RPS Northern News June 2019

NORTHERN NEWS Issue 12 June 2019 NORTHERN

NORTHERN NEWS Issue 11

Issue 10

March 2019

December 2018

Northern Diary A quick preview of some of the events coming up soon Full details are on the RPS Website

8 September Creative Photography Workshop, Stockton-on-Tees 29 September Distinctions Advisory Day at Newton 12 & 13 October Smartphone Workshops, Corbridge 25 October Street Photography - evening lecture at Whickham 26 October Street Photography Workshop in Newcastle-upon-Tyne 10 November Pinhole Workshop at South Gare

All bookings should be made via the Northern Region Events page on the RPS website

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NORTHERN NEWS

Message from

Issue 12 June 2019

Carol Palmer ARPS Regional Organiser Northern Region

THE NORTHERN TEAM Regional Organiser Carol Palmer ARPS northern@rps.org Deputy Regional Organiser Geoff Chrisp LRPS Treasurer Bob Turner ARPS Secretary Bob Gates ARPS northernweb@rps.org Cover Image Š Alec Jones LRPS

As a region we have had great success with RPS distinctions recently and this newsletter includes some from assessments this spring.

Congratulations to Carmen Norman & John MacFarlane in achieving ARPS. David Grey, Alec Jones, Jeremy Griffiths with their LRPS portfolios.

Several of our members are submitting portfolios for assessment over the next few months so we will hopefully have more to showcase in our next newsletter in September.

If you are interested in distinctions, then our next Advisory Day is on 17th November. These are an excellent opportunity to see a selection of successful panels from LRPS through to ARPS. Our programme of events is having a summer break but from September onwards we have 5 workshops, a lecture and an Advisory Day. Remember we will have a vacancy for the Regional Organiser post later this year so if you are interested then please get in touch at northern@rps.org.

NORTHERN NEWS INFORMATION Š 2017 All rights reserved on behalf of the authors. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the written permission of the copyright holder. Requests for such permission must be addressed to the Editor.

Carol

The Royal Photographic Society, Northern Region and the Editor accept no liability for any misuse or breach of copyright by a contributor.

The views expressed in this magazine are not necessarily those of the RPS or the Northern Region.

Editor: Bob Gates ARPS northernweb@rps.org

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An interview with...

Carmen Norman ARPS

1. Why and when did you first get into photography? a. My dad was a photographer, so photography has always been part of my life. I have always enjoyed photography and spent many hours in the darkroom with my dad.

2. Why did you consider going for a RPS distinction? a. I gained my LRPS four years ago, so felt it was time to try for my Associateship.

For me having the ARPS distinction is important as I can demonstrate to the people, I work with that I have a good knowledge and a passion for photography.

3. How did you approach doing your ARPS? a. I wanted a panel that would reflect how I feel about photography and mist is one thing I love seeing and love photographing. So, images of the mist seemed like a good option for the portfolio, it makes me feel very emotional and I feel photography is emotion. I would go out on the misty days and create my images.

Then when I had a good selection which were photographed over a couple of years, I decided it was time to put a portfolio together. I chose my favourite misty pictures and started to select from those the 15 for the portfolio. I chose to use colours across the portfolio with similar colour tones in each row of images and images that demonstrated my style and had a delicate feeling.

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4. Is there anything you would have done differently? Is so please elaborate. a. No, I don’t think so.

5. Did you write your statement of intent before or after taking the images for the portfolio? a. Once I had decided on the theme for my portfolio, I started writing the statement of intent, but it did develop and change as I created more images for the panel 6. What, if any advice did you take before submitting the portfolio. Did you attend any Advisory Days? Did you change anything as a result? a. I didn’t attend an advisory day as they are very difficult for me to get to from where I live. But I read the magazine and regularly looked at the successful submissions on the website. My advice would be to have a connection with the images you choose. Work the panel into different layouts, swap images, until you feel it flows well and shows how you feel about your pictures. And print on different papers before you finalise the paper choice. Images can have a specific look and feel when printed on different papers. So, experiment.

7. What advice would you give to anyone starting to consider working towards the distinction a. I think I would say don’t choose a theme and then create a portfolio, let it evolve as your photography does and your style develops. A portfolio will then come together rather than being forced.

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8. Did you attend the assessment day and if so your views of the day? a. Unfortunately, because of the distance to travel and work commitments I couldn’t attend.

9. What does the future hold for your photography? a. Photography is my work. I lecture, I run workshops and photo walks in the Lake District, all of which I love. I also have a studio in the Lakes where clients visit for photoshoots. I guess photography is my future!

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A Day Out In Manchester with Ed Forster ARPS

As a member of the RPS Documentary Group one of my favourite genres is street photography. For a change of scene and incentive to photograph something different I decided to do photography in Manchester. Despite potential future weather issues, I decided to book cheap return rail tickets three months in advance.

Arriving in Manchester the weather conditions, as far as I was concerned were ideal – dark grey skies and rain. My aim was to produce a project of 12 to 15 images covering The Northern Sector, Gay Village, Piccadilly Gardens and St Peter’s Square areas of the city. Photography did not appear to be an issue despite using a DSLR camera. The main hurdle I needed to overcome was the apparent initial lack of photo opportunities but realizing this was not Brick Lane things started to fall in to place. My aim was achieved.

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A successful Licentiate panel from David Gray LRPS

I became interested in photography in my late teens when I bought a Nikkormat camera and a black and white enlarger from a friend at work. After a few years I did very little photography as I soon had a young family and my own business to run.

When I sold my business 10 years ago I “went digital� and bought a Canon digital SLR and four years ago joined Chester le Street Camera Club of which I am now Vice Chair.

I decided to join the RPS about 2 years ago as it seemed the natural progression for me as it catered for my requirements, i.e. aiming to gain accreditation (LRPS) and also being able to attend workshops.

I am very satisfied with my RPS membership and feel that it is the right organisation for me for many years.

I enjoy photographing anything, but my favourite subject is landscapes, mainly in the Lake District.

My medium term aim is to decide what route to take in the future to attain ARPS.

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LRPS Hanging Plan

New

New

Applicant name – David Gray Assessment date – 12/3/19

Membership number – 108137

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New

New

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The Lake District Andrew Atkinson

When someone mentions Lake District photography, what comes to mind?

I don’t think you would disagree if I said colour vistas of pretty scenes, like the one of the boat house on Ullswater near Pooley Bridge on the A592.

However, my approach to photography in the Lake District may be different to others’. Probably down to a couple of things, fitness level and not being the most organised person when it comes to planning.

I tend just to head for a specific area and start exploring.

I shoot both with digital and film depending how I feel. The next two images are film shots taken from just above Ullswater looking towards Silver Point & Silver Crag. It was a short walk through some boggy terrain just off Park Brow (A5091).

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What caught my eye in the first image was the sense of scale and the silvery glow from Ullswater with 2 sailing boats moving across the water giving it the scale I mentioned earlier. I love the layers and tones in the second shot and the bright light touching only a couple of the clouds. It is an area that requires more exploration and one day, I will complete The Ullswater Way. However, I may jump on a boat for some of it .

Kelly Hall Tarn, a place I hadn’t been to until last year but had seen a couple of shots and thought it was interesting. I was a little apprehensive when I decided to go, concerned that it was a bit of a hike.

However, I had nothing to worry about; it’s a short uphill walk to the tarn from the car park, which is opposite a Land Rover dealership. I found this odd as it really is quite remote. It is quite a small tarn that you can walk around and spend a couple of hours looking for compositions and waiting for changing light. I was lucky to have a reasonably wind free day, which helped with reflections in the water. This was shot on digital using a Lee Big Stopper filter and processed in Photoshop and SilverFX to convert to black & white.

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Whilst the views are spectacular in the Lake District, there is further opportunity to capture some of the more detailed aspects. For this, I take you to Hodge Close Quarry, which is not far from Yew Tree Tarn. Here, you can explore the surroundings. On this occasion, I had walked up onto Holme Fell when we arrived and then explored the quarry. It’s quite steep if I recall but soon levels out. There is one opening to it and once in, there are two routes to the water edge. The next photograph was taken within the man-made cave to the left when I was facing towards the water. The tree, growing out of the rocks, grabbed my attention and I was lucky enough to have some nice light falling onto it.

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We head to Derwent Water next but I’m sure I don’t have to tell most of you whom have visited. Here, I only had a couple of hours to explore and grab a few shots as this was a family visit and I had left everyone else asleep in our accommodation. So, after a 15-minute drive to Keswick I headed straight for the car park next to the theatre. I was surprised I was the only one there; it was August, so sunrise was very early in the morning. I only managed this shot before heading back. I liked the contrast between the posts, the background, the movement in the sky and clouds between the hills.

Facing southeast towards the end of Buttermere where Char Cottage and Fleetwith Pike are situated, I set up my camera. This visit was made with a friend and fellow photographer, Andy Gray. It was a dull day and I didn’t have much hope of capturing anything. To be honest, I think my mind was thinking more about the party we were heading to later, to celebrate the birthday of Ian Burton, who I run pinhole photography workshops with. .

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I’m not the most patient person however, I chatted with a fellow visitor whilst waiting for the light. After a while, the light started to change and was lucky enough to grab the dramatic shot bellow.

On my next visit to the Lake District, I think I will just take my pinhole cameras and see if I can capture something a little different.

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My Journey to LRPS Alec Jones LRPS

In the pre digital age the delay in taking the pictures and seeing the results was beyond my attention span and I rarely took photographs except on holidays.

My serious photography started slowly, but being encouraged by friend’s and family’s comments like "you've got a good eye" and "what a brilliant photograph". I started taking an engineer’s interest in what I was doing and the equipment I was using. Research showed me that the images I considered better than anything I had ever produced before, were at best mediocre. This phase easily encompassed the first 10,000 digital images and probably most of the next 10,000.

Photography became more addictive and after reviewing the abilities of cameras, lenses and processing, I became hooked. Investigating how to move forward led me to look at local photographic societies. I went with some anxiety to my first meeting of South Shields Photographic Society in February 2013, not knowing what to expect. Arriving booted and suited with a clipboard and pen, I was viewed with anxiety as everyone wondered who on earth had arrived to assess them. Taxman or local government officer were the most common guesses.

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After a few weeks, the ice was broken and I found like minded individuals with skills far more advanced that my own, who also had a teaching group for digital processing. I jumped in with both feet and started entering competitions, initially with little success but with feedback and support from other society members managed to secure the NCPF Jane Black Trophy within 18 months.

My appetite was well and truly whetted. I became more active in both arms of the society, entered all competitions, as well as being selected for Regional and National competitions. Having held my own, and some 7 cameras and as many new lenses later, I looked to explore further challenges. A visit to our society from Carol and Leo Palmer, opened my eyes to the Royal Photographic Society and its hierarchy of accreditations.

I attended a RPS "advice" day about 18 months ago and with the information gained formulated a plan and produced a panel of images. Then with much consternation arranged to submit the panel (along with some spares) before a panel of advisors last November. The feedback was invaluable and gave me the confidence to enter a Panel for consideration to the RPS for accreditation, which to my delight was accepted. My journey has been exhilarating, rewarding, expensive and fulfilling. Along the way I have made a great many friends who have greatly enriched my life. I would also add that I have seen so many things which would have been missed without the discipline photography gives us to look properly.

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Street Photography Lecture 25 October at 19:30 Dave Mason Whickham Photographic Club Whickham Community Centre, Front Street, Whickham NE16 4LJ Dave is visiting our region in October leading a Street Photography Workshop as well as some talks throughout the area.

David Mason is from Southern England. Specializing in 'street photography' Dave has a talent for seeing potential in situations that many of us would miss. His images show the quirky, often humorous relationships that occur between people and the world around them.

In his approach to street photography Dave identifies a location, often with a promising backdrop of signage, street furniture or graffiti and will wait for 'something to happen'. Examples of his work feature colour harmony, pattern, humour, good timing and strong narrative, He takes great pleasure in finding the extraordinary in the ordinary, often documenting the surreal happenings on the city streets.

Some of his work can be viewed on his website: www.davemasonimages.com I look forward to seeing you there.

FREE EVENT BUT PLEASE SUPPORT THE CLUB RAFFLE 29

A Photographic Journey John Macfarlane ARPS

Background: In late winter 2018, I returned to Mongolia with my wife Rosamund, another very keen photographer, to travel in Central (Buddhist) and Western (Muslim Kazakh) Mongolia. We had previously trekked and camped in the mountains in the north, near Khatgal bordering Siberia (where we experienced both violent floods and heavy snow fall in August!) and had also travelled in the Gobi desert, so we had some idea of what to expect. One of my objectives was to work up a potential portfolio for a submission for Travel ARPS – Rosamund had gained her ARPS some time before. We also wanted images to illustrate a lecture we would prepare.

From our previous experience I knew that we would be faced with some photographic challenges, for example wind chill with anticipated temperatures of minus 5 degrees during the day and minus 30 degrees at night (fortunately it turned out to be warmer) and no means of charging batteries. WE would be photographing busy families going about their tough daily life outside in the vast landscape.

Inside their dark gers, there would no studio lighting or flash guns and we would have to rely on sunlight from the roof smoke opening and the single door (!) There is also strict etiquette for guests about where and how to sit (cross-legged on the floor, not showing the soles of your shoes) and where never to go (between the roof support poles, or near the red-hot central stove), so manoeuvring for a good shot would be a challenge!

My preparation before the trip? I read up a lot about photojournalism and photo storytelling and low light photography. I added a second-hand 50mm f1.4 Canon prime lens to my bag for close portraiture in low light. We hired Everest summit sleep bags ( which proved to be too hot) and “extreme cold” gloves (which were too bulky for camera buttons). I attended an excellent RPS Northern course on photojournalism run by Carol Palmer, and learnt that the story-telling impact of an image was the key, rather than being constrained by ‘camera club rules’.

Most importantly we had arranged to go on a photography adventure, and not a tourist holiday! In fact I can’t remember the last time we went on a ‘holiday’! So in Ulaan Baatar (UB), we met our superb freelance photographer guide – Asher Svidensky (www.svidensky.com). Ex-Israeli military and of Russian origin, Asher is a tough, charming, highly experienced traveller and photographer, who specialises in documentary photo storytelling, often in remote environments, and about isolated populations trying to maintain their culture and customs. We were also very fortunate with our excellent Mongolian guide, Tsoggy T, together with his great team (drivers, cook) from the very efficient UB tour company, Mongolian Ways (www.mongolian-ways.com).

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Together with our good friend, Helena – a very experienced photographer - and Tyler, an American, who joined us in UB, we travelled over the roadless terrain in an old, smelly, uncomfortable, but supremely resilient 4WD Russian van, usually on rough stony ground, sometimes on ice, snow or frozen rivers. We visited and lived with several families in their isolated gers (communal approach to sleeping, eating, washing, toileting), observing them tending to their animals in this sparsely populated, barren and mountainous landscape. The animals are essential to the family’s wellbeing and survival through the long harsh winters, so there were many opportunities to photograph the family at work outside.

In spite of their hard life, these nomads preserve their culture of hospitality, food, dress, animal husbandry, and traditions such as hunting with eagles. We stayed with three separate, very hospitable Kazakh eagle hunting families in the Altai mountains in the far West of Mongolia, where the skills of keeping and flying eagles are passed down the generations. We accompanied them up into the mountains on horseback to watch and photograph eagles being trained for hunting. One vital photographic tip – a full 16kg camera bag on your back adds considerably to the work of these small but tough horses. At one point, my horse gave up and rolled on a steep ascent - my camera bag cushioned my inelegant fall, and my beanie my head!

My preparation for ARPS submission after the trip. I was pleased with the breadth of subject matter I returned with in spite of the practical constraints, and I decided, with advice from experienced friends, that I did have a selection of images suitable for ARPS submission.

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I first wrote a draft statement of intent, which was effectively what I had in mind before going to Mongolia. I had planned to include the story of the terrible overcrowding, the traffic and pollution in UB (arguably the most polluted capital city in the world) and contrast it with the rural life of the nomad, but the traffic was so bad that it proved impossible to travel to parts of UB where I had hoped to get shots! The rural, traditional way of life is increasingly threatened by climate change and the pressures of ‘modern life’, and over half of Mongolia’s population now live in the overcrowded and highly polluted capital - Ulaanbaatar -in central Mongolia.

I spent time preparing small size prints, and experimenting with a balanced layout which told the story I wanted. Crucially, as soon as an ARPS Advisory Day near Newcastle, organised by Carol Palmer, was advertised I signed on for it. Very experienced RPS Advisorss, including Leo Palmer, were on hand there to provide a constructively critical opinion on my statement (which I had to read out), layout plan and the fifteen mounted A4 prints, together with 5 reserve pictures I brought.

This was really useful, and for me an essential step in the process. I was advised to reverse the order of the three rows, to substitute 2 or 3 images for reserves, shuffle some others, and alter the size of the prints (from A4 to A3) and window spacing (offset up a bit) of the white mounts. Otherwise the comments were very encouraging.

Then came the business of booking an assessment day, final printing and mounting, packing it all up securely, going to the nearest post office 10 miles away, and sending the package off to RPS Bath with all the forms – and fee! Then a wait of several weeks.

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After the Assessment day. After 2 or 3 days I received an email saying that the panel had passed the assessment, and Society approval would be sought to award my ARPS. Phew! A few weeks later a splendid certificate and badge arrived. I was delighted!

Reflections: The discipline of preparing a subject and then a portfolio for submission was very rewarding for me. The advice from the Distinctions Advisory Day was excellent, honest and essential.

Thank you to Carol and the RPS team who gave up their time to arrange and attend.

Disappointments? I would have loved to go to the Assessment day but going to the South West to RPS headquarters Bath from Cumbria would have involved costly and time-consuming travel and accommodation. Perhaps in the future, RPS Distinction Days may be possible in other centres in the country. Perhaps the net environmental impact balance may even tip in favour of centres closer to where applicants reside.

I was also disappointed not to receive any feed-back from my assessment, after all the work and thought – just notification of ‘pass’. I believe those who are unsuccessful receive a detailed advisory report.

So the RPS ARPS Assessment Process was not a learning experience for me. Was it a clear pass or did I scrape through? Would a clear pass encourage me to consider a higher award submission? Were some images strong and some borderline – were any constructively criticised by the Society’s panel?

Even a score per image would have been instructional. Distinctions are a jewel in the RPS crown, but I think the RPS is missing a trick here to educate and encourage. I have, for example, been asked to speak to our Photographic Society about my ARPS journey and to show them my panel, to encourage others to try. Describe the process -- yes, I can do that – but I cannot really comment on the adequacy of the images in my panel except to say, ‘Phew! Great - I passed’!

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ARPS STATEMENT by Dr John Macfarlane Assessment date: 26 March 2019 Travel Photography My objective is to show a glimpse of the life, work and culture of the nomadic people of rural Western Mongolia.

This was gained when we visited and lived with several families in their isolated gers, where they tend to their animals in this sparsely populated, barren and mountainous landscape. Their animals are essential to the family’s wellbeing and survival through the long harsh winters. In spite of their hard life, the nomads preserve their culture of hospitality, food, dress, animal husbandry, and traditions such as hunting with eagles.

This way of life is increasingly threatened by climate changes and the pressures of ‘modern life’, and over half of Mongolia’s population now live in the overcrowded and highly polluted capital Ulaanbaatar - in central Mongolia.

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Smartphone Workshops with Jo Bradford Corbridge 12th or 13th October 2019 A relaxed and informative workshop with Jo Bradford, Author of the best-selling book “Smart Phone Smart Photography - Simple techniques for taking incredible pictures with iPhone and Android”. Both Apple and Android users will be offered plenty of opportunity to work on their photography while getting 1 to 1 advice from Jo about composition, framing and the theory of what makes a good photograph.

This workshop will teach photographers of all abilities that there is a lot of benefit in being comfortable and willing to shoot pictures with their smartphones. Participants will be taught techniques for realising their own creative voice and given the confidence to pursue the subject matter that interests, them embracing the technology for its ease of use and surprising array of features.

Jo will divulge her favourite tried and tested gadgets and apps in her tool kit to improve your smart phone photography. This inspirational course is low on jargon, taught in Jo’s characteristic informal approach. Covering both practical hands on work and with some essential photo theory as it applies to smart phones, the aim of the day is to have fun while you learn.

The whole course is designed to give you the skillset and know-how you will need to get out there and start releasing the creative potential of your device, ensuring you can capture those fleeting moments every time.

Once everyone is familiar with their camera functions, Jo will provide some inspiration to unleash the creativity before everyone heads out for a photo walk to put what they have learned into practice. With a small group size there will be plenty of time for 1:1 advice and feedback on the walk. The walk will be in the village of Corbridge which offers endless opportunities for images. Corbridge is an easy village to get around with no steep inclines.

On our return, we will look at using readily available mobile phone apps to enhance your images and achieve professional quality smart phone photographs worthy of posting online or printing.

Check the website for full details and booking

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Members' images from the recent workshop with Paul Mitchell FRPS

"This is my view of Tommy - the amazing statue on Seaham seafront.

I really enjoyed the day. It was great to get an insight into Paul’s creative process, and have a day wandering along the various locations with his expert advice on hand. I also met some lovely like minded photographers too. Thank you for organising it.” © Lesley Peatfield LRPS 38

"It was a bright day but with a bitterly cold wind. I feel this shows the advantages of attending a workshop as I am sure I would have returned home after half an hour, even though I was dressed for the weather, had I been on my own. As it was we were out from 10 am until 5 pm and I enjoyed every minute." Š Paula Davies FRPS

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© Guy Davies ARPS

© Paul Clayton

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"Here is an image from the workshop with Paul Mitchell on the North East coast. It is a multiple exposure of the harbour wall at Seaham.It was an enjoyable day and it was good to meet other photographers from the Landscape Group." Š Janet Salmon LRPS

Š Bob Turner ARPS 41

© Shelley Newman

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From The RPS Collection at the Victoria & Albert Museum, London

'Boy with Lilies' 1904 Count Wilhelm von Gloeden Wilhelm von Gloeden was born in 1856 and his early life is something of a mystery. He claimed to be a German aristocrat, although the von Gloeden family denied his existance.

He studied history at the University of Rostock and then painting at the Weimar School of Art. His studies were interupted by tuberculosis and he went to a sanatorium in GĂśbersdorf on the Baltic coast to recuperate.

In 1877 he travelled to Naples and then on to Taormina in Sicily in search of a better climate.

Apart from a brief period during the First World War he lived in Taormina until his death in 1931.

During his time in Naples he was taught photography by his cousin, Wilhelm von PlĂźschow, a commercial photographer.

In Taormina he soon set up a photographic studio, initially as a hobby. He soon began exhibiting his work internationally, first in London (1893) and then Cairo (1897), Berlin (1898), Philadelphia (1902), Budapest (1903), Nice (1905), Riga (1905) and Dresden (1909).

He then sold postcards picturing landscapes, monuments and people of Sicily. However, his nude studies of young men and boys of Taormina soon became his principal work and were avidly collected.

Von Gloeden's success as a photographer of the male nude was in part due to his use of artifacts and setting his subjects posed in classical sites. This tended to soften the obvious eroticism of his images.

In Taormina, the villagers attitude to von Gloeden's open homosexuality was eased by his generosity and the royalties paid to his models, as some of the images sold by the thousand.

After his death in 1931, the fascist Italian authorities, considering his work pornographic, destroyed an estimated three thousand glass plates and hundreds of prints. By the end of the Second World War, only a few hundred images survived.

Bob Gates ARPS

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© Ed Forster ARPS

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