky to have on mine for today. I must admit, that it wasn’t without a smidgeon of trepidation that I dialled his New York number – I just couldn’t believe that I was about to talk to the great man himself.

I’d heard a lot about Gilden – most of it good, but some of it scary - and I didn’t want to get off on the wrong foot, so thought I’d clear the air by asking him what his least favourite interview question was, in case I needed to avoid it. “Do you get a lot of aggro in the streets?” he answers. Thankfully, that’s not on my list, so we can move on with impunity.

I start by asking him whether he still has any unfulfilled ambitions, to which he replies “take another good photograph”, although given his stunning portfolio, and his membership of Magnum, that ambition is not really unfulfilled! He adds that he does have other plans and ideas for subjects and places, but he doesn’t want to reveal them yet, in case someone else decides to beat him to it.

We then move on to the future of photography and photographs. “It’s a new world”, he says, “in the future, the pictures of today will look like antique-type photography”. We discuss the way that the past influences the present: “A lot of young people don’t know about the history of photography”. Gilden reveals that during the few photography courses he took, students were told not to look at photography books, but he couldn’t resist. “Look at books and you see things that you like and you may be influenced by them. At first, your work may be imitative to some degree, but if you work hard and persevere, hopefully you’ll find your own style. You should build upon what you can learn from the past.” Gilden himself looked to the past for many years with his predominantly black and white work, but he’s now just as comfortable shooting in colour.

Moving into colour was quite a departure from his norm, but Gilden sees the need to do things differently as important to keeping his work fresh. And although there are some approaches to his work that he will never change, he does like to venture into new areas. His colour photography was prompted by the use of a Leica S for the project American Made, which comprises a fusion of Gildenesque classics (albeit in colour) interspersed with some unexpected and unlikely subjects (there’s a great video online that shows the results).

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We then discuss two other subjects. The first is his beautifully poignant essay Foreclosures (viewable

here). The photographs speak for themselves, but the commentary firmly contextualises them, reinforcing the feeling of utter hopelessness that the viewer takes from the series.

The second is a commission by RATP (the French transportation network) where he depicts urban mobility in five different cities of his choice – Paris, New York, Hong-Kong, Johannesburg and Manchester (details of the book are here). The 41 prints were displayed as nearly 300 enormous posters at stations on the Paris Metro.

Although he adapts to change, he says that he doesn’t respond to it that easily and it takes him time to act upon it. I was surprised to learn that it has taken between ten and fifteen years for Gilden to do what he is doing now. He remarks that sometimes you have to go backwards to go forwards and quotes his uncle: “You can lie to the world, but you can’t lie to yourself”. The self plays an important role in Gilden’s photography. He had a tough upbringing. He was hurt a lot. He wants to show that in other people. He comes back to the point that much of his work is “me photographing me”.

His photography may look spontaneous to the casual observer – and the subject matter often is - but much planning goes into his work. “You need to plan what you want to do”, he says, “but you also have to be able to react”. He’s been to Haiti 22 times, and, interestingly his series from there are part of his personal portfolio rather than commissions. On his first visits to Haiti, he walked around the cemetery in the morning sunlight until he discovered the outdoor abattoir at La Saline which provided material for future visits. He also photographed in the cemetery, and on one trip during the Mardi Gras he decided that he wanted to do something with people on corners, so he planned for that. He stresses the need to respond to what’s in front of you. And although he may have a plan, he remains flexible.

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Gilden goes to places he likes. He knows where he’s comfortable and where he’s not – and he’s not just talking about the danger element. If he likes a place, he will go up and down the same streets over and over until he gets what he wants.

With the Faces project, sometimes he gets the right portrait on the first take, others take him ten to fifteen minutes, but he gets them (“not every photograph is a good one”, he adds). He points out that he’s intuitive and he has a good bedside manner - and after speaking to him for thirty minutes, I can vouch for that.

I ask him what his most challenging assignment has been. “Very expensive jewellery” he replies.

Although he plans his work, he doesn’t normally practice, but – as all us girls know - high quality diamonds are very reflective. So he felt that he should buy a ring-flash and rehearse the lighting set-up, which he did; although he admits that, in the end, the best shots were those taken without the ring-light.

What’s next? He’s going back to Osaka in Japan, and he knows it will be dangerous - last time, he photographed Yakuza (members of organised crime syndicates) and Bosozuku (members of bike gangs) – but he also knows that he will find interesting people. Watch this space for further details, as this will be the subject of a Kickstarter campaign in the future.

Despite my earlier trepidation, I actually found Gilden very easy to talk to as we chatted about various matters – some photographic and some not. Our conversation was peppered with his observations about the local wildlife. He explained that he’d just moved north of the city to an old factory that has 15-foot windows, so he has an excellent vantage point for viewing birds, such as turkey vultures. This seemed a good lead in to asking him about his life outside photography, which he enthusiastically says is his wife, his daughter and his three cats, yes, Bruce Gilden shares his life with three cats. I’m beginning to detect that behind the tough exterior, Gilden might just have a soft centre. He reads a

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lot, mainly non-fiction and he’s intrigued by power, enjoying books such as Robert Caro’s The Years of Lyndon Johnson or Doris Kearns Goodwin’s Team of Rivals: The Political Genius of Abraham Lincoln. He describes how the reader really feels as if they have stepped back to the 1860s, which resonates with his work, where we, the viewer, really feel as if we have stepped into the picture. He’s also a sports fan – “fan”, he says, “but not a fanatic”, since these days, he prefers to watch than participate.

And disappointing news for wildlife enthusiasts … Gilden will not be giving up the day job to try his hand at bird photography – he just enjoys seeing them outside the windows of his new abode.

BELOW The photographer with one of his cats

ALL IMAGES © Bruce Gilden

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CAPITAL INTEREST REPORT

photo BooK Bristol 2016

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‘A book is like a Jenga tower’ – Kate Wentworth LRPS found much inspiration at this year’s Bristol Photobook Festival, the UK’s largest event to celebrate the photobook. Find out more.

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Photobook Bristol this year was an amazing

Goto and Hajime Kimura talking about RPS

experience - an intense weekend gathering of

(Reminders Photography Stronghold) in

people from the diverse world of photobooks. 20

Tokyo where photographers attend workshops

speakers from 13 different countries presented

to create intricate and original hand made books.

their work and ideas in the relaxed setting

Examples: Silent Histories (Hiroshima survivors),

of the Southbank Centre, a former working

and Red String (the red string holding a couple

men’s club full of character. Speakers included

together breaks after 35 years). Generally only

photographers (established and emerging) and

35 or 45 handmade books are made, but some

book people (authors, designers, publishers,

are available in faithful trade editions. Another

sellers). 13 publishers/booksellers displayed their

highlight was Krass Clement in conversation with

wares for browsing and buying, and launched new

Martin Parr. Krass said that, although he is a

books; and there was an exhibition of selected

documentary photographer, his work is essentially

first and dummy books. The open and friendly

‘pictorial poetry to do with loss’. A prime example

atmosphere included delicious food, a barbecue

of this is Ved døden (at death) where he traces

and the Saturday disco with live music. The

the last day of his mother’s life through to her

organisers, including lots of volunteers, gave us an

cremation. Other photobooks cover Northern

excellent and (generally) smooth running weekend.

Ireland, Russia and Denmark and his next book is about Syria 8 years ago. Ania Nalecka gave

Here are a few highlights (with apologies for

essential advice on photobook design – ‘There

omitting many exciting presentations). Dragana

are no rules, there are only consequences’; ‘all

Jurisic’s presentation of Yu: the lost country

elements are connected; reduction is the main

examining ‘What is your home when your home

thing’; ‘a book is like a Jenga tower - eliminate as

has ceased to exist?’. Travelling over former

much as possible but it must stand firm’. Mark

Yugoslavia, she concludes that ‘Nationalism

Power and the poet Dominic Brookman described

is a cheap identity toy; it is more difficult to

how they made Destroying the laboratory for

look inside and find out who you are.’ Yumi

the sake of the experiment (DTLFTSOTE).

PREVIOUS PAGE Julian Gervase is being introduced by Martin Parr to talk about football and love LEFT Mark Power, and with poet Daniel Cockrill and designer Dominic Brookman, his colaborators on DTLFTSOTE

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archives, and making profound philosophical, Over four years they travelled the country looking

social and political points. They can also be very,

at ‘What it means to be English’. They ‘stole

very funny.We live in world swamped by electronic

Constable’s view’; saw a road sign saying ‘do not

photos and images. Photobook production

carry explosives in the car’; and went to ‘Shit upon

also benefits from the new technology bringing

Avon’, Margate, and many other places.

enormous scope for invention and originality.

Photobook Bristol is an inspiration.

What did I find? That the photobook world encompasses zine type books by Craig Atkinson’s

Next comes the RPS Photobook Exhibition and

Cafe Royal Books for £7 each, through to

Competition (closing date for entries 31 July 2016,

collectors’ items at the highest prices. Photobooks

exhibition 18-23 October). Be inspired and enter

are excellent for intensely personal projects: for

your book! Everything you need to know about the

example, Maria Sancari’s quest for her long dead

competition can be found here.

father by photographing men of his age and with blue eyes like his: ‘I do believe in the healing power of art, both for the artist and the viewer.’ They are also good for telling stories, excavating family

BELOW Impressions from the Photobook fair

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ALL IMAGES © Kate Wentworth LRPS

CAPITAL INTEREST TOPICAL

Robert Howlett and the Leviathan Launch

ABOVE Bow of the Great Eastern by Robert Howlett © Victoria & Albert Museum

On the birthday of one of the first photographers to earn a successful living from the new medium, Rose Teanby ARPS looks at Robert Howlett’s major work: his images of Isambard Kingdom Brunel’s construction of the massive steamship the Great Eastern, known early on as SS Leviathan, at Millwall.

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3rd July 2016 sees the 185th birthday of pioneering Victorian photographer Robert Howlett. He only celebrated 27 birthdays, tragically dying in 1858 after becoming one of the most eminent photographers of the 1850s. Queen Victoria commissioned him to photograph her soldiers returning from the Crimean War; Prince Albert asked for his assistance in photographing works of art and most memorably; and Isambard Kingdom Brunel used his expert photographic skills.

Howlett was a young man, born in rural Suffolk, with a keen interest in optics and new technology so took to photography as a natural combination of his talents. London was a city of unrivalled opportunity so in 1855 he joined the Photographic Institution at New Bond Street, becoming a partner with publisher Joseph Cundall, working almost exclusively on location. He quickly established himself as a very hard working, gifted photographer and his images were regularly featured in the new weekly publication “The Illustrated Times”, ranging from portraits of famous artists to great engineering creations such as the Royal Albert Bridge at Saltash. This newspaper commissioned Howlett to cover the launch of the SS Great Eastern, Brunel’s massive ship constructed at Millwall, which was the largest movable object on earth in 1857.

ABOVE The Great Eastern: elevation from mid-Thames by Robert Howlett © Victoria & Albert Museum

Brunel intended this gigantic project to be his lasting legacy and had conceived the idea of a ship capable of sailing to Australia without the necessity to refuel making it highly economical, to carry 4000 passengers, to be a fitting world leading symbol of an expanding global empire. The length of the SS Great Eastern prevented a straightforward launch as the Thames was equal in width to her length at low tide, so an innovative, untried sideways launch would be the only method possible. Why build her at this location? The reasons were a combination of experienced, innovative ship builder John Scott Russell, access to a shipyard large enough to accommodate a 692ft vessel, vast quantities of readily available iron and proximity to the naval chain and anchor suppliers. This made the Napier Yard on the Isle of Dogs a fitting place for Brunel’s ambitious final enterprise; until 1836 this area went by the estate

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name “Land of Promise”. Howlett started his series of photographs the day before the eagerly awaited launch on November 3rd 1857 unaware that the ship would refuse to move more than four feet and that he would be returning to this same site throughout November, December and into January 1858.

But the three month protracted launch enabled Howlett to record a magnificent portfolio of high quality collodion images, full frame and stereoscopic, as the ship edged forwards at an agonisingly slow pace.

One of his initial images showed the bow in perfect symmetry as the last supports were removed from her enormous double hull. This is a remarkable photograph as owing to the location Howlett needed to obtain an image at such height. The Great Eastern was 58 feet from deck to keel according to the Illustrated Times, making this viewing platform vantage point approximately 30 feet from ground level.

The following day the ship was given a last minute change of name and was christened “Leviathan”, ignoring the old sailor’s superstition of a change of name bringing bad luck throughout the life of the renamed ship. From that day this huge vessel became a true Leviathan, a giant untameable sea monster, and took three months of herculean force to finally reach the end of the 200ft slipway into Thames on the high tide of 31st January 1858.

One year after these photographs were taken Robert Howlett died of fever at the age of 27 and left a shocked photographic community behind. Brunel died the following year but their brief working relationship produced a permanent legacy of images of a unique ship, unrivalled in size until the turn of the century and a portrait of its creator framed by the Leviathan’s colossal launching chains. Brunel wanted the Great Eastern to be his engineering legacy but Howlett’s photographs proved to have greater longevity than 12,000 tons of iron.

BELOW Great Eastern Launch Site 2016 © Rose Teanby ARPS

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CAPITAL INTEREST EXPERIENCE

Shooting a nude Shooting a model, says Barry Hoffman LRPS, can be a daunting experience. But shooting a nude can seem terrifying and at the same time somewhat voyeuristic. After shooting portraits for many years, this year he decided to try and master the fine art nude. Here’s how he went about it.

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1. Have a concept, a vision, and idea or a point of view There is little point in just turning up to a studio with a model and pointing your camera at them and hoping for the best. I started my adventure with a very clear goal in mind. I didn’t want to shoot glamour, or anything overtly “sexy”. I wanted, as with all my photography, to evoke a feeling, an emotion or a reaction from my viewer. I had in my mind that I wanted to shoot very low key. I wanted to give a sensual feeling to my shots and tease the viewer. So I looked at some magazines and websites and very quickly I ruled out the “playboy” poses and decided that I wanted to concentrate on lines, curves and light.

2. Let someone else do the hard work of organising I am a frequent user of www.meetup.com - for those people who don’t know where to start with finding a model, make up artist or studios - it is a great way of letting someone else do the hard work and you just pay and turn up. In my case I regularly attend meet ups organised by one or two professional photographers and I have a good relationship with them, so I can suggest a concept and they might slot it into their programme. One such shoot was low-key nudes which we expanded to use water spray (with a bit of glycerine to stop the water streaking).

3. Communicate with your model When I turn up to the shoot, the first thing I do after introducing myself, is to explain to the shoot coordinator what I am trying to do. I might have been on eBay to find some cheap props or I might have brought some images along to show what I am trying to do - that way I can set the lights up myself or get someone to do it so I can create the effect I want.

Then I communicate with the model. The main thing to remember here is that models aren’t psychic. You have to explain what you are trying to do - ask them if they have any ideas, chat and don’t be afraid to show them the back of the camera to show them how it is going.

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4. Get what you want

I often have music or props to help and I talk to my

As I have paid for my hour, I find that the first ten

models, asking them to try different expressions

minutes speaking with the person moving the

and poses. There is nothing worse than silence

lights and the model are a great investment - it

on a shoot - try it at home without a camera on

is my hour and I am confident about asking the

a willing volunteer - just chat to them whilst you

model to move position or to try things. Models

ask them to move an arm, a shoulder, or a hand

are professional and usually really friendly - they

and watch how the light falls. Model shoots are all

probably don’t even notice that they are naked,

about practice and having a preconceived idea.

and nor do I. So I am very comfortable asking them

Shooting with a model is great fun and I really

to move a leg or turn their head or put an arm in

enjoy getting different looks and moods from my

front of a breast and so on. It’s all in a day’s work

shoots.

for them.

I am rather pleased with my brief foray into the 5. Be thoughtful and confident in your

world of fine art nude. All I have to do now is

approach

decide what to do next….

The “Spray and pray” approach doesn’t work for me - I like to take my time and aim for a handful of shots that really capture what I am trying to achieve - the emotion or the atmosphere.

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ALL IMAGES © Barry Hoffman LRPS

RPS LONDON GROUPS

Bookworm Club at The Photographers Gallery Last month, Martin Steininger, the Photographers Gallery deputy bookshop manager, talked to Bookworm Club members about the photobook in Japanese society and showed many examples. Jennifer Hurstfield, Convenor of the Club, reports.

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PREVIOUS PAGE and ABOVE LEFT © Romney Tansley ARPS

ABOVE RIGHT © Jennifer Hurstfield

On June 16th, the Bookworm Club met in The

magazines rather than in a gallery. The photobook

Photographers Gallery to hear Martin Steininger,

is highly valued as a work of art and graphic

the deputy bookshop manager, give us an exciting

artists have been closely involved with photobook

talk about Japanese photography. He began with

production from the beginning. Photobooks

the Provoke group in the 1960s when a new

in Japan are much cheaper and more widely

wave of young photographers, including Shomei

distributed than in Europe or America.

Tomatsu, Takuma Nakahira, and Daido Moriyama, transformed the language of photography

There was a huge and enthusiastic turnout for this

with daring and iconoclastic images that were

meeting and a lively discussion. Hopefully some

expressive, grainy, dark and highly emotional in

of those who came for the first time will join us

their impact. Hardly known outside Japan at the

after the summer break – our next meeting is on

time, their importance is now recognised in a

September 21st (see the Events section) in our

major touring exhibition, shown earlier this year in

usual venue in Covent Garden. We also hope that

Austria, but which sadly is not coming to the UK.

there will be another opportunity to meet at The

Martin also introduced us to some more recent

Photographers Gallery before too long. Meanwhile

Japanese photographers – most of whose names

do go and browse in the excellent Japan section of

were completely new to us. To illustrate his

the bookshop.

talk, Martin showed us not only books from the Gallery bookshop, but also several books from his personal collection and we felt very privileged to be able to look at these. He gave us an insight into how Japanese photographers have been dealing with the major catastrophes – first Hiroshima, more recently Fukushima – that have deeply affected their society.

We were intrigued to learn that Japanese people much prefer to look at photographs in books and

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For more information visit the RPS events page.

BREATHING LONDON The latest RPS London project aims to capture the diversity of London’s Open Spaces over a year. Jen Pedler provides an update about Breathing London events around the Open Garden Squares weekend last month.

For the purposes of the project summer is

Janet and Gareth Phillips snapped 12 gardens

defined as June, July, August. You’d hardly believe

and were awarded the bonus points league book

it looking at the rain today as I write this but

prize when we met at the Harp, near Charing

fortunately the weather was more seasonal for

Cross, at the end of the event. Gareth’s favourite

the annual Open Garden Squares weekend. With

was the magnificence of Kensington Square. He

over 200 gardens to explore, several of which

commented that he could dream of living there!

are not generally open to the public, this was the

Entering through a very ordinary looking building

ideal opportunity to bag a few Breathing London

David Hicks discovered an outstanding blaze of

photos.

colour, interest and variety in the magnificent communal gardens of Sycamore House and John

The final count is still to be confirmed as photos

Betts House (Hammersmith/Fulham) – all the

are still coming in but we managed to cover just

result of the joint work and love of the residents.

over 60 gardens between us over the two days.

ABOVE LEFT Kensington Square © Gareth Phillips

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ABOVE RIGHT Woodpoet © Jen Pedler

UPDATE

Michael , the poet in residence, greeted Jen Pedler

This is just a selection of some of the fascinating

with a poem as she strolled through Barnsbury

green spaces we visited this weekend. Look out for

Wood (Islington). Judy Hicks was made very

more pictures on the Breathing London website.

welcome at St Quintin’s Community Garden in

The project is running until April 2017 so there’s

Hammersmith. Formed entirely of raised beds

still time to join in. You can sign up here. You

on a disused tennis court, 80 local residents each

can also follow us on Facebook Hope you’ll join

have a small patch on which they can grow their

us and share your photos of London’s breathing

own fresh herbs and vegetables.

spaces.

BELOW LEFT John Betts House © David Hicks

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BELOW RIGHT Kensington flora © Judy Hicks LRPS

DAVE’S DIARY

HISTORY Photographer of old; child of the darkroom; reborn to digital FAVOURITE GENRE Street; people; life around me PHILOSOPHY Always looking; snapper; grab the moment CAMERA Nikon D750 14-120mm; Olympus Stylus 1 A regular column about a photographer’s CAMERA CLUB South London Photographic Society life in London by Dave Harris LRPS LRPS April 2015

NOT BEDLAM AT ALL In June, Dave went to West Wickham to photograph the Bethlem Museum of the Mind which has been shortlisted for the Art Fund Museum of the Year award. What did he think?

“When a man is tired of photographing London, he is tired of Life.”

You’ve heard something similar before.

Attributed to Sam Johnson, from 1777.

How true, how true.

The Arts Fund held a competition recently, to select the Museum of the Year from a shortlist of five.

And a competition within a competition, to select the best photograph of one of these museums.

Which were:

• Arnofini, Bristol • Bethlem Museum of the Mind, West Wickham (where??)

• Jupiter Artland, West Lothian • Victoria and Albert Museum, South Kensington

• York Art Gallery, York (I know!!)

This being a magazine of London interest, and me being a photographer who likes a challenge, Bethlem seemed an obvious choice. My wife, my mother-in-law and I went on a weekday. Ambience: Quiet Weather: Good.

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Here’s a bit of background from the

Museum website, to put you in the picture...“The Bethlem Museum of the Mind records the lives and experience and celebrates the achievements of people with mental health problems.

Our aim is to make our collections more accessible, and to provide accurate information to help in their interpretation.”

The word ‘bedlam’ derives from the original Bethlem asylum. But the current hospital and museum are anything but bedlam. A haven of tranquillity in the chaotic world around us.

It’s not a big museum. It sits in a lovely 1930s art deco building in the equally lovely, manicured grounds of Bethlem hospital. This is a working hospital for the care of people with mental health problems.

The art gallery is on the ground floor.

Lots of the artwork have been created by artists with mental health issues who have an association with Bethlem, and the new gallery gives them a professional outlet for their work.

The museum is on the first floor, and covers the history of mental illness and psychiatry from its earliest times.

Both the museum and the gallery are challenging. At the same time, enervating and uplifting. They confront you with the idea that the difference between mental good and ill-health is wafer thin.

I strongly recommend a visit.

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ALL IMAGES ©Dave Harris LRPS

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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