Archaeology& Heritage Group
LETTER FROM THE CHAIRMAN
Chairman Chelin MillerLRPS 49 Stephens Road Tunbridge Wells Kent TN49JD 01892 670056
chellnmiller@hotmail.com Secretary Rodney Thring LRPS 27, College Ride Csmberley Surrey GU15 4JP 01276 20725
rodney.thrinq@ntlword.com Treasurer Jim Tonks ARPS
Earlton, 174, Chairborough Road High Wycombe Bucks HP12 3HW 01494 443061
francistonks@hotmail.com Editor Eric Houlder LRPS 31, Fairview Carleton , Pontefract WF8 3NT West Yorkshire 01977 702995
erichou/der@qmail.com Committee Ken Keen FRPS R Keith Evans FRPS Dr Mike Sasse Garry Bisshopp ARPS Walter Brooks Eric Houlder LRPS
Editor Publishedby the Archaeology& Heritage Group of the Royal PhotographicSociety, April 2016.
Welcome to the Spring edition of Heritage Photography. We live in an era where photography has become so ubiquitous and ever-present in people's daily activities , where images abound and surround us, that we take them for granted. I would like to reflect on the technolog ical changes that affect our lives as individuals who belong to a community and how these changes affect our behaviour. It is true that photography has been subject to constant change since first invented , but there is continuity of content; it is undeniable that we are always taking holiday snapshots , picturing the things we love and making family albums. The main purpose of taking photos continues to be to archive images and use them for purpose of memory and representation. In this sense, we could say that photography has two sides : on one hand, it can possess exclusivity and value attributed to the work of art; and on the other hand it is viewed as a tool of democratisation of the image . Thanks to technological advances, photography nowadays belongs to a global mass population that creates billions of images per day through their mobile phones. These images have a dual nature of permanence and ephemerality. They are permanent because once they have been posted online, they are out of the control of the owner, they are there forever. And yet - because these days we have a very short attention span, we want to move on to the next image, the next status update, the next thing on our screen - these photos become ephemeral and out of date very quickly. I know many members of this group resist the temptation of becoming digitalised, posting their photographs online or even joining social media platforms. But there is no denial that the Digital Age is upon us, and there are younger generations out there who have never seen a roll of film or who very rarely print the pictures they take with their mobile phones . Wouldn't it be sad if we reached a moment when people rely on viewing their photos on their screens only? I am a firm believer that it doesn't matter what method you use to create a photograph, whether your camera is a pinhole, large format, point-and-shoot, DSLR, or even a mobile 'phone - such as I used for my recent shot of heritage trackwork on the Snowdon Mountain Railway shown below - what matters is that you MAKE IT, and that you share it. It would be a sad world if photos disappeared in the dark realms of a computer hard drive, not seen by anybody else, just as sad as leaving a film undeveloped and unprinted, to rot in a damp box. So I would like to ask you to take a moment or two and share your work, in whatever way you enjoy most. Share your passion. Share your story . Chelin Miller LRPS.
ISSN 0-904495-00-0. Copyrightin all text and picturesIs held by the creditedauthors,or as otherwisestated. No part of this publication may be reproduced, transmittedor stored in any form without prior written permissionof the Publisher.
COVER PICTURE
Gravestoneof MatthewEaston, who was drownedat sea In January 1851, In the churchyardof Egton Mortuary Chapel,North York Moors National Park. The chapelIs a pre-Conquest foundation,restoredIn Victoriantimes. Lumlx G1, 14-45mm (28-90equivalent) lens. See articleon page 6.
C Eric Hou/derLRPS.
HERITAGE PHOTOGRAPHY, Spring 2016, page 2
l
EDITORIAL Welcome to our Spring issue. Hopefully, you however. I selected my will be reading this just before the Group visit 45-200 (90-400mm to West Stow in East Anglia, a reconstructed equivalent) lens, set the Saxon village whose archaeology was the camera to continuous subject of one of the definitive excavations of autofocus and shutter priority at 1/800 sect'r... ~:-. the 1960s and early 1970s. A recent article El.. .&111 111,.;;!1. .... ._. _ about the site in one of the archaeology ond, and waited. A magazines caused me to retrieve my slides plume of steam in the of the dig (where we worked in the summer of '71 ), restore distance heralded its them, and contact the archaeologist who is conducting the hisapproach , but as it toriographical study. The images were gratefully received, and came into sight I realat least one will eventually appear in a new site booklet. The ised that it was running one featured here is, apparently, a very rare image of Basil tender first. I still went Brown (look him up!) being shown around the site by a supervi- through the motions, sor . Though shot forty-five years ago, I can remember the and several of the imequipment used, and the fact that my father-in-law having reages were reasonable, cently died, I was using up his store of Perutz C18 film. Unfortu- but not good enough. nately, Perutz C18 was not as fine-grained as my normal stock, In contrast, Agfacolor CT18, though the restored images are still usable. Bolton Castle just hapAnother memory of the site was the diggers' camp, on pened to be beautifully a disused council tip! One morning I woke to a rustling in our lit, with white clouds in awning , and peeping out saw a small 'bambi' with its nose in a blue sky. A neutral our waste-bin. Joan, my wife, missed it, but the following morn- density graduated filter ing I stood back to let her look out first; unfortunately it was an brought out the sky, army of rats this time, and the scream aroused the entire camp! whilst a small group of Basil Brown on the left, aged 83, visitThe editorial address being in England's top tourist visitors in the foreing West Stow in 1971. He lived until county, there is a massive choice of subjects to photograph ground added depth. I here, especially many which fall comfortably into the 'heritage' cloned out a bright blue 1977. category. During the past dustbin, and it duly apmonth alone, I have been peared in print. out shooting the Flying The closure of Scotsman in the North Ferrybridge C power York Moors, recording station prompted anothEngland's largest area of er attempt at a record wild daffodils in Farndale, image, having lived in photographing Bolton its shadow for most of Castle in Wensleydale, my life. Few people and planning my viewoutside the area know point for the Tour de the village beneath the Yorkshire cycle race, the colossus . It was the site latter a spin-off of the reof a Class II Henge four gion's hosting of the Tour thousand years ago, the de France . How is a location of Britain's sporting event heritage, I most south- easterly ;:a~,i;;iZ~ ~ ..;,:3 chariot burial in the Iron hear you ask? In fact it is the event in our village Age, the site of an imwhich is heritage, rather portant Wars of the than the event itself, in my Roses battle, and opinion . Charles Dickens' faFlying Scotsman vourite halt on the road =-.....;;:...--.;......:~ to Dotheboys Hall, (now was something of an anticlimax. She was running alongside the A66 in Bolton Castle, Wensleydale was a late fourteenth century construction by 45 minutes late following Cumbria) in the days Lord Scrope whose descendent still lives there. It is chiefly famous as one a mechanical problem of the prisons of Mary Queen of Scots. Lumix G1, 14-45 (28-90 equivalent) when Ferrybridge that morning . We arrived Square resounded to with ND Graduated filter over the top of the image only. early - very early as it the bustle of the mail happened - and carefully coaches changing horschose an excellent viewpoint with a bridge in the foreground es. Now, its many days in the sun long past, it will sink into oband no spectators in front or behind. The light was indifferent, scurity at last.
CONTRIBUTE TO YOUR JOURNAL Your contributions are always welcome, on any heritage-related subject . Where possible explain why and how your photographs were taken; text and.captions should then be prepared as separate Word documents, in any format , as we shall ensure that they conform to ¡our editorial guidelines before publication . Send the accompanying pictures as 300 dpi jpegs, no
larger than about 5MB, and each numbered to match its relevant caption. Please do not insert charts, diagrams or images in the text . Add a thumbnail image of yourself , and mail the package to the Editor, via Dropbox, or as a CD or DVD, Windows readable .
HERITAGE PHOTOGRAPHY, Spring 2016, page 3
FOCUS STACKING: EXTENDING DEPTH OF FIELD IN CLOSE-UP PHOTOGRAPHY by David Bryson When taking close-up photographs, or indeed any photographs, there is a delicate balance of factors that allow us to limit or to maximise the parts of an image that are in focus . The three factors are lens.aperture, focal length and subject distance. Thus, widening the aperture (i.e. decreasing the f-number) results in a shallower depth of field and vice-versa; a wider-angle lens gives an apparent greater depth of field, as does a longer lens-to-subject distance. The choice then depends on what you are trying to show. Do you go for a larger working distance with a telephoto lens versus smaller working distance with a wide angle lens to gain the detail and depth of field you need? Then how far do you stop down your aperture? If you use smaller apertures that may not be getting the best out of your lens. This is where digital techniques to extend depth of field come into use with focus stacking. Using a wide aperture and taking a series of photographs through the subject it is possible to obtain a sequence where each image has part of your subject in focus. This used to be possible with film but was very complicated, termed light scanning photomicrography. Now with a tripod or stand, autofocus lens or a fixed lens ~ ~ and a focussing rail 1 (https://www .cognis 1ys inc.com/products/st ackshot/stackshot. php ), see Figure 1, a USB cable and a computer or tablet it is possible to take accurate series that can then be stacked using computer programs, for example HeliconFocus and ZereneStacker. The effect can be seen looking at the sequence of photographs of a Ten Pence coin set at an angle to the camera controlled by HeliconRemote or other tethering programs like CamRanger , Figure 2 which go to make the stacked photograph in Figure 3a. The computer program, in this instance HeliconFocus, aligns the in focus parts of the image using a depth map, see Figure 3b. Figure 3 a) Left focus stacked photograph of coin b) Right: depth map developed as part of processing in HeliconFocus. Using lens focusing, photographs can be stacked for landscapes e.g. a wide angle lens very close to a fence can focus through to a far hillside and get all in focus . l'he limitation is anything that moves. At the close-up end the limit of your lens' close-up¡ facility can be extended with auto bellows or extension tubes but for
even closer a focussing rail is needed, as Figure 1. These techniques are being applied in natural history (Cremona 2014), heritage for stereo recording (Gallo 2014) and alongside other digital techniques in archaeology (Watson 2013). References Cremona J. (2014) Extreme close-up photography and focus stacking. The Crowood Press Ltd. Gallo A, Muzzupappa M, Bruno F. (2014) 3D reconstruction of small sized objects from a sequence of multi-focused images . Journal of Cultural Heritage . 15(2):173-182. Watson, J. T., & Weiland, J. (2013) . Documenting Archaeological Mortuary Features using High Dynamic Range (HOR) Imaging. International Journal of Osteoarchaeology, 25(3), 366-373 . http://doi.org/10.1002/oa .2302 Web resources http://extreme-macro .co.uk/focus-stack ing/ http://www.dpreview .com/articles/5717972844/focus-stackingin-macro-photography Zerene Systems http://zerenesystems .com/ Heliconsoft http://www.heliconsoft.com CamRanger http://camranger .com
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HERITAGE PHOTOGRAPHY, Spring 2016, page 4
Above: Fig. 3a. Right: Fig. 3b.
GROUP VISIT TO LICHFIELD CATHEDRAL We had a very well attended outing to Lichfield in March. The Cathedral has a rich history, reflected in its architecture and treasures. It is a place of great beauty that continues to inspire and encourage all who visit it as tourists, pilgrims, worshippers
or, indeed, photographers. This image of the Lady Chapel, below, is by Group member David Miller, left. Heritage Photography needs more such work, so if you feel that you can contribute an image, or indeed a written account, please see the Requirements on page 3, and send something to the Editor.
HERITAGE PHOTOGRAPHY, Spring 2016, page 5
SIX YEARS WITH A COMPACT SYSTEM CAMERA by Eric Houlder LRPS use of bellows , tubes, and micros~pe adapto r, though of course at the cost of doubling the focal length. None of these restrictions were problems, as ,II.IU ,--.....,.. my film systems were both manual foodlftll llli,il cus, and the G1 has excellent manual focussing . In practice, I tended to use the superb Sigma 75-300 mm zoom for distance capability. Another advantage of M 4/3 is that all the lenses accept my Cokin A filter system . Eventually, as funds permitted, I purchased a Lumix 45-200 mm making the Sigma redundant, a Samyang 7.5 mm f3.5 wide angle, and a Metz M 4/3 flashgun . The whole lot takes up little room in a new messenger-style bag from ?Day Shop. One of my original niggles was whether editors would accept the format , but this was quickly answered when an image of a US visitor to our ancient town was used by the local newspaper. Since then, publications have included a full double spread in l:::.::..a.l! !!.=:il.:;;..•~ =---_;..-~._----::::! ~ ------.J:a....:.:.._ _______ ..:...i Dalesman, and very many images in Archaeological Photography. A general view across the site of St Richard's Dominican the YorkshirePost, some in France, and in Current Archaeology and British Priory dig, 2011. Though strictly speaking not site recording, such images convince the Archaeology. In fact editors use imagpublic and other professionals that the requisite standards are being maintained. es if they are good enough, not merely if they are shot on top end instruments. Back in 2010, I had a decision to make: for four years I had I found this to be true when many amateur photographers were used a bridge camera as my main instrument, originally alongcomplaining that their images could not be published. In those side my film outfits, both 35mm and medium format, and latterly days we submitted 10" x 8" glossies, or rarely, slides, and I got alone . Now I had to decide which digital system to go for. Help- plenty of both into print. ing the decision along was a memory of a day in Edinburgh The first opportunity to try archaeological photography was in when I had carried minimal medium format and 35mm outfits all day, and almost collapsed! Only the timely intervention of my son-in-law to carry the bag saved the day . It was at this point that I acknowledged that I was getting older, and no longer fit enough to carry the weight. My 35mm film outfit was Minolta MD, with no digital equivalent, so it meant giving up an extensive system of lenses, microscope attachments, bellows, tubes, etc. and venturing into the unknown. I had read reviews of a new format, Micro Four Thirds (M 4/3), jointly pioneered by Olympus, Panasonic, and others, which promised a compact size and an electronic eyelevel viewfinder , and so I bought into the system with a Panasonic Lumix DMC G1 equipped with 14-45 mm lens, the equivalent of my 28-90 mm on 35mm. One lens is so restricting, especially having just given up a range from 17mm to 600m m. but I soon purchased an SRB adaptor, which enabled me to use any of my Bui/ding Record. An important part of the work of the archaeologicalphotographer is the MD lenses, at the cost of manual forecording of architecturalfeatures during demolition. Here, an eighteenth century dovecussing and aperture priority expocote is revealed and recorded before being destroyed. sure mode only. It also enabled the
HERITAGE PHOTOGRAPHY, Spring 2016, page 6
2011, when PontArc, my local society, dug a Dominican Priory on the site of a new hospital. Ironically, I had photographed the original dig on the adjacent plot in 1963 with my Aires Penta, one of the first Japanese SLRs to be imported . Thus the clock had turned full circle, and I was pioneering in archaeological photography again, for in 1963 most archaeologists distrusted the 'miniature, ' as they called it. They changed their minds when they saw the prints, lilllllii,<.:;::J""-â&#x20AC;˘Âˇbut that is another story. I have yet to find an archaeological or heritage subject that has beaten the G1. A couple of years ago an apparent Nineteenth century building was being demolished close to my old primary school. As it came down, it revealed an Eighteenth century dovecote on the gable end of the adjoining house. Dating was difficult, though the hand-made bricks put it before the middle of the Church photography. Part of a series shot for the parish council of a neighbouring village. Nineteenth century. I had to Again, the CSC is perfectly capable of producing useful and attractive records . climb onto the scaffolding - on a Saturday when no-one was working; one has to be cunning in these situations! - to get a family members in their wonderful costumes. The men wear straight-on image, but I succeeded. suits! I find that the 'P' (program) setting is invaluable in family The Parish Council of a nearby village required some recording . Unlike some 'experts,' I have no compunctions in pictures to go with a grant application. Again, the G1 images using the various auto and semi-auto settings in appropriate we re useful, and the money was secured. situations . At a formal dinner to commemorate the granting of The G1 is still going strongly, though I am tempted to Magna Carta, in a marquee , of all places , I used flash to balupgrade it. Its sensor is twelve million pixels, whilst the latest ance the rather unusual lighting . Again, the G1 produced an bodies are 18 million. What puts me off is that all subsequent excellent series of images which were appreciated by all.. M 4/3 cameras have a movie function, something I would not Family functions are so easy when the equipment use, and am reluctant to pay for. takes up so little space. The various auto functions are ideal, Overall, though I am very satisfied with that decision I such as when I shot one of our son's sister-in-law's weddings . made in 2010. I still enjoy my photography , and the sheer It was an Indian ceremony, with wonderful saris and jewellery , weight and bulk of equipment is no longer an issue. If you are with colourful dancing and gift-giving. Not the least important facing a similar problem, why not bite the bullet as I did? You function of the photographer is to record one's own female will not regret it. Below: The basic camera body with the three optics, left to right: 45-200mm Lumix, 14-45mm Lumix, and 7.5mm Samyang . Remember to double the focal length for 35mm equivalents . There are already a number of useful manuals available in print for the M 413system, and lenses are available from Panasonic , Olympus (who also produce superb bodies) and some independents.
Ceremonial. The Lord High Sheriff of Yorkshire unveiling a tapestry during a formal dinner . This was one of the official record images . I am not sure what the silhouette figures are doing on the tapestry!
HERITAGE PHOTOGRAPHY, Spring 2016, page 7
I
CROMER PIER by Rodney Thring LRPS
Pleasure piers have been an integral part of the British seaside holiday scene since the building of Ryde Pier on the Isle of Wight, which was opened in July 1814. With the decline in the traditional seaside holiday many piers fell into disuse and disrepair. One pier which didn't follow this trend was Cromer Pier in Norfolk. It is still the centre of a bustling holiday town. There are records of jetties which were the forerunnersto pleasure piers being in Cromer as far back as 1391, and in 1582 Queen Elizabethgave the people of Cromer the right to export wheat, barley and malt so that the proceeds could be used to maintain the jetty as well as the town. In 1822 a 64 metre cast iron jetty was built by Hasse of Saxthorpe which was destroyed in 1843 by a storm. This was replaced in 1846 by a 73 metre wooden jetty which became popular as a place to walk along; a man was employed to ensure that the strict rules such as no smoking and that women left the jetty by 9 p.m. were adhered to. This jetty survived until 1897 when it was damaged beyond repair by a coal barge. The jetty was dismantled and the wood sold for ÂŁ40. For a period Cromer was without a pier but the Pier Commissioners planned to replace the old wood structure with a more fashionable pleasure pier. In 1902 the new pier was completed and opened to the public. This pier was designed by the London engineeringfirm of Douglass and Amott and the construction was by Alfred Thome and Sons of Westminster. The metal pier is 140 metres long and cost ÂŁ17,000 to build. In the early years the end of the pier had a bandstand and a series of glass screened shelters. To celebrate its opening The Blue Viennese Band played in the open bandstand.The glass shelters were roofed over in 1905 to form a pavilion and the bandstand was later replaced with a stage and prosceniumarch. A series of concert parties took place in the Pavilion Theatre at the end of the pier over the following years and throughout the 1920s and 30s the Cromer Protection Commissiontoured the South Coast looking at potential shows. After the war,
Cromer Council advertised in 'The Stage' for concert parties to provide shows to cover a fourteen-weekseason. In 1953, devastating gales demolishedthe pavilion and wrecked the pier. The govemment of the day granted compensation for the rebuilding of the pavilion and the new theatre was ready in time for the 1955 season. In 1978 changes were made to the Pavilion Theatre and the popular Seaside Specials were created. In 2001 the theatrical season was extended to increasethe economic growth of the pier and in 2004 the theatre was further developed; this included increasingthe seating capacity and adding a restaurant. In 2005 a Christmas seaside special show was added to the programme and this has proved extremely popular. The Pavilion Theatre hosts the last surviving pier show in Europe. In 1940 during the Second World War the Royal Engineers removed the middle section of the pier, the gap was bridged with planks to allow the lifeboat station to be reached. Lifeboats have been stationed at the end of the pier since 1923. The pier has been damaged by storms in 1949, 1953, 1976 and 1978. In February 1990, gales destroyed the amusement arcade and, on the 14th November 1993, a 100 ton rig crashed into the pier, isolating the theatre and lifeboat station. Repairs were made in time for the 1994 season. Since 1974 the pier has been owned and maintained by North Norfolk District Council. In October 2013 a ÂŁ1.2 million repair scheme was completed; this included replacing some of the main metal trusses and cross braces of the pier. This proved to be very fortunate because on the 5th December2013 the pier was hit by a tidal surge which caused considerable damage to parts of the walkway, the box office and other buildings. Six people had to be rescued from the pier but the main structure withstood the surge. Although the pier had to be closed for a short period it reopened by the 12th December 2013; repair work still continues on surrounding areas of the pier. In March 2015, the pier was voted Pier of the Year by the National Piers Society.
HERITAGE PHOTOGRAPHY , Spring 2016, page 8
HERITAGE PHOTOGRAPHY, Spring 2016, page 9
The photographs were taken on a Nikon D300 DSLR with a Nikon 16-85mm zoom lens. All photographs taken in Raw.
HERITAGE PHOTOGRAPHY, Spring 2016, page 10
TECHNICAL CORNER LIGHTING THE SKULL OF A MEDIEVAL BATTLE VICTIM by the Editor
Right: The skull as originally lit and photographed . Needless to say, after well over thirty years, the original slide had faded and lost some saturation, and required restoration. Minolta SRT101, 100mm f4 MPD Rokkor, exposure not recorded. Above: The attempt to light the injury from the inside via a miniature flash on an extension cable. Extensively restored. 135mm f4 MPD Rokkor, 1/60 @f16. Below Centre: Keith's book, first edition . Both images Š Wakefield Museums, Pontefract Museum. Over forty years ago I visited a dig. It just happened to be the site on which I had had my first experience of sciousness . Unfortunately, my lighting completely hid the deboth archaeology and photography in 1956, but this is really irrelevant. tails of the wound in shadow! Entering the site hut I was confronted by a dirtBreaking the rules, I reversed the layout, and the picture came to life. I had already chosen the lens - my 100mm f4 encrusted skull - nothing unusual on this site where the 'bodyMPD (manual pre-set diaphragm) Rokkor, with count' was already well over four hundred, but .-------------, a deep lenshood and deep blue D to A (daythis one was different for it exhibited a large open wound high on the cranium . At this time light to artificial) filter, as I was using AgTHE Battlefield Archaeology had not been conceived , fachrome 50S Professional for colour . For ARCHAEOLOGY monochrome I was using llford FP4 and a light so this was a major find . I always carried a camOF DISEASE yellow filter. Taking incident light readings with era - still do - so in the dying light of a winter day I attached my home-made electronic flash, my Weston Master V plus lnvercone, I took a number of shots with each camera . Finally, I calculated the exposure (everything was manual then) , and took a quick image. tried something unusual. I soon forgot about the skull until some The local branch of Argos was next years later it appeared in the local museum . I door, and I had noticed that it had in stock a tiny Hanimex electronic flash for less than five mentioned this to Dr Keith Manchester, then a visiting lecturer in palaeopathology at Bradford pounds, based around two AA batteries , and University , when we were both speaking at a not much larger . I popped in and bought one. conference, and he suggested that I shoot a few Extinguishing the photofloods, I put the flash formal record images for him. on a long extension , and inserted it inside the Richard, the museum curator, was skull through the Foramen magnum . Exposure most agreeable , under the usual conditions of was a guess before flash meters were com.___________ _. monly available , but f16 on 50S seemed about copyright etc. so one afternoon I arrived at the museum with two cameras (a Minolta SRT 101, right. When the transparency was returned, it and its predecessor an SR1v), an assortment of lenses, a couwas far too dark, but I kept it and now, following much afterple of photoflood lights, a large sheet of card for background, work , it is usable . and a reflector . Having recently attended a Group session on I sent a couple of transparencies and a print to Dr studio photography led by the late Brian Tremain FRPS, I was Manchester, and was gratified to receive a long letter describready to set everything up using the correct protocol of situating ing what exactly had happened to the victim . He also asked the main light to illuminate the relic from the top left, after ar~ permission to use one of the mono shots on the cover of his ranging an infinity-curve background. new book , The Archaeology of Disease, where it duly apUnfortunately, the original assailant had not considpeared . I still keep the original, autographed by Keith himself : it ered lighting protocols when he struck the skull's owner with a was my first ever book cover . sword in his right hand. The sweeping blow penetrated the helThough I have since pictured more exciting examples met, slicing into the top of the cranium leaving a nasty wound, of battle injuries, I still use my shots of this skull and still recall plenty of blood, osteitis on the right cheek , and certain unconthe day I broke the rules, and came up with a winner.
HERITAGE PHOTOGRAPHY, Spring 2016, page 11
LOOKING BACK HOLDING UP A MIRROR TO PAST GROUP EVENTS
THE 1977 GROUP CONFERENCE, DURHAM Above: This group image is scanned from a contemporary print I cannot name the majority and would appreciate any help members can give. From the left: 5, John Stubbington ARPS; 6 ,Robert (Bob) Pitt ARPS (Founder Member); 7, Geoff Quick, (RCHM Scotland); 12, Tom Middlemiss, (Departmental Photographer from the University), and 15, your Editor - in flares. Behind is Durham Cathedral. As far as I can remember, my own camera, a Minolta SR1v, was on a tripod with a 28mm Lumax MPD lens, and the self-timer was used.
Above: The closing session. Robert Pitt ARPS, Group Chalnnan on left, Tom Middlemiss, Photographer to the Department of Archaeology at centre, and frofessor Rosemary Cramp, winding up the Durham Conference. The delegates had been housed in one of the university's halls, and used the department's lecture theatres. Rosemary Cramp was one of the most eminent archaeologists of the era.¡ Editor.
HERITAGE PHOTOGRAPHY, Spring 2016, page 12