CREATIVE EYE No. 70 May 2016
The magazine of the Royal Photographic Society’s Creative Group
2016 Crea�ve Group Contact List Chairman/WebMaster Barry Collin LRPS crea�vechair@rps.org General Secretary Annie Ringland LRPS crea�vesecretary@rps.org Treasurer Alan Turner ARPS alanturner@b�nternet.com Programme Secretary David Jordan FRPS daveandjoanjordan@yahoo.co.uk Membership Secretary Joan Jordan ARPS cgmembersec@gmail.com Crea�ve Eye Editor/Vice Chairman Barry Freeman ARPS photo.bazfree@b�nternet.com Exhibi�on and Publicity Secretary Moira Ellice ARPS moira.ellice2011@b�nternet,com Commi�ee Member and Exhibi�on Assistance John Currant ARPS John@studio17a.me.uk Commi�ee Member and Publishing Assistant Bill Coles LRPS billcoles26@gmail.com
The cover picture is from a PDI by Jan Harris En�tled - Golden Dawn
CHAIRMAN’S NOTES I’ve said it before, but this really is a bumper issue this �me. A�er approval at the AGM and thanks to Barry Freeman, our editor, we have doubled the number of pages to a record 32, but will mi�gate the addi�onal cost by using a cheaper distribu�on system. By showing over 100 of this year’s exhibi�on images plus 4 recent dis�nc�on panels, we hope to inspire more of you to both submit images for our exhibi�ons and a�empt that first “L” or go on to an “A” or even an “F”. I found it interes�ng and inspiring to read the steps and thought processes the successful members went through to arrive at their successful panels and hope that you do too. All their images seem to have been created “in camera”. The 2016 exhibi�ons will, hopefully, be available to view on our website once I have mastered the necessary so�ware; fingers crossed. Barry F would love to receive le�ers and illustrated ar�cles for future issues; your chance to inspire others - see his Editorial on page 3.
Barry Collin LRPS - Chairman and webmaster
The Group Commi�ee from le� to right: Joan, David, Annie, Moira, Barry F, Barry C, Bill, Alan and John
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EDITORIAL
We held a successful AGM on Sunday 28 February 2016 and welcomed two new Commi�ee members, John Currant ARPS and Bill Coles LRPS. They join the current hard working Commi�ee to reduce some of the individual workloads. This issue features four more ARPS and LRPS Print Panels, all on two page spreads. There con�nues to be an excellent response to le�ers sent out by our Chairman to recent dis�nc�on par�cipants invi�ng them to show their work in the Crea�ve Eye. I hope volunteers will con�nue to offer their work. Of course the May issue of the ‘Eye’ always features images from both the print and PDI Exhibi�ons and I show around a hundred of the best, on pages 4 to 17 + 20, 21, 23 and 24. As we promised on pages 28/29 are the winning submissions for the 2015 “4 on Theme” compe��on. The next mee�ng is the Members Day on Sunday th 26 June, see page 27 for details. I hope you can take part in this most enjoyable day and show some of your pictures. We have a new group member, Joe McNally FRPS, who lives in the USA and recently was awarded his Fellowship. We are proud that such a world renowned photographer has decided to join our group. Page 30 and 31 is all about Joe’s life and photography. We hope he will con�nue to take part in Group ac�vi�es. Every �me I order the prin�ng of the Crea�ve Eye the quan�ty increases, this is mainly due to the con�nuous increase in our membership which currently stands at 463. What is our Group’s appeal? The next issue of Crea�ve Eye will be posted towards the end of September 2016 and copy closes 4th September. If you would like to submit an ar�cle and/or pictures, please get in touch with me ASAP. th
RPS CG EXHIBITION SELECTION MEETING On Sunday 28th February the Crea�ve Group had its Exhibi�ons selec�on mee�ng at Whi�lesford near Cambridge; the mee�ng was very well a�ended. The AGM took place between the print and PDI selec�ons. This year, as a change to our previous procedure, we decided to use the services of an outside selector instead of having a panel of selectors chosen from members at the mee�ng. As a result the print and DPI exhibi�ons were selected by Colin Southgate FRPS. The selec�on process on the whole ran very smoothly and Colin selected two interes�ng and varied exhibi�ons demonstra�ng the range and quality of our members’ work. We would like to thank Colin for the giving of his �me and taking on this challenging task. A selec�on of the accepted images is displayed in this copy of the Crea�ve Eye and will also be displayed in a variety of loca�ons around the UK. Members who entered the exhibi�on will receive a presenta�on of both exhibi�ons on a CD, which will be included with this magazine. Later it will be able to be viewed on the RPS website in the Crea�ve Group sec�on.
David Jordan FRPS Programme Secretary
Barry Freeman ARPS DPAGB
01379 668749 photo.bazfee@b�nternet.com
The piture above is a view of the DPI Selec�on taking place and below is a view of the Print Selec�on. To the le� is the Print Gold Medal presenta�on by Colin Southgate FRPS to Brian Fleming LRPS, for his print en�tled “A�er the Age of Oil”
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THE CREATIVE GROUP’s ANNUAL EXHIBITION
The picture above was taken at the Group 2015 Exhibi�on Private View at ‘The Apex’ in Bury St. Edmunds. Below is a view of the Wingfield Barns 2016 Exhibi�on on April 22nd and at the bo�om are two views of ‘Dis�nc�on’ panels displayed at the Barns duriing the Group’s Exhibi�on
Last year’s Annual Exhibi�on became a bumper year for showcasing the prints and projected images. In all, we put on five exhibi�ons star�ng at Wingfield Barns in North Suffolk, then Smethwick Photographic Society’s headquarters in the West Midlands, the Edinburgh Photographic Society’s headquarters in Great King Street, the Woodbridge Library in East Suffolk and lastly, we held a joint exhibi�on with the East Anglia Region at the Apex in Bury St Edmunds, which included a well-supported private view. While I am wri�ng this news, today is the opening of the 2016 Annual Exhibi�on tour at Wingfield Barns. The exhibi�on looks fabulous. All 89 prints are framed and there is a rolling slideshow of the Projected Image Exhibi�on. Also on display at Wingfield were a selec�on of Dis�nc�on panels by Peter Cox LRPS, John Currant ARPS, Valerie Ellio� ARPS, Joan Jordan ARPS and David Jordan FRPS. In the course of planning is the showing of the 2016 Exhibi�ons, including at the Smethwick Photographic Society in the Summer and the Edinburgh Photographic Society in November Moira Ellice ARPS
Exhibi�on and Publicity Secretary
Group Membership We started 2016 with 455 members and membership is s�ll rising, bringing the current total at 31st March 2016 to 463, according to figures published by RPS headquarters. This is the highest it has ever been. Two years ago in April 2014, it was 272. Overseas membership con�nues to grow, which now totals 54, one more than the membership in the London area of 53. East Anglia con�nues to have the largest membership at 64. There have been 8 new overseas members since January 2016. It may be of interest to view the membership figures supplied for March 2016, showing the current regional breakdown. Total 463
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CE 29
EA 64
EM 29
LN 53
NI 6
NO 11
NW 19
OS 54
SC 14
SE 33
SI 5
SO 29
SW 15
TH 43
WE 32
WN 2
WS 4
YO 21
Clockwise from the top right: Entranced by Angela Ford ARPS, The Miner by Barry Collin LRPS, The Hotel - SILVER MEDAL by Brian Carlick LRPS, Sunset at Wivenhoe by Bill Coles LRPS, Calm Sea and Marker Post by Barry Freeman ARPS,Dovercourt by Annie Ringland LRPS, Conversa�on Piece by Alan Turner ARPS
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Clockwise from the top right: Beach Defences at Caister by David Jordan FRPS, Evening Patrol by Ernest Eaton LRPS, Fiona York by David Ryland LRPS, Nose2Tail by Gerald D Thompson LRPS, Paved in Gold by Colin Pricke� LRPS, Mee�ng by Chandrasena Perera EFIAP, Aggression by Catherine Allen ARPS
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Clockwise from the top right: North Aisle Staircase, Ely Cathedral by John Currant ARPS, Tri-Light by John Thompson ARPS, This is Sean by Keith Jones LRPS, Daisies by Joan Jordan ARPS, Whisps by Harman Hopkins LRPS, Red Cloak by Gillian Becke� ARPS
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Clockwise from the top right: Colours of Cornwall by Moira Ellice ARPS, Macroscope by Neil Whi�mann ARPS, Walk this way by Noel Robinson ARPS, Maria by Pat Frewin LRPS, Emergency Telephone by Nigel Rea ARPS, Evening Light by Mike Cowling LRPS and The Doors - Funchal Old Town by Melvyn Frewin LRPS
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Clockwise from the top right: Abandoned Slate Workings by Philip Quarry FRPS, Unfolding Sea by Veronica Worrall LRPS, Darkness Beckons by Roger Ford FRPS, Prada-Pink by Sue Evans LRPS, Dedham Church View by Sue Revill ARPS, Three Lines by Stuart Fotheringham and Suffolk Sunset by Peter Cox LRPS
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Clockwise from the top right: Up Up and Away by Catherine Allen ARPS, Fading Roses by Pat Frewin LRPS, Jilted by Gill Becke� ARPS, Cast Adri� by Veronica Worrall LRPS, Through the Teleporter by Noel Robinson ARPS, The Stalker by Roger Ford FRPS and So French by Peter Cox LRPS
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Clockwise from the top right: Blue Mood by David Harris, Crimson Glory by Romesh De Silva, Distressed Heart by Rob Kershaw ARPS, Double Vision by Margaret Rainey ARPS, Back to Front by Angela Ford ARPS, Art Apprecia�on No. 2 by Barry Collin LRPS
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Clockwise from the top right: Flowers in Ice by Malcolm Kus ARPS, Feeling Wild by Richard Luxton ARPS, In a Hurry by Tom Bowe� FRPS, Garden Colour Burst by Barry Freeman ARPS, Fragmenta�on by Joan Jordan ARPS, Double Vision by Roger Ford FRPS
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Clockwise from the top right: Metropol Parasol by Sue Evans LRPS, Le� High and Dry by Moira Ellice ARPS, No Scribbling by Veronica Worrall LRPS, Paint Job by Gillian Becke� ARPS, Music Man by Peter Cox LRPS, Lady in Red by William Campbell ARPS, Fenland Landscape by Ernest Eaton LRPS
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Clockwise from the top right: Red Dress by Keith Sawyer ARPS, Rembering Venice by Derek Collis LRPS, Old Bridge Over Canal by Richard Lodge LRPS, Stairs by John Bull LRPS, Red Black & White by Stuart Fotheringham, Psycho by Brian Fleming LRPS, Parted by the Storm by Bernard Davis LRPS
Clockwise from the top right: The Firebird by Catherine Allen ARPS, The Final Pulse by Neil Wi�mann ARPS, The Hair Co by Alan Turner ARPS, The Stud by Philip Quarry FRPS, The Coffee Shop by Brian Carlick LRPS, Tears by Mohammad Soroush, Stay Out of my World by Stephen Lloyd LRPS
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Clockwise from the top right: Trapped by Colin Pricke� LRPS, Through the Looking Glass by Marie Louiise Bradley, Wait by Chandrasena Perera EFIAP, Brigh�ngsea Beach Huts by Barry Freeman ARPS, Vandalised by Mike Bromley DPAGB, Two Chairs by Nigel Rea ARPS, Unloading Felixstowe Docks by Ma�hew Clarke, The Monolith By David Jordan FRPS
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Clockwise from the top right: Another Busy Day by Mike Bromley DPAGB, Thro Sea Mist and Spray by Veronica Worrall LRPS, Wheels by Alexander Cowie LRPS, Whose Life? SILVER MEDAL by Richard Luxton ARPS, Me and My Suitcase by Romesh De Silva, Blue Face by William Campbell ARPS, S�ll Spinning by Roger Ford FRPS
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“DISTORTION” - A SUCCESSFUL ARPS PANEL LAYOUT BY JOAN JORDAN The Making of an ARPS Panel by Joan Jordan ARPS Some say that a panel, be it an Associate or a Fellowship panel, finds you rather than the other way round. Panels should show an individual style of the photographer and they should show progression from the Licen�ate or Associate award previously obtained. Being married to a photographer has its advantages and disadvantages. The advantages are obvious, the disadvantages much more subtle. We are inclined to see the same things, home in on the same detail, which can make things quite frustra�ng for me. David o�en gets there first so I end up not using my images quite so much! I was not even thinking about finding images for an ‘A’ panel when we visited Lichfield Cathedral. We both moved towards the same corner, our eyes being drawn to the same piece of architecture …… I realised what was happening and made a decision to turn around and look elsewhere. What could I find that David would not see? I was drawn towards some brass plaques on the far wall and headed off towards them. I was excited on close inspec�on to see the distorted images made by the reflec�ons in the worn brass. Holding my Canon S110 compact camera at about 45o against the brass I began to shoot. I was impressed with the results and spent some �me taking different angles from different brass plaques. I didn’t tell David un�l we were outside and on our way home! A 5-image panel compe��on at the local camera club gave me the opportunity to use some of these images. One member happened to say – you could do an associate panel with those images ……. Thus the seed was sown, so yes the panel had indeed found me, and all of it taken with a compact camera. Funnily enough it wasn’t un�l a�er I had gathered similar images from other cathedrals and churches and the panel began to emerge that I realised that from the very outset of my photography ‘career’ I had always been drawn to anything that would provide a distorted image – reflec�ons in glass windows, puddles, light, shadows etc. So, is this my style of photography? Quite possibly and my final submission of the 15 images for my ‘A’ panel certainly reflects this.
Statement of Intent My very first photos taken about 12 years ago were of reflec�ons in windows and I find I am fascinated with the detail in the distor�on this brings. The concept for this panel came about almost by accident on a visit to Lichfield Cathedral when I no�ced the many brass plaques lining the walls. By holding my camera at different angles I was excited to see interes�ng distor�ons in the reflected image. The shapes and textures were brought to life making images full of graphic designs distorted in the reflec�on beyond. Pursuing this theme further I have included images displaying similar effects brought about by the use of light and shadow.
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All panel images are shown in more detail on next page - 19
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Bob Smith’s LRPS Panel Images 20
From the Exhibi�on, clockwise from the top right: Thirty Four Degrees C by Gerald D Thompson LRPS, Autumn by Ma� Clarke, Dream by David Harris, Kaleidoscope by John Thompson ARPS, Surfs Up by Angela Ford ARPS, Heading Home BRONZE MEDAL by Colin Pricke� LRPS, Palm Detail by David Jordan FRPS, Warning Flag - Shingle Street by Barry Freeman ARPS, .
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Colin Pricke�’s LRPS Images
My LRPS Panel by Colin Pricke� Although I have owned numerous film cameras since childhood I think it is fair to say that for most of my life I have been a pre�y bad photographer. That changed quite suddenly when mobile phones put a camera permanently in my pocket and I started clicking away in all sorts of situa�ons. Even with their early limita�ons I actually started to like what I was shoo�ng and found myself taking increasingly more diverse shots, o�en in street environments. Li�le did I realize that I was gradually developing my own style and as I moved into semi-re�rement I became increasingly enthusias�c with the world of photography. In the last three years I have taken evening classes to learn how to use manual se�ngs, joined a local Camera club to measure my work against other photographers, created a website, and started upgrading to be�er camera equipment - although I s�ll mostly use pocket cameras due to their convenience (I also use a Nikon D7000). 22
Con�nued below on page 23
I then felt the need to test my work on a wider pla�orm so a�er dabbling in a few na�onal salon compe��ons (with unexci�ng results) I decided it would be a far more sa�sfying challenge to a�empt LRPS accredita�on. I a�ended two advisory days during 2015 and, from a process of elimina�on over a period of many months; I built up my panel from those images that seemed most acceptable. In the process I discovered that it was far more important to demonstrate a range of techniques and technical competences rather than to follow a single theme. This created further difficul�es in turning a diversity of images into a cohesive and presentable panel but a�er playing with many different arrangements I finally se�led on the sequence which gained me my LRPS status in November 2015. With RPS membership I was then prompted to join a specialist interest group and felt that the Crea�ve Group seemed most in tune with my own style of photography – so this is where my journey has now brought me. On the hardware\so�ware debate I tend more-and-more to favour in-camera crea�vity but I also have no problem with using so�ware to improve and bring an image to life when needed. At the end of the day I want my final images to be what I imagined I saw when I first took the shot, and some�mes you really do need so�ware to make that happen.
Le�er from Colin Shortly a�er receiving my LRPS I joined the RPS Crea�ve Group and a�ended your recent AGM where I was awarded 2 bronze medals and had 6 of my submissions selected for this year’s travelling exhibi�on - so it has been a bit of a shock to me and quite a roller-coaster ride over the last few months. I have also a�ached a pdf of these six acceptances. I am now working on a poten�al ARPS panel and will be a�ending the Advisory Day for Visual Arts in Wha�on on 17 April to test the water. Best regards, Colin
More Exhibi�on images from the top right: Simply Jenny by Brian Fleming LRPS and at the right bo�om is Watching for Misdemeanors BRONZE MEDAL by Colin Pricke� LRPS. Above is ‘Persepolis’ a Forgo�en Civiliza�on by Mohammad Soroush
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Millennium Bridge Chrysler building NY
Interior Tate Britain
Stairway Tate Britain
Tate Modern
Girl in Lavender Field
Girl Reading
Young People in Trafalger Square
Tall Buildings London
Lonely Flower
Robin Daly LRPS
I decided to a�empt the LRPS dis�nc�on during the summer of 2014. I asked Patricia Jones FRPS, a member of Sevenoaks Camera Club to which I belong, if she would be prepared to mentor me along the way and she was more than happy to help. I began to assemble a number of poten�al images from my exis�ng collec�on and also embarked on a number of photography ou�ngs with the LRPS panel in mind. By early 2015 things were coming together and in March I felt confident enough to book the Assessment date, of which the earliest available was in June, at the RPS HQ in Bath. I considered a�ending an Advisory Day but the only one
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Con�nued below on page 25
in advance of the Assessment day meant a trip of over 200 miles so I decided to rely on advice from my mentor. The Assessment day was very nerve wracking, extremely interes�ng and ul�mately very sa�sfying when I was told I had been recommended for the Licen�ate. My main interest is Street Photography although I enjoy a�emp�ng other genres. For the LRPS dis�nc�on you need to demonstrate a range of techniques and a variety of subject ma�er so I knew I needed to include some images where people were not the main feature. I like to bring a crea�ve element to my street photography, capturing daily lives in strong composi�ons formed either with other people, buildings or ‘borrowed art’ like billboards and pain�ngs. An important point to make is that you do not need to invest in expensive equipment to achieve the LRPS dis�nc�on. Four of the images I selected were shot with the Canon EOSM, a compact mirrorless camera available for under £400. The small size of the EOSM makes it ideal for unobtrusive street photography and armed with the 22mm prime lens it produces excellent results. Many of my images require a fast shu�er speed to capture the moment which o�en necessitates a high ISO, especially for interior shots. I always shoot in RAW and the first step in my workflow is to process the images through DXO Op�cs which I consider the best ‘de-noising’ so�ware available. It’s also very good at correc�ng lens distor�ons. A�er that most work is done using Photoshop. I am proud of all the images I selected for the LRPS panel but my two favourites are probably the lady with the umbrella headed across the Millennium Bridge and the lady next to the Picasso pain�ng in the Tate Modern Gallery. The weather for the Millennium Bridge shot was miserably rainy but this kept the bridge unusually empty. Then the lady with the brolly walked in front of me and the shot came together. Turning the image to monochrome except for her umbrella was the final touch. The shot in the Tate Modern is one of the best I have taken using ‘borrowed art’. The sorrowful expression on the lady’s face seems to have elicited a look of compassion from the girl in the pain�ng. For more images see www.robindalyimages.zenfolio.com
Email robin.daly@outlook.com
From the Exhibi�on - Clockwise from the top right: Collapse by William Campbell ARPS, Thin Man by Roger Ford FRPS, A�er the Carnival by Stephen Lloyd LRPS, Bisham Dawn by Jan Harrs
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Dave Jordan FRPS was successful with an entry into this year’s “Interna�onal Garden Photographer of the Year”, Por�olio category. As you can see it was 6 images taken from his Fellowship panel. There were only 8 panels accepted into this year’s entry so the compe��on was fierce. in the total compe��on there were over 20,000 entries of which only about 100 were accepted. It was the first �me that Dave had entered this compe��on.
Judges! One of the most puzzling things in club photography is the difference in the opinion and marking of judges. The experiences I had when I first joined a club were very different indeed from the present day (well, that’s how I remember it!). I was told when I joined a club ten years ago, after a break of many years, that judging of prints was done on the basis of quality of printing, composition and mounting of the image. The judges were impartial as to subject matter as the idea was to have a “perfect” image regardless of whether he/she “liked” boats, trains, landscapes, etc. This has been disproved time after time as various judges have said “I don’t like trains”, “I don’t like boats”, “I don’t understand the point of this image”, etc. Projected digital image was a new experience altogether but I thought I knew about prints! This year I have been a member of two clubs. I have entered the same image in competition in both of these. The difference in marks has been surprising. One of the images was described by the judge as a “marmite” picture and as the judge didn’t like marmite it was given a very low mark. No mention of the quality of anything or, indeed, the lack of it! The same image in the other club had a similar reaction from the judge but this one said the quality of the image was very good and it received a high mark! I leave it to you to decide what you think!
Annie Ringland LRPS
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RPG CREATIVE GROUP MEMBERS MEETING 26th JUNE 2016
On Sunday 26th June we will be running another of our regular annual members’ mee�ngs at Foxton Village Hall, near Cambridge. This is an opportunity for members to show their latest work, display poten�al and successful dis�nc�ons panels and in addi�on demonstrate techniques using so�ware or cameras. Last year, John Currant brought a couple of prints showing a very ar�s�c interpreta�on of some buildings in London and a�er a very posi�ve reac�on from the members present he developed them into a successful Associateship Panel. Previous members’ days have been very successful, with a friendly and suppor�ve audience. To make the event work, it is essen�al that members support the mee�ng and be willing to par�cipate. If you think you could contribute to this year’s mee�ng in any way then please contact me on: 01603 866475 or daveandjoanjordan@yahoo.co.uk. If anyone would like to demonstrate a so�ware process there will be a 15” Mac Pro-book available with the following so�ware applica�ons: Lightroom 6, Adobe Elements 14, Serif Affinity Photo, the Nik So�ware Collec�on and OnOne 10. Please contact me if you want to make use of this facility. Any demonstra�ons will of course be projected for all present to see. Doors will open at 10:30 for refreshments and an 11:00 start. Please bring your own lunch. Tea and coffee will be provided a�er lunch and the day should finish at about 16.00. Admission is £6, to be paid at the door. We look forward to seeing many of you. This is a great opportunity to meet up with fellow members and make new friends. David Jordan FRPS Programme Secretary DISCUSSION GROUP MEETING The Suffolk/Essex group con�nues to meet regularly. The last mee�ng was held at Moira Ellice’s house, where we had a good day in each other’s company looking at our work and discussing their merits. We have a top limit of 14 members in our group, but usually 8 to 10 a�end. The picture to the le� shows those who a�ended this mee�ng, plus Moira’s dog, Our next mee�ng is a photo shoot in Norwich in June followed early July with a discussion mee�ng.
WHATS ON?
Dates for your Diary 26th June 2016 Crea�ve Group Members Day An event just for members to display their work (See details on this page, above) 13th November2016 A two speaker lecture day in conjunc�on with the RPS EA Region. Featuring Glen Edmunds ARPS and Diane Owen FRPS. More details in the next Crea�ve Eye, due to be posted in September 2017 and also on the Website. 26th February 2017 AGM and Exhibi�ons Selec�on 25 June 2017 Crea�ve Group Members Day 8th October 2017 Two Speaker Day All at Foxton Village Hall, except the AGM on 27th Feburary held at Whi�lesford, Cambridge
Would You Like to Start a “Discussion Group”?
In the East Anglia Area there seems to be a con�nuing interest in discussion groups. There is no reason why other areas cannot have a “Discussion Group” as well. If you would like to form a group in your locality let me have your contact details and I will insert them in the next Crea�ve Eye. (Barry Freeman) Over the years we have had many enquiries regarding forming groups, but they never seem to get past this first stage. As an organiser of the Essex/Suffolk group for some years I fail to understand why? It is not an onerous task; the job is to act as post-box and at the end of each mee�ng the group decides on the next one. There seems to be lots of members would like to a�end such a group, but we are short of Organisers. Contact Barry Freeman or Barry Collin 27
FIRST PLACE - Water Drops by Tillman Kleinhans ARPS EFIAP/b DPAGB
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THIRD PLACE - Men at Work, Cuba by Roy Morris
SECOND PLACE - Water Garden by Joan Jordan ARPS
WINNING SETS OF FOUR ON A THEME FROM 2015 COMPETITION On pages 28 and 29
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Biography
Joe McNally is an interna�onally acclaimed
photographer whose career has spanned more than 35 years and included assignments in 60 countries. McNally was the last staff photographer in the history of LIFE magazine, sharing a legacy with his heroes and mentors—Carl Mydans, Alfred Eisenstaedt, Gordon Parks, John Loengard—who forever influenced and shaped his work. McNally won the first Alfred Eisenstaedt Award for Journalis�c Impact for a LIFE coverage �tled, “The Panorama of War.” He has been honoured numerous �mes by Communica�on Arts, PDN, Graphis, American Photo, POY, and The World Press Photo Founda�on. His prints are in numerous collec�ons, most significantly the Na�onal Portrait Gallery of the United States and Na�onal September 11 Memorial & Museum. McNally is represented by the pres�gious Monroe Gallery of Photography, which staged a one-man print exhibi�on of his photographs in 2014. McNally is o�en described as a generalist because of his ability to execute a wide range of assignment work, and was listed at one point by American Photo as one of the “100 Most Important People in Photography” and described by the magazine as “perhaps the most versa�le
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Louis Cacchioli - NY Fire Brigade, “Portraits of the Heroes of September 11th”
photojournalist working today.” His expansive career has included being an ongoing contributor to the Na�onal Geographic - shoo�ng numerous cover stories and highly complex, technical features for the past 25 years; a contract photographer for Sports Illustrated; as well as shoo�ng cover stories for TIME, Newsweek, Fortune, New York, and The New York Times Sunday Magazine. McNally’s most well-known series is “Faces of Ground Zero – Portraits of the Heroes of September 11th,” a collec�on of 246 Giant Polaroid portraits shot in the Moby C Studio near Ground Zero in a three-week period shortly a�er 9/11. A large group of these historic, compelling, lifesize (9’ x 4’) photos were exhibited in seven ci�es in 2002, and seen by almost a million people. Sales of the exhibit book helped raise over $2 million for the 9/11-relief effort. This collec�on is considered by many museum and art professionals to be one of the most significant ar�s�c endeavours to evolve from the 9/11 tragedy. While his work notably springs from the �mehonoured tradi�ons of magazine journalism, McNally has also adapted to the Internet driven media world, and was recently named as one of the “Top 5 Most Socially Influen�al Photographers” by Eye-Fi. McNally was also named the 2015 Photographer of the Year by PMDA. He is also among the rare breed of photographer who has bridged the world between photojournalism and adver�sing, amassing an impressive commercial and adver�sing client list including FedEx, Nikon, Epson, Sony, Land’s End, General Electric, MetLife, USAA, Adidas, ESPN, the Beijing Cultural Commission, and American Ballet Theatre. A sought-a�er workshop instructor and lecturer, he has taught at the Santa Fe Photographic Workshop, the Eddie Adams Workshop, the Na�onal Geographic Society, Smithsonian Ins�tu�on, and the Annenberg Space for Photography, Rochester Ins�tute of Technology, the Disney Ins�tute, and the U.S. Department of Defense. He received his bachelor’s and graduate degrees from Syracuse University’s S.I. Newhouse School of Public Communica�ons, and returns there to lecture on a regular basis. He is proud to be named a Nikon USA Ambassador, an honour that has a special significance for him, as he bought his first Nikon camera in 1973, and for forty years, from the deserts of Africa to the snows of Siberia, he has seen the world through those cameras.
Beijing Fashion Shoot More of Joe’s Images below on page 31
MORE IMAGES FROM JOE MACNALLEY FRPS
Beijing Temple of Heaven - fashion shoot
Baseball Umpire - Lou Piniella
Michelle Yeoh - hung from helicopter, Hollywood
Adver�sing Photo - Tyres, Vegas
Bolshoi dancer on roof, Moscow War children in rubble
Rwanda Refugee Camp
Water Polo Boys with balls
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DPI GOLD MEDAL - Isola�on by Keith Sawyer ARPS
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PRINT GOLD MEDAL - A�er the Age of Oil by Brian Fleming LRPS