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IN FUTURE ISSUES We give you an insight into the world of street photographer Dougie Wallace, plus a look at the new film Distinction, and report from the DepicT! Short Film award


hen David Levene began photographing for the Eyewitness slot of The Guardian a whole new world opened for him – and readers of the newspaper. The decision by then editor-in-chief Alan Rusbridger to devote a whole spread each day to one striking image was a daring one. It has given the newspaper a spectacular platform for documentary photography in a media landscape where reportage is costly and photojournalists are an increasingly rare breed. This issue of the Journal celebrates documentary photography with a striking line-up of work by exponents united in their desire to show human existence in a true and accurate way. We have Levene’s landscape-format slice of life, from the aftermath of a devastating Haiti earthquake to migrants caught between hope and fear in Calais. Mo Connelly LRPS, chair of the Society’s Documentary Group, gives a fascinating insight into the work of veteran South African photographer David Goldblatt HonFRPS, whose images of the apartheid era built his reputation. Now in his eighties, he has taken ex-offenders in South Africa and


Britain back to the scene of their crime to tell their story. In contrast, Honorary Fellow Zed Nelson pushes documentary photography in a more conceptual direction. Having tried to change the world with images of global conflict he now looks closer to home, exposing the bizarre face of western society – from gun culture to the pursuit of perfection. Distinctions features striking documentary work from Angus Stewart and Tsai King Chee, both ARPS, illuminating the worlds of burlesque and horse-race gambling respectively. Finally, we see the results of Vic Odden Award-winner Matilda Temperley’s visit to Ghana, where she captured efforts to combat the stigma associated with leprosy. Her project was funded by the Joan Wakelin Bursary, jointly administered by the RPS and The Guardian. I hope this issue offers new horizons for you.



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562 | AUGUST 2017

IN THIS ISSUE The Royal Photographic Society Fenton House, 122 Wells Road Bath BA2 3AH, UK +44 (0)1225 325733 Incorporated by Royal Charter Patron Her Majesty the Queen President Walter Benzie HonFRPS Vice-President Robert Albright FRPS Treasurer Geoff Blackwell ARPS Chief Executive Dr Michael Pritchard FRPS Published on behalf of The Royal Photographic Society by Think Red Tree Business Suites 33 Dalmarnock Road, Glasgow G40 4LA

© 2017 The Royal Photographic Society. All rights reserved. Every reasonable endeavour has been made to find and contact the copyright owners of the works included in this newspaper. However, if you believe a copyright work has been included without your permission, please contact the publishers. Views of contributors and advertisers do not necessarily reflect the policies of The Royal Photographic Society or those of the publishers. All material correct at time of going to press.

Circulation 11,374 (Jan-Dec 2016) ABC ISSN: 1468-8670

Cover Silver X, rap artist and singer, South Sudan by Zed Nelson HonFRPS

580 Angus Stewart ARPS has captured the world of burlesque and circus performers


ZED NELSON Mirror man (PAGE 590)

An award-winning documentary photographer who has worked in some of the world's most troubled areas, Nelson has had images exhibited at Tate Britain, the ICA and the National Portrait Gallery


DAVID LEVENE The Witness (PAGE 606)

Well-travelled photographer David Levene has freelanced with The Guardian since 2001, covering everything from the busy streets of Tokyo to the slums of Sierra Leone

614 Matilda Temperley reports from Ghana

598 | SHADOWLANDS David Goldblatt discusses his portraits of ex-offenders taken at the scene of their crimes in Britain and South Africa

MATILDA TEMPERLEY Breaking boundaries

606 | THE WITNESS Assignments across the globe and incredible versatility typify David Levene's portfolio

(PAGE 614)

Inspired by marginalised societies, Temperley has recently published her third book, The League of Exotic Dancers Legends of American Burlesque

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590 | MIRROR MAN Zed Nelson HonFRPS reflects on getting to the heart of the human condition through his images

638 Hindu temple offerings by David Bathard

614 | BREAKING BOUNDARIES Matilda Temperley’s work in Ghana has sought to challenge attitudes towards leprosy


EDITORIAL ENQUIRIES Editor Kathleen Morgan kathleen.morgan@thinkpublishing. 0141 375 0509 Deputy editor Alec Mackenzie Contributing editors David Clark, Fiona McKinlay, Jonathan McIntosh, Gavin Stoker Design Matthew Ball, Andrew Bell, Raymond Francis, Alistair McGown Sub-editors Sam Bartlett, Andrew Littlefield Advertising sales Elizabeth Courtney elizabeth.courtney 0203 771 7208 Editor-in-chief Clare Harris Group account director John Innes


Katy Perry at Glastonbury 2017 by David Levene




619 | MUST TRY Gavin Stoker gets to grips with the Canon EOS 6D MkII

564*565 | BIG PICTURE Tour de France 2017 pile-up by Chris Auld

620 | LATEST KIT A range of gear and member test

567 | IN FOCUS Society news and views

623 | MASTERCLASS/IN DEPTH Mark Banks LRPS on filters in landscape photography, and how to capture a solar eclipse with Gary Evans ASIS FRPS

579 | BOOKS Includes Birds in Pictures by Markus Varesvuo 580 | DISTINCTIONS Angus Stewart and Tsai King Chee 638 | SHOWCASE David Bathard FRPS on his exhibition at Fenton House

598 Paula Harriott and her son Eibblon Johnson, who were imprisoned at the same time – she for dealing cocaine, he for firearms, robbery and wounding with intent

640 | TIMES PAST The growth of the tintype VOL 157 / AUGUST 2017 / THE RPS JOURNAL / 563


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Tour de France 2017 pile-up This was the final and only opportunity of a pretty fruitless day to capture some action, pitching up on a nondescript roundabout in Belgium. As I waited for the peloton to arrive it began to rain. A fast downhill approach, a roundabout and slick roads – all the ingredients

of an accident. The breakaway passed without incident, closely followed by the main bunch, at speed, then the laws of physics took over. Bikes and riders, including Chris Froome and Romain Bardet, slid straight towards me. Utter carnage ensued. I held my nerve and

By Chris Auld

shot away, grabbing whatever I could. It was all over in seconds. As the incident unfolded I knew it was gold. Out of the huge press pack I was the only photographer to capture the whole incident. VOL 157 / AUGUST 2017 / THE RPS JOURNAL / 565


CAPITAL CELEBRATION London Region’s new project 569

OUT OF THIS WORLD Flower photography in orbit 574

SET IN STONE Art UK’s sculpture project 577


Pool designed by Alain Capeilleres, Le Brusc, Provence, France, 1976 by Martine Franck


Magnum veteran donates more than 2,000 prints

A gift of two substantial photography collections by David Hurn HonFRPS has led to the creation of National Museum Cardiff’s first dedicated photography gallery. One collection is


Hurn’s personal selection of around 1,500 of his best photographs. The second is his private collection of around 700 prints by other major photographers. Hurn, 83, has been building the latter collection since 1958. The combined value is around £2 million.


Hurn explains: ‘My home town is Cardiff and one of my earliest memories is my mum taking me to the museum. I remember her telling me the exhibits had been donated. Now I’m in a position to make a donation myself. Photography has been wonderful for me and

doing this is a way for me to give something back.’

Swaps: Photographs from the David Hurn Collection of Photography will be on display at National Museum Cardiff from 30 September to 11 March 2018. For details see

Join this Society workshop at Bath HQ on Saturday 9 September to learn how to creatively use different sorts of deliberate camera movement. For details see page 633 VOL 157 / AUGUST 2017 / THE RPS JOURNAL / 567

568 | IN FOCUS

RPS IPE SHORTLIST SELECTED Exhibition will tour from October

A total of 357 photographers have had their images selected for a ‘very strong’ 160th RPS International Photography Exhibition shortlist. The photographers, shortlisted from 5,394 entries, had submitted prints for the selection panel to make their final choice. The exhibitors and award winners will be revealed shortly. For details visit

Pigment by Andrea Zvadova

Mother Nature by Avery Holland AGM


REGISTERED CHARITY NO. 1107831 Notice is hereby given that the annual general meeting of the Society will be held at Fenton House, 122 Wells Road, Bath BA2 3AH on Saturday 30 September 2017 at 10:15am. The business of the meeting will be:

To receive the minutes of the 2016 annual general meeting as previously circulated To approve the trustees’ report and accounts for the year ended 31 December 2016 as previously circulated To authorise the Council of The Royal Photographic Society of Great Britain to

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appoint and to agree a fee for the Society auditors To receive the results of the Society’s 2017 elections To approve revised by-laws and rules of the Society By order of the trustees.

Dr Michael Pritchard Chief executive

The registered office of The Royal Photographic Society is Fenton House, 122 Wells Road, Bath BA2 3AH. Note: the minutes of the 2016 annual general meeting, together with the trustees’ report and accounts for 2016, and proposed by-laws and rules for approval by the Society’s membership, will be available as a download from the Society’s website on or after 1 August 2017. See


SUMMER SOJOURNS Travel broadens the mind

A Buddha’s Birthday Celebration 2017 by Jennette Russell LRPS

LONDON REGION ‘BIG PROJECT’ UNVEILED Following the popular Breathing London project, in which participants photographed the UK capital’s open spaces, the London Region has announced a new ‘big project’ – Celebrating London. This aims to

highlight the capital’s cultural diversity ‘through feasts, fairs, festivals and events, large and small’. Celebrating London will be officially launched at the end of September.

Enquiries to

Machu Picchu by Dan Carpenter

HISTORIC NEW AWARD The first Historic Photographer of the Year Awards, organised by online travel guide TripHistoric and supported by the Society, is open for entries. The competition aims to ‘celebrate and capture the very best historic places and culture

sites across the globe’ and judges include broadcaster and historian Dan Snow. There’s a top prize of £2,500 and the closing date is 26 September.

To enter, see photographer.

s I write this temperatures are soaring and we have just seen the hottest day in June for 40 years. When you read this though, it will be August, a month that on average sees 13 days of rain and a 63 per cent likelihood of a wet bank holiday. I love photographing in the rain, but after a rather costly camera repair to rescue a drowning sensor I’ve changed the balance of my wet weather modus operandi in favour of looking at pictures rather than making them. I used to feel that the UK was behind the pace in affording photography its rightful place in the art world. Thankfully, it is no longer seen as the poor relation and nowadays a good exhibition is never too far away. While planning my ‘to visit’ list I became even more aware of the rise of multidisciplinary shows – sometimes collaborative, but in many cases an entire installation from one author. If this trend continues the Society faces some interesting challenges and opportunities in the future. How do we ensure that we embrace collaboration and multidisciplinary art forms yet still retain our photography-pure core? I hope this is something that the Society will be discussing over the next few years, but meanwhile, what to see during the August rains. Belfast: Gábor Arion Kudász – Memorabilia. The estate of Hungarian painter Emese Kudász,

photographed by her son (Belfast Exposed). Cardiff: Agatha Christie – A Life in Photographs. A fabulous opportunity to see the ‘queen of crime’ through the family albums (National Museum and Gallery Wales). Edinburgh: Ed Ruscha – Music from the Balconies. Ruscha’s career through his photographs and paintings (Scottish National Gallery of Modern Art). Gateshead: Adam Pendleton – Shot Him in the Face. A multidisciplinary installation promising ‘layers upon layers’ of the artist’s work (Baltic Centre for Contemporary Art). Glasgow: Polygraphs. Investigating ‘truth, fiction and evidence’ through works drawn from the collection of Glasgow Museums (GoMA). Liverpool: Portraying a Nation: Germany 19191933. The story of the Weimar Republic through the lens of August Sander and the brush of Otto Dix (Tate Liverpool). I’m already planning the optimum route and packing the camper van. The sound of rain hammering on the roof will be a happy reminder of childhood holidays … DEL BARRETT ARPS

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Ghostly portrait on display at Royal Academy of Arts

The 2017 Society Awards ceremony, sponsored by The Macallan, are on Thursday 21 September at The Royal Society, 6-9 Carlton House Terrace, London, 6-10pm. Entry by ticket only. Contact the awards manager, Jo Macdonald, on 01225 325721.

A pinhole camera image by Caroline Silverwood Taylor ARPS has been selected for the summer exhibition at London’s Royal Academy. Created using a Zero Image pinhole camera, Ilford Pan F Plus film and a 20-minute exposure, the photograph shows Taylor’s son at the kitchen table. It’s from her series Indecisive Moments, which plays with Henri Cartier-Bresson’s ‘decisive moment’ concept. The exhibition is on show until 20 August.

To see more of Taylor’s work, visit


Pinhole by Caroline Silverwood Taylor


2017 winner Food for God by Shoeb Faruquee

Entries are now being accepted for the Pink Lady Food Photographer of the Year 2018 award. This year’s judges include chef Ferran Adrià. The closing date for entries is 6 February 2018. Visit pinkladyfood photographeroftheyear. com

MIKE LEWIS Mike Lewis, the Society’s South Wales regional organiser, died suddenly on 17 June. He was 62. Lewis had been a member since 2001 and began volunteering as a regional organiser in 2015. He was also the chairman of Barry Camera Club and an Honorary Fellow of the Welsh Photographic Federation. An announcement on the Barry CC website said that Mike Lewis ‘will be greatly missed by all’.

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365 AMERICANO By Martin Erhard ARPS I was in London visiting a photo exhibition and stopped for tea at the Festival Hall café, where this image presented itself as a reflection in the window. The spotlights in the ceiling illuminating the subject gave this silhouette effect. This photograph was shot on my Fuji X Pro1 with an 18mm lens at ISO 1,600 and was converted to black and white using Nik Silver Efex Pro 2.



Submit photographs for the next competition at rps– REFLECTION OF SULE PAGODA By Htet Aung The Sule Pagoda is a Burmese stupa located in the heart of downtown Yangon. It is surrounded by busy streets, a market and colonial -era buildings, including the Supreme Court building and Yangon City Hall. I captured this image using a Sony Alpha 7R coupled with a Sony FE 16-35mm f/4 ZA OSS lens, using the camera setting f/5.6 at 1/125sec and ISO 100.

WINTER’S GREYS By Shawndra Hayes-Budgen I paid a visit to the botanic gardens in Denver, Colorado, just as the light began to fade. The ponds were trying to thaw and the reflections in the still water were eye-catching.

Although the photograph appears to be black and white it was captured in full colour, with the lighting adjusted in Photoshop. This was taken with a Panasonic Lumix DMC-TZ3 set to ISO 100 and f/4.6.

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572 | IN FOCUS |


Winning entries from the 2017 competition celebrate canine charms, chosen from more than 10,000 entries from 74 countries. Images from the competition’s 10 categories are on display. The exhibition is free to visit by appointment. dogphotographeroftheyear.


This summer marks a double anniversary for Impressions Gallery: it is 45 years since it was

established in York and 10 years since its relocation to Bradford. As part of the celebrations, the gallery is showing the first retrospective of Bradford-born photographer Liza Dracup. Field Work features selected images from her innovative bodies

of landscape work, which are inspired by historic processes but made using digital techniques. They include the nocturnal woodland landscapes of Sharpe’s Wood (2007) and her most recent series, Landmarks.

KEEP MOVING STILL Royal Devon and Exeter Hospital UNTIL 31 AUGUST

This is an exhibition of work by five members of Exeter Camera Club: Alan Bastin LRPS, Di Wilkins LRPS, David Snowden ARPS, Miranda Wood LRPS and John Sanders ARPS. Focusing on dance and movement, it illustrates various approaches to recording the work of performing artists.

SCOTLAND’S FAR NORTH Street Level Photoworks, Glasgow UNTIL 27 AUGUST

These photographs from the late 1970s offer insights into Scotland’s remote landscapes, islands and people. The three bodies of work on show are Glyn Satterley’s documentary series on Caithness and Sutherland, Chick Chalmers’s work shot in the Orkney Islands and Tom Kidd’s images of Shetland.

SHADOWS OF WAR: ROGER FENTON’S PHOTOGRAPHS OF THE CRIMEA, 1855 Queen’s Gallery, Palace of Holyroodhouse, Edinburgh 4 AUGUST-26 NOVEMBER

In February 1855 Roger Fenton, one of the Society’s founders, travelled to the Crimean War in a converted horse-drawn wine merchant’s wagon. This exhibition features 60 photographs he made during the conflict.

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Muybridge’s experiments recording motion in the 19th century made him one of the medium’s great pioneers. This exhibition features 65 collotype prints of animals and people from Muybridge’s series Animal Locomotion, made by the photographer in 1887.

Women, Children and Loitering Men

Manchester Art Gallery; until 28 Aug Sergey Ponomarev: A Lens on Syria

Imperial War Museum, London; until 3 Sep Perfect Chemistry: Photographs by Hill and Adamson

Scottish National Portrait Gallery, Edinburgh; until 1 Oct Gregory Crewdson: Cathedral of the Pines

The Photographers’ Gallery, London; until 8 Oct







574 | IN FOCUS One of Dr Hersh Chadha ARPS’s images goes weightless


PORTRAIT DEBATE The perceptive if provocative account by David Noton FRPS in the July issue of The Journal, seconded by the Travel Group Chair, prompts me to offer a third opinion. As a general rule I try to engage in brief conversation with my potential subject, while assessing lighting, background and stance. Then I make three exposures – in vertical and horizontal formats, plus a close-up. If language is difficult I produce a card of portraits from around the world, prepared for this purpose. This proves (i) I know what I am doing, and (ii) I am innocently adding to my assembly of ‘faces’. It helps if you can convey that your request is a compliment. Dr RM Callender FRPS

FLASH POINTS Still time to enter competition The Society and the Royal Society for Public Health are co-hosting a new competition, Flash Points: A Photographic Exploration of Health Across the Life Course. Entries are invited that ‘explore the dynamic relationship between health and different stages of life’. The overall winner will be awarded £750 and the closing date is 6 August. Full details are available on


Dr Hersh Chadha ARPS’s flower pictures boldly go on International Space Station

A Society member has seen his photos become the firstever permanent exhibition of photographs in space. In October last year Dr Hersh Chadha ARPS, right, an Indian photographer based in Dubai, sent five of his photographs of flowers to the NASA International Space Station team. It followed years of efforts to have his images displayed on the station – until Colonel Valery

Korzun from NASA’s Star City in Moscow arranged for the images to be taken into space. ‘My purpose was to let the people who live on the space station for so many months still be connected to Mother Earth,’ said Chadha. Cosmonaut Sergey Ryzhikov said the photographs were

‘part of the support that we had on board’. During the six months of the International Space Station’s most recent mission, Chadha’s photographs travelled 115,200,000km (69,120,000 miles). They continue to orbit the Earth.

Professor Afzal Ansary experiences virtual reality with Professor Adnan Tufail

MEDICAL GROUP SUCCESS London OCT symposium attracts capacity audience

Ophthalmic OCT Imaging 2017, the Medical Group’s one-day symposium held at and in collaboration with London’s Moorfields Eye Hospital, attracted a capacity audience to the event last month. The symposium drew some 50 attendees keen to hear more about improvements in ophthalmology made possible through the employment of ocular

coherence tomography (OCT) imaging. Chairman of the Medical Group, Professor Afzal Ansary ASIS FRPS, chaired the event on 10 June. He spoke in his welcome address about the background to OCT imaging and its rising importance as a diagnostic imaging tool in ophthalmology. Society president

Walter Benzie HonFRPS also addressed attendees. Six renowned speakers – including Professor Adnan Tufail, clinical and research lead at Moorfields Eye Hospital for age-related macular degeneration – discussed subjects including the developments made at the cutting edge of ophthalmic diagnostic imaging, such as virtual reality and artificial intelligence. A selection of photographs from the International Images for Science Exhibition 2016 was also on display. The symposium took place with the support and sponsorship of the Science Photo Library, Heidelberg Engineering and Egton Medical Information Systems. It was also supported by Moorfields Eye Hospital. The chair also thanks Kulwant Sehmi FRPS, Gary Evans ASIS FRPS, and particularly Bob Tapper ASIS FRPS, the symposium convener.


HISTORY OF THE RPS MEDICAL GROUP AND MEDICAL IMAGING The Medical Group is a long-established special interest group of The Royal Photographic Society, and was founded in 1946. While science has always been an integral part of Society activities, it has recently been actively promoted through the International Images of Science Exhibition, established in 2011.

Soon after photography was invented, French neurologist Duchenne de Boulogne used it to capture facial expressions triggered by electric stimulation, in order to study the ‘physiology of emotion’. And in 1887, Dr Lucien Howe produced the first photographs of a living human retina. But it is Jackman and Webster who are deemed the first to

publish images of the fundus, in 1886, which showed huge corneal reflex, with the optic disc just about visible, using an exposure time of two to three minutes. Today, the visual documentation of patients is integral to healthcare and advances in technology mean the role of patient imaging has vastly improved.


LRPS May 2017 Cynthia Bartle, Lincolnshire Irene Berry, Cleveland Donald Cooper, Surrey Susan Devlin, Billingham Keith Dixon, Lincolnshire Judith Edbrooke, Newark Annette Field, North Yorkshire Laura Hacking, Lancashire Rais Hasan, West Yorkshire Anthony Kent, Nottinghamshire Elizabeth Jane Lazenby, South Yorkshire Gary Orgles, Lincolnshire Alexandra Prescott, Newcastle Upon Tyne David Purnell, Cleveland Dave Richardson, North Yorkshire Sara Sault, Yorkshire Ian Thoms, Middlesbrough Gerben Van Dijk, Durham Ian Walker, Lancashire Horst Witthueser, Germany Micheala Jane Karen Young, Lincolnshire LRPS May 2017 Exemption Sophie-Anna Brough, Kent John Walker, Norfolk LRPS May Referral Pauline O’Brien, Ireland

A multicolour image showing retinal angiomatous proliferation in age-related macular degeneration, left, and the same eye showing the level of cross section (green line) and corresponding OCT image

LRPS June 2017 Moira Chalmers, West Sussex Stephen Green,

Oxfordshire Michael Hendon, Avon Jeff Johnson, Hampshire John Kulikowski, Lancashire Jo Shepherd, Avon Heidi Swire, Cornwall Philip Welch, Warwickshire David Whitehead, Northwich LRPS June 2017 Rosalie Arran, Denbighshire Jim Coleman, Hampshire Clare Collins, Surrey Sheelagh Davidson, West Yorkshire Jakub Formela, Poland Glynis Harrison, West Midlands Russell Hoban, Dorset Ranjani Perera, Western David Rutter, Berkshire David Smith, Hampshire Holly Stranks, Suffolk Paul Wagstaff, South Yorkshire ARPS FINE ART June 2017 Nathaniel Coalson, Leicestershire John Devlin, Cleveland Martin Farrow, Hampshire Stephen Hutchins, Belgium Da-Wei Jiao, Taiwan Andy Leung Yue, Hong Kong Lynda MudleSmall, Cornwall Colin Prickett, Northamptonshire David Snowden, Devon Anthony Wright, Kent

VOL 157 / AUGUST 2017 / THE RPS JOURNAL / 575 Our Revolution is to expose the BEST for free. To inspire & educate. If you have outstanding street photography, street-portraits, street art-photography, street-documentary or have something impressive to say about the past, present or the future of street photography, then we'd like to hear from you. Visit the new website to discover more.

Refocus your attention


R Keith Evans FRPS reports on the Art UK sculpture project


s announced in July’s issue of the Journal, the Society is seeking volunteer photographers to participate in a new venture. Art UK Sculpture, organised by Art UK and the Public Monuments and Sculptures Association (PMSA), has an ambitious plan to record all of Britain’s more than 160,000 sculptures and monuments in the public domain. The project is expected to last until 2020 and, as with Art UK’s online library of Britain’s publicly held paintings, the resulting photographs will be available on its website. The Society was approached by Art UK with a

pilot scheme to investigate the project’s practicality. Fenton House and its facilities were made available for a training day in the autumn of 2015, and I was one of two photographers invited to take part. Together with Nikki Hazelton, a photographer/ lecturer at the Colchester Institute, I was instructed in the scope of what was to be recorded – publicly held sculptures and monuments dating from about 1603 to the present day. Professional photographer Colin White, former head of photography at London’s National Gallery, was working as a consultant for the sculpture project and told us the precise capture and recording techniques required. For example, any

A 30ft-long neoclassical frieze is captured in a single shot in Bath







MONUMENTAL UNDERTAKING Volunteers need to record all of a subject’s important details

freestanding structure such PMSA had selected for as a statue is to be shown in photographing, recording and seven separate images, and submitting to Art UK. additional photographs About 25 project teams will should record any important be established throughout details such as plaques Britain. The project’s public and inscriptions. sculpture manager and We were then each given photography manager will be recording sheets and asked to responsible for briefing capture specific monuments volunteer photographers. It is in Bath city centre. The likely that several hundred recording sheets were as will be appointed during the important as the photographs, project’s timescale. calling for us to note such Art UK plans to start details as the subject’s the sculpture precise location, date, photography in late maker, material, summer, when it condition and will be seeking accessibility. volunteers across In the spring of the country. 2016 Nikki and I were each given a See future issues list of monuments of the Journal – hers in Essex, for project Seven views mine in Kent – updates and the of each work which the call for volunteers are required


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| BOOKS | 579 HENRI CARTIERBRESSON: INTERVIEWS AND CONVERSATIONS 1951-1998 Edited by Clément Chéroux and Julie Jones Aperture (£15) Cartier-Bresson’s influence has been huge, yet he wrote relatively little about his work. Published in English for the first time is this collection of 12 interviews with him, mostly in a question-and-answer format. Subjects range from camera techniques to religion, and his candid responses reveal him as intelligent, playful and – above all – passionate about photography.

A great grey owl, one of a series on this species in the book


Finnish photogapher reminds us why he left business behind

BIRDS IN PICTURES Markus Varesvuo Reed New Holland (£30)


Markus Varesvuo gave up a 20-year career in the business world in 2005 and did what many others dream of doing: he turned his longtime hobby of watching and photographing birds into a successful professional career. Since then the Finnish photographer has won World Press Photo and the GDT European Wildlife Photographer prizes, and published several books of his ornithological photographs. His latest book, Birds in Pictures, is a 384-page tome concentrating on species of the Western Palearctic. In the introduction, he states his ambition of

Great grey owl: ‘there should be a story,’ says Varesvuo

‘raising the bar with every photograph that I publish’. Technical excellence is part of this aim, but he also says that ‘there should be a story, either evident in the picture itself, or by the picture evoking strong feelings that transport the viewer to a memory, a dream, an idea’. Varesvuo says he approaches each bird as an individual that can ‘always surprise and teach you something new’. The result is a stunning collection of images. They range from close-up wide-angle shots, including a visceral picture of gannets plunging in to the sea to feed, to serene scenes such as whooper swans in flight against the backdrop of a cloudless blue sky. There’s a chilly feel to many of these images, having been mostly shot in remote and often snowy regions of northern Europe, and the light is crystal clear. The book is beautifully designed and maximises the visual variety and impact of the photographs. Perhaps the most powerful section features a series of images of great grey owls including a page-filling shot of an owl’s face and others such as one soaring in flight, backlit against a black background. ‘With Birds in Pictures I hope to lure you into the world of birds,’ writes Varesvuo. And he does.

THE LEAGUE OF EXOTIC DANCERS: LEGENDS FROM AMERICAN BURLESQUE Kaitlyn Regehr and Matilda Temperley Oxford University Press Academic (£22.99) Temperley’s latest book tackles Las Vegas burlesque dancers. They range from young ‘neo-burlesque’ performers to sequined and tasselled veterans well into their eighties. Complemented by Kaitlyn Regehr’s detailed, analytical text, Temperley’s images celebrate her subjects in dynamic performance shots, informal documentary images and posed portraits. See page 614 50 YEARS OF ROLLING STONE: THE MUSIC, POLITICS AND PEOPLE THAT CHANGED OUR CULTURE Rolling Stone and Jann S Wenner Abrams (£45) A constant presence on American news-stands since 1967, photography has always been central to Rolling Stone’s appeal and this entertaining book is filled with iconic and lessknown images by luminaries such as Annie Leibovitz HonFRPS, Herb Ritts, Mark Seliger and Sebastião Salgado HonFRPS. VOL 157 / AUGUST 2017 / THE RPS JOURNAL / 579


Distinctions are standards of achievement recognised throughout the world

LRPS Applicants need to show good photographic competence in five key areas

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ARPS Evidence of a creative ability and personal style, plus complete control of the technical aspects of photography

FRPS Our highest Distinction is given for excellence and a distinguished ability in photography


Emotion Through Image


My portfolio is a collection of images taken over the past five years showing singers, circus and burlesque performers, backstage and during the show. The inspiration behind the collection is, of course, the performers themselves. I love circus and performance, and this is a great opportunity for me to get involved through photography. I put this set together as probably my final body consisting only of black and white images – I increasingly work in colour. Black and white is my default setting. I often will look at images in monotone to check them over before converting them back to colour for the client. This collection was curated from existing images rather than being conceived and then shot. At least one image is five years old, while the most recent was taken two months ago. I would recommend that anyone wanting to achieve a Distinction should consider attending an advisory day. None of my pictures was rejected, although one image was cropped. The advisory day showed me how important the layout was – each picture has to ‘look’ towards the middle. Once I got that, the images came together as a cohesive presentation rather than as a collection of images on a wall. I then changed two pictures for photographs that fitted better the overall look of the set.


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Emotion Through Image


Strength and balance


Something wonderfully vulnerable here – David with his bandaged knee and slightly nervous expression, almost naked on stage, and the audience not quite sure what will happen next


Preparing for a show, the bustle of getting ready, and the reflective pause of the performers

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In preparation for taking her cabaret show to the Edinburgh Festival Bebe performs above a pub in Fulham


Charming, funny and an excellent balancer, Danik on poles during a warm-up for the circus show Limbo

STATEMENT OF INTENT This is a collection of images taken over the past five years of singers, circus and burlesque performers, backstage and during the show. I’ve been working alongside a school of burlesque for several years as the students go from their first lesson to first performance, while with a circus troupe I would ideally work with them through the run of a 584 / THE RPS JOURNAL / AUGUST 2017 / VOL 157

show rather than as a ‘one-off’. By doing this I’m able to capture images that reflect the character of the performers, the preparation and hard work that go on before the show and the energy and fun of performing, as well as the full impact of the show. I have chosen to work in black and white as I prefer the contrasts and focus on subject without the distraction of colour.


Emotion Through Image


This was taken at an event organised by Lady May to raise money for charity. Lady May works tirelessly to

support and help others: coach, organiser, sister, confidante; performer, firebreather, friend


TREVOR YERBURY FRPS Chair of the Applied panel An unusual and very engaging set of images that, for me, echo the decadent era of 1920s Berlin. The gritty, grainy black and white images help create the feeling and mood that the author intended.

It is an excellent example of a well-conceived project undertaken over a time period of five years. The panel had several favourite images, especially image No.3 which demonstrates the author’s visual awareness of showing a different viewpoint. I loved images 10 and 15, which show

the atmosphere, while image No.5 is a superb shot. All the images have been taken in very difficult lighting conditions but they retain a consistency of quality, which is to be commended. All in all it is a very well presented portfolio that captures the backstage and show performers.


‘Taken in very difficult lighting conditions, the images all retain a consistency of quality’


Angus Stewart ARPS is a London-based photographer working primarily in documentary photography and portraits

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Tsai King Chee

ARPS – APPLIED PHOTOGRAPHY I wanted to present the spirit of horse facing fans – or gamblers – at a Hong Kong racecourse; to show the ups and downs through their expressions during the race. I have had many friends involved in racing events,

with little understanding of the horses they see every week. I don’t think they are interested in the horses at all. Although gamblers usually lose money they are involved in every horse racing activity held. Hong Kong is a crowded and congested city, and its people are under a lot of pressure. They need ways to reduce that pressure – and gambling is one way to do that. Having witnessed this for a while, I decided to focus

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‘I DON’T THINK THEY ARE INTERESTED IN THE HORSES AT ALL’ on horse racing fans for my project. I took about a year to shoot and sort out the images, repeatedly visiting the racecourse and observing the emotions of its gamblers. I think I now have a better understanding of Hong Kong society.

The first images capture the gamblers’ emotions while they wait for the race to start. They are always struggling to choose the horses they think will help them win. It’s all about winning. Then my images show their anxiety as the race starts. All shouting the name of the horses they have bet on, they can’t be bothered with what’s happening around them because they are so engrossed in the race.


Emotion Through Image

STATEMENT OF INTENT Is horse racing a sport? Most of the Hong Kong racing punters would say ‘no’. To them it is just a gamble. Most of the punters do not care about the horses’ performance, strength or quality. They just use their

sixth sense and place their bets. All they want is a moment of excitement. Perhaps in such a busy and hectic city as Hong Kong horse racing serves as an outlet for the punters to release some of the stress and pressure they feel.


The end of the race brings joy as well as disappointment BELOW

Runners and riders contend for the lead BOTTOM

Racegoers study the form before the starting gate drops

When the race ends some jump with joy, some shout loudly and others are disappointed. In the end, because of the release of emotion, all leave without the pressure they’d been under. The racecourse is again left with a feeling of emptiness. If I were to advise anyone interested in an ARPS I would suggest they observe what’s happening around them, especially in places they are familiar with. VOL 157 / AUGUST 2017 / THE RPS JOURNAL / 587



Tension and anxiety are clear to see once the race is under way

The empty stadium after the buzz and excitement of the races


‘A well-presented portfolio that captures perfectly the mood of the races and its spectators’


Tsai King Chee ARPS lives in Hong Kong and has been involved in photography for more than 25 years

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TREVOR YERBURY FRPS Chair of the Applied panel An excellent panel of images depicting a race day in Hong Kong. The author must be congratulated in presenting a portfolio that conveys not only the obvious day of racing with the three ‘horse racing’ images but shows the emotions of the crowd as they watched their favourites on their way to winning or losing their wagers. What the panel loved about this series of images were the beautifully captured portraits of race goers with their betting slips and racing papers, and the expressions of those who had won and those who had lost. Also noted was the final image showing the empty stands and the litter of abandoned betting slips of those whose dreams of fortune had been dashed at the winning post. A well-presented portfolio of images that captures perfectly the mood of the races and its spectators, and the use of black and white again helps concentrate the eyes of the viewer.

Clive Arrowsmith FRPS ‘‘Lowry at Home: Salford 1966' at The Lowry, Manchester, until 24th September

See first-hand why the finest photographers work with Genesis Imaging Book your free consultation at

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From war zones to US gun culture and apartheid to his own neighbourhood, the human condition is at the heart of Zed Nelson HonFRPS’s work, finds Lucy Davies

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592 | DOCUMENTARY | CHRISTOPHER, CHEST WAX, 2009 (previous page, left) be judged by, our My aim was to appearance. I have a produce a body of growing sense of our work, Love Me, that culture reaching a encourages every one fever pitch of of us to question our self-consciousness, own place in a culture driven by an industry that compels us to that breeds insecurity. constantly judge, and


n his younger days, ricocheting from Azerbaijan and Somalia to Angola and Afghanistan, Zed Nelson always made sure he had a Monty Python tape in his bag. ‘Listening to something very funny and very English when I was in a dangerous place, it grounded me,’ he says. He once admitted to taking a pillow, too, because ‘a bad pillow can be your undoing’. He seems mortified when reminded of it. ‘It’s hardly what James Nachtwey or Don McCullin would do, is it? I seem to be racked by normal human concerns.’ Joke he might but Nelson, now 51, has earned his right to sleep comfortably. Throughout the 1990s he filed hardhitting stories of war, feud, famine and mass burial from some of the most

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BOXER, 2011 (previous page, right) This is from a series on shipbuilders, and so on. I always go to them ways of life and and build a studio, so I industries that are can capture a moment disappearing from where they’re sort of Britain. It began when engaged in what they Margaret Thatcher do. It yields a different announced the coal pit type of image to closures, in 1993. I’ve anything I could set up. visited fishermen,

troubled countries in the world. In Kabul, the car he was in was machine-gunned from both sides, killing the interpreter sitting beside him, and he caught dengue fever while camping in the jungle with the French Foreign Legion. In recent years, his work has taken a more conceptual turn, zeroing in on what causes conflict rather than merely documenting its grisly outcome. ‘I had started out with this immense sense of idealism – it was quite naïve,’ he says. ‘It was all about using photography as a tool to change the world, draw attention to injustice.’ After 10 years, though, he was disillusioned, especially with the media, which he felt tended to oversimplify his stories. ‘I was writing 1,000-word captions for my images out of sheer frustration,’ he says.

FRENCH FOREIGN LEGION, FRENCH GUIANA, 1995 I was interested in the myth of the French Foreign Legion as a sanctuary for misfits and criminals. Partly it’s still like that. The training is brutal; this was for jungle warfare. Over two weeks they made me march and camp with them. They thought it was funny to try to scare me too. There’s a lot of machismo, but also this strange homoeroticism, where they cut each other’s hair and walk around in tight PE shorts.

HACKNEY, 2011 Kingsland Road in Hackney became my studio for a while. I photographed a lot of passers-by. Although born in Uganda [Nelson’s parents were journalists], I’ve lived in Hackney since I was three. I wanted to survey the exaggerated disparity of wealth that has arisen there: crimeridden and dilapidated in parts, it is also home to the new tribe of urban hipsters. It was also a way of reminding myself of the simplicity of taking pictures.


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Sick of photographing conflicts in the developing world in which people were killing one another with American guns, Nelson took a ‘clear decision’ to tell stories that ‘broke clichés’. ‘So I turned my camera on America, where 30,000 people are shot and killed every year.’ Published as a book in 2000, Gun Nation won five awards and received around 200 pages of editorial, including the cover of Time magazine. Nelson began a lecture tour in America, at which

hundreds of protesters would gather. ‘It felt good ruffling feathers,’ he says. Awarded an Honorary Fellowship of the Society in 2008, a year later he published Love Me, exploring the beauty industry’s exploitation of human vanity for profit. To make it, he visited 17 countries. The finished project included proverbs, philosophy, poetry and statistics, and in 2011 was nominated for the Deutsche Borse Photography Prize. Nelson has also applied his flair for


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DOLLY PARTON, 2011 I quite like doing celebrity portraits: they’re like big-game hunting, because you’re given very little time and you have to think on your feet. It really tests you. She was incredibly gracious and conversational, but her manager stood over me watching like a hawk. They had 15 shoots and 15 interviews in one day and were running it like a military campaign. I’d set up in the room next door, but I’d identified that there was a bedroom attached, and I asked her if she would sit in there for a moment. I was lucky she agreed. FAMILY ON NEW YORK STREET, 2001 I had been doing a lot of work in America in the run-up to 9/11, so when the attack came I felt compelled to go out there again, because I knew this incident was going to change things dramatically. This picture was one of several I took on the streets of New York in the days afterwards, as people tried to come to terms with what had happened and what it meant. This was a Muslim family.

SARAH READ, 1997 Sarah’s father owned a gun store in Memphis, Tennessee. She was 10 years old, and she’d had a .410 shotgun for Christmas. People were really pissed off when that story came out, because it was holding up a mirror to a society that they didn’t want to see. They wanted to blame shootings on gangs or criminals, and my point was that if you manufacture weapons in vast numbers and make them freely available, of course there’s going to be a trickle-down effect.

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SOUTH AFRICA, 2014 It was 20 years after the end of apartheid and soon after Nelson Mandela’s death. I was looking at whether apartheid had ever really gone away, and at how inequality has remained embedded in South African society. This guy was a property developer, selling one of his houses in Cape Town for millions of pounds. Behind him is a servant who worked in the house. I didn’t move him into the picture, he was pottering around in the background. What we might see as slightly awkward, people there, they see as completely normal.

CHILD IN A RED CROSS AMBULANCE, NAGORNO* KARABAKH, 1992 I was inexperienced, young and went to the region on a wing and a prayer. It was very surreal: I’d be sipping tea with soldiers under cherry blossom in the rolling hills – it was very picturesque, very civilised – then a few miles away, at the front line, people would be shooting at each other from trenches. Sometimes Russia-supplied missiles would be fired from a truck, 20 at a time. These sleepy little villages with their twittering birds would be completely devastated. It still feels like a strange dream.

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storytelling to making films. It began when a big story about environmental pollution in Texas came out, ‘and I didn’t feel like it had done it justice,’ he says, ‘so I made a film.’ Shelter in Place, the story of those living in the shadow of the loophole-filled legislation governing the petrochemical industry, was followed by two documentaries about migration in the Mediterranean, both of which were commissioned by Channel 4. Film offered ‘a little bit more control’, Nelson says, ‘but I’ve always worked more like a filmmaker than a photographer. I was always interviewing people. I loved it when I could hear dialogue playing in my ear when I looked at the pictures. Then I realised, “I can actually record this interview.”’ Although he turned to it from a place of frustration, filmmaking has renewed his love of photography. ‘It’s simpler, more direct, and more achievable. It’s definitely cheaper. That’s my only motto when I’m working: ‘don’t ever add it up. You’ll freak yourself out.’

PROFILE ZED NELSON HonFRPS An award-winning documentary photographer who has worked in areas of conflict across the world, Nelson has turned his focus on western society with an increasingly conceptual approach. His work has been exhibited at Tate Britain, the ICA and the National Portrait Gallery, and is in the permanent collection of the Victoria and Albert Museum. See more at


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Paul Tuge where he hid after a shootout with a policeman, Lakeside, Benoni. 18 February 2010

SHADOWLANDS Famed for his apartheid-era images, David Goldblatt HonFRPS tells Mo Connelly LRPS why he visited crime scenes with former offenders


orn in 1930, the son of a Jewish shopkeeper, David Goldblatt HonFRPS grew up in the small mining town of Randfontein, South Africa. Although from a privileged background, he understood what it was to face discrimination. He began working life in the family business, a men’s clothing store, but pursued his passion for photography after his father died. He felt compelled to document the social and political landscape around him – blighted by apartheid and brutality. Now 87, he recently completed a project photographing ex-offenders from South Africa and Britain at the scene of their crime. Mo Connelly LRPS, chair of the RPS Documentary Group, interviews him as his latest work is exhibited at HMP Birmingham.

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hotography enabled me to be in places that I wouldn’t have been in otherwise, and also demanded the beginnings of coherent thought on the society in which I lived. Life magazine, Look magazine and Picture Post from London stimulated my interest in photography … Photographers were distinctly lacking in my part of the world – they were either members of camera clubs or news photographers. I was entirely self-taught. You can learn as much technique as you like but that doesn’t make you a good photographer. The eye has to be there, but the ability to recognise the situations that lead to interesting photographs is something you have to find within yourself and cultivate. I’ve been very privileged throughout my life. I’m white and had a very good education. I came from a good middleclass Jewish family. There TURN TO PAGE 602

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Here, on this bed, in 2007, Ellen Pakkies strangled her son Abie, Lavender Hill, Cape Town. 12 September 2010 MIDDLE

Hennie Gerber where he tortured and then murdered Samuel Kganakga, Heriotdale, Johannesburg. 14 April 2010 ABOVE

South African photographer David Goldblatt

was born in 1968, brought up in Nelspruit. Morals and values were respected in my family. My parents are good people. I became a policeman when I left school. My first crime was on 3 April 1996. My friends convinced me to join them. They planned to hijack a Fidelity Guards cash van. They wanted me to escort them in a police van. We were seven: four policemen, three military. We had somebody inside Fidelity Guards giving us information. On the day we went to a mall to wait for the van. We wanted to do the robbery there, but the Fidelity Guards were too quick so we followed them –the guys in a car behind, me at the back in the police van. As we approached a curve in the road they told me to block the cash van. I did that, and the others came out shooting. They had AK-47s, 9mms, a rifle. The Fidelity Guards returned fire. Two guards were shot. One died. Our inside man was injured. We took the money, got away. I went to the police station, did my shift, knocked off. Got my share, R75,000 (£4,400). I wanted to go home to Nelspruit to start a business. We were all arrested that night. Police surrounded my house. They had a helicopter overhead. They hit me in the face. I was bleeding. I had two beautiful daughters; one was two weeks old. We tried to smother the case, bribe the officers, but journalists were involved by then. We were sent to Pretoria Central Prison. We met Colin Chauke there, famous for hijacking cash vans. He and his gang were on trial. They were planning an escape, invited us to join them. He gave guards money to bring in guns, hidden in loaves. Colin and his guys escaped; we failed. That night they took us to C-Max, the maximum security prison. It’s like Alcatraz. The treatment there was terrible. Survival of the fittest. I’ve seen guys killed and raped. I was stabbed, not fighting with anybody but because people hated the way I behaved. I didn’t smoke or drink. I was isolated.


Sammy Matsebula where he took part in a cash heist on 3 April 1996 in Lenasia South, Johannesburg. 14 June 2010


I didn’t like my co-accused company because they were into gangs. I was sentenced to 96 years, reduced to 22 because I was a first offender. They confiscated everything in my house I didn’t have a receipt for. My bank accounts were frozen. I had nothing. When I was in prison I read in the newspaper that my wife and oldest daughter died in a car accident. Police were chasing some gangsters who collided with my wife’s car. When I saw that I collapsed, spent months in a coma. I didn’t know who I was. When I came round I was like a mad person, a living corpse, waiting for my burial. I attended counselling. It was a wake-up call for me. I was sent to Zonderwater Prison.

'I WAS STABBED BECAUSE I WASN’T INTO GANGS. I’VE SEEN GUYS KILLED AND RAPED’ Started going to church, joined a soccer team and became famous, because I was a very good player, a dribbling wizard. I studied music theory and practice, conducted choirs. Did a teaching degree. I was involved in a scandal as I got close to some of the female prison officials, had affairs with them. They transferred me to another prison because of that. I’m a qualified drug awareness and HIV/AIDS peer educator, so I facilitated programmes in prison.

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I enrolled in a theology course and started preaching. I was doing so many positive programmes the parole board cut my sentence. When I came out, my wife was no longer there, my house was no longer there; life was painful. I decided to go back to prison to preach. Now I’m working at Leeuwkop Prison. I show school kids around, warn them against crime. I get paid but not much. I’m a gifted person. I’ve got qualifications in theology, music, security and strategic management. I have peer education experience. I play bass guitar, drums, piano. I communicate easily with people. I love working with kids. I’ve sent my CV to different places but I haven’t had any calls. VOL 157 / AUGUST 2017 / THE RPS JOURNAL / 601


was a lot behind me as it were. I came out of my father’s shop with enough money to live for about a year. I can only say that serendipity has been with me. I became interested in certain subjects around me in South Africa and soon discovered I needed much more than one or two pictures to talk about these things. So from early on I began to try to develop series of photographs – similar to what was being published in those magazines. We were all prisoners of what we were doing, although I have to say – and it’s not a popular view – that we were all complicit in [the South African] system. The ‘blacks’ didn’t rise up against the system, they didn’t suddenly refuse to collaborate in their own oppression. It took them a long time to do that and it was the children of Soweto who gave them the lead. Only after that did many, many, black people begin to passively resist. We live in interesting times and in South Africa events were more tragic than interesting. We have an extremely high crime rate



Jonathan Aitken in his Earl’s Court home in London, which he almost lost to bankruptcy after going to jail for perjury. 8 May 2015 RIGHT

Noel Smith’s life of crime began here, aged 14. He and a friend, playing truant, were picked up by police and forced to sign confessions to burglaries that they did not commit, Gypsy Hill, London. 22 September 2014 BELOW

Debbie Wilkes had 50 cannabis plants growing here, in her attic. Wolverhampton, 27 September 2012

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604 | DOCUMENTARY | 'I WANTED TO MEET THEM AS ORDINARY PEOPLE I MIGHT COME ACROSS IN THE STREET’ in South Africa and my wife and I – as well as my daughter – have all at some stage been in violent confrontation with crime. In 2008 I asked myself, ‘Who are the people doing this to us, holding us to ransom like this – are they monsters, could they be my children?’ I decided I’d like to meet people who’d been in trouble with the law, but didn’t want to meet them as prisoners or numbers. I wanted to meet them as ordinary people I might meet in the street. So I found out names and cell phone numbers of people who’d been released or were on parole and evolved a method of working with them. I wanted to do a portrait of each of these people, but it had to be related to the crime or offence they were alleged to have committed. That led me to decide I wanted to meet them at the scene of the crime or arrest. Not to re-enact it but simply to be there. I’m now tackling the land in South Africa, something that during the years of apartheid I refrained from, as it seemed self-indulgent. I always envied people like Edward Weston who was able to travel the west of America and photograph all sorts of things, and I don’t think he ever gave a thought to who owned the land. In South Africa you can’t do that. I guess that would be something I’d like to do a lot more.

Ex-Offenders at the Scene of Crime by David Goldblatt is to be published by Steidl. The UK project was commissioned in partnership with Multistory TOP

Emmanuel Luthuli in his bedroom at his parents’ home where, allegedly, he raped two women, Sponjane, Eshowe, KwaZulu-Natal. 30 August 2010 ABOVE

Gerry Byrne went through the roofs of pharmacies many times to rob their dangerous drugs safes, Bushbury Lane, Wolverhampton. 18 October 2012


Representations with a straightforward and accurate aim The Society’s Documentary Group unites a diverse group of photographers in the UK and across the globe. They share an interest in photography providing a straightforward and accurate representation of people, places, objects and events. Members of all abilities are encouraged to join and share in a passion for this growing genre, as well as street and urban photography.

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The group’s lively events programme ranges from informal Sunday shoots to structured workshops. It produces a quarterly e-journal, The Decisive Moment (pictured), which showcases members’ work and views. To see more of this and other special interest groups visit

THE WITNESS Award-winning photographer David Levene sees the world in daily, landscape-shaped slices, from natural disasters to music festivals. He tells David Clark what drives him

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PORT$AU$PRINCE Four days after the earthquake that struck Haiti on 12 January 2010 a man walks past a barrow

laden with corpses at the Grand Cimetière in Port-au-Prince. Death toll estimates ranged from 92,000

to 230,000 and in the days immediately after the earthquake so many dead bodies were dumped

at the cemetery that they ended up strewn throughout its avenues and walkways

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608 | DOCUMENTARY | LEKE KEDIR, 17, AT WORK Leke is the first person to have emerged from the care of the Forum

on Street Children in Ethiopia (FSCE) in Nazret, Ethiopia. She is employed at a local food factory


t’s a sunny summer afternoon and David Levene is at The Guardian’s offices in King’s Cross, London, having just returned from Kensington Gardens and the Serpentine Pavilion, designed by Burkina Faso-born architect Diébédo Francis Kéré. The structure, based on the concept of a tree in his home village, has a spreading, branchlike timber canopy. The photographer was after an image of the pavilion for the paper’s double-page Eyewitness slot. ‘I’ve just got one picture I think might

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PANAMA CITY The skyscrapers are coming and soon Boca la Caja, a slum of mud, boats and fishermen

on the edge of Panama City, will disappear in a property boom, the developers of which include Donald Trump

have a chance, because it’s something quirky,’ Levene says, examining it on his laptop. The image shows a few people photographing the building on while a dog waits patiently in the foreground. He is unconvinced it will be chosen. ‘I’m not always the best judge of my own work,’ he admits, ‘but I think it’s unlikely.’ Levene, 41, has freelanced for The Guardian since 2001. He has covered everything from natural disasters – he documented the aftermath of the 2010 Haiti earthquake – to celebrities. His tally of politicians includes Sadiq Khan, in his local curry house before

becoming mayor of London, as well as Theresa May and Jeremy Corbyn. He has become particularly well known for his Eyewitness images. The section was launched in 2005 as part of the paper’s European-style Berliner format and he says it has been ‘an amazing showcase’ for his work. Alan Rusbridger, former Guardian editor-in-chief, says: ‘People earn their slot in the paper by the value and merit of what they’re shooting. David Levene has shown himself to be one of the most consistent, reliable, original, versatile, hardworking and sharp photographers.’


THE SERPENTINE PAVILION The pavilion in Kensington Gardens designed by Diébédo Francis Kéré, 2017. Photographed for The Guardian, London

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GLASTONBURY Jeremy Corbyn addresses the crowd from the Pyramid Stage at Glastonbury Festival

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610 | DOCUMENTARY | The type of images used in Eyewitness – generally more considered, distanced shots – perfectly suit Levene’s approach. ‘The work I enjoy most is more of a documentary style,’ he says. ‘Most of my pictures are less to do with capturing the moment and more to do with some kind of epic scene, or a scene which includes a lot of detail. That’s the key to shooting for Eyewitness, having lots of things for the viewer’s eye to dart around and look at. Everything has to be in focus and it should be an image the viewer can immerse themselves in.’

VISUAL LANGUAGE Levene fell for documentary photography while studying graphic design at Camberwell College of Art in the late 1990s. He did work experience at the end of his first year at the Independent Photographers’ Group (IPG), through contact with the organisation’s photographers such as Tom Stoddart HonFRPS and David Modell. ‘I thought their work was amazing,’ he says. ‘When I went to IPG, that was it – I was completely drawn into the whole thing. Graphics is all about developing a visual language and at that point I realised photography was the best way for me to do that. I was seduced.’ After graduating he freelanced for

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'EVERY DAY HERE IS DIFFERENT. I’VE ALWAYS CRAVED THAT VARIETY IN LIFE GENERALLY’ publications including Building magazine, The Big Issue and The Independent. Modell asked him to take on a job he had been offered, photographing the former Conservative politician Michael Portillo visiting a school, and one of the pictures was used by The Guardian. He was invited in to meet picture editor Roger Tooth, who began commissioning him. Levene has been a regular since, although he works for other publications and organisations. ‘I’m a real generalist here; I’ve got to be able to do almost anything,’ he says. ‘The variety is amazing and every day is different. I’ve always craved that variety in life generally. I’ve liked to keep on my toes and have different things thrown at me. The flip side is that you never get to master any one thing and that can be frustrating – when I feel I’m just getting into sport or portraiture, I’m just not there long enough to perfect it.’

CITY The variety of images in his portfolio, from locations around the world, was an

Clockwise, from bottom left YANGON CIRCULAR RAILWAY, MYANMAR A journey on the Circle Line, which travels around the city, takes just over three hours on a service which stops at 39 stations and covers 45.9km NEW DELHI Children on the streets. Slum district of Trilokpuri, New Delhi, India CALAIS The migrant camp in Calais, otherwise know as ‘The Jungle’, doubled in size in six weeks, from an estimated 3,000 to 6,000 inhabitants. There are significant communities from Sudan, Eritrea, Ethiopia, Afghanistan, Iraq and Syria, along with many people from other countries

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SIERRA LEONE Boys play table football on the edge of the Susan’s Bay slum district, Freetown

advantage when he was invited by publisher Bluecoat Press to produce a book. He decided the majority of his best work had been taken in urban environments and chose to produce a book titled City. The difficult part was deciding how best to organise a range of images shot in very different locations. Working with his colleague, architecture critic Oliver Wainwright, he decided to group them according to their longitudinal reference. ‘What leaped out for me was that there were disparate locations on similar longitudes,’ he says. ‘It meant I could deal with all sorts of different themes and ideas on cities and city life. I started to see natural flows and narratives that became apparent through the work I’d done in those locations.’ Some 80 cities will feature in the book, linked by Wainwright’s essays. There are images of crowded Tokyo streets, rough sleepers in San Francisco and Mongolian nomads now living in Ulaanbaatar. Levene sees the book as mostly a chance to showcase his work, rather than push a particular agenda. ‘It’s not about me personally making profound statements about the way we live today,’ he adds, ‘but I think there are mini profound statements to be made. I’d like it to be images that have something to say both individually and as a group.’

MULTIMEDIA Besides shooting still images, Levene is enthusiastically embracing multimedia

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work. He has been making video films for several years, sometimes filming and interviewing simultaneously, and has begun shooting virtual reality (VR). For a major story on tobacco in Nairobi, Kenya, his still images will be shown in the paper, while the online content will include his video work. ‘I had to produce short sequences that would gel together, rather than producing a whole narrative film, which would be a very different thing,’ he says. ‘I really like working with a producer or director. They specify exactly what they need and I’m able to work out how to do that and create beautiful imagery.’ Of VR, Levene says: ‘If video-making is different to stills, VR is just on another planet. It’s so bizarre because you can’t edit or frame things as you would with other media. So far everything we’ve done has had to be scripted and acted, but we’re planning to do real documentary-style work. The idea is to put ourselves in some serious situations and to shoot some real life.’ The interview over, Levene heads off to prepare for his next assignment: capturing performers and revellers at the Glastonbury Festival. Just before leaving for Somerset he emails to say: ‘Although it’s never guaranteed until I see it in the paper with my own eyes, I think my Serpentine pic made it into Eyewitness tomorrow.’ Sure enough, it did. Levene might not be the best judge of his own images, but he has a great eye for a picture.

City, by David Levene, with text by Oliver Wainwright, will be published by Bluecoat Press on 16 November. An exhibition of photographs from the book, curated by Futurecity, will launch on the same day at The Gallery at Foyles, London. Visit

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‘To be able to reduce stigma we went door to door, village to village, chief to chief. When people understood [it’s] curable, treatment is free and it is not easy to catch, the stigma stopped,’ says 45-year-old Kofi Nyarko at his home in Ankaful Village, Cape Coast, where he lives with his wife and four children

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BREAKING BOUNDARIES The Joan Wakelin Bursary aided Matilda Temperley’s compelling study of Ghanaian communities tackling the stigma of leprosy. And it proves, hears Gemma Padley, that there’s no place like home


isiting Ghana in December 2016, Matilda Temperley was surprised by what she found. A member of the community had just rejoined their village after 40 years in a leprosy colony to a mood of celebration being repeated in locations across the west African country. ‘It was wonderful to see these people returning home after however many years,’ says Temperley.. ‘[They] represent real hope in the fight against stigma.’ Her project in Ghana was made possible when she received the Joan Wakelin Bursary, awarded by the Society and The Guardian in memory of photojournalist and Fenton Medalist Joan Wakelin HonFRPS. Each year, one recipient is offered £2,000 to produce a photographic essay on an overseas documentary issue. Temperley was determined to focus on the work being done to combat negative attitudes to those affected by

leprosy, rather than on the disease itself. This meant documenting people as individuals, rather than their disabilities. The chronic contagious disease affects the skin, mucous membranes, and nerves, causing discolouration and lumps on the skin. In severe cases it brings disfigurement and deformities. The disease is now largely confined to tropical Africa and Asia. The World Health Organization (WHO) notes: ‘Leprosy has afflicted humanity since time immemorial. It once affected every continent and it has left behind a terrifying image in history and human memory – of mutilation, rejection and exclusion from society … Between one and two million people are visibly disabled due to past and present leprosy.’ Temperley, who worked in Ghana with a fixer and the NGOs Uniting to Combat Neglected Tropical Diseases and Sightsavers, says: ‘People in these communities recognise that leprosy is totally curable. It might leave some

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Samuel Otoo, 50, is treated for a foot ulcer, a complication of having had leprosy in the past. He lives with his family

career … Part of [the draw] was I looked physical effects if it isn’t caught in time, at things differently when I had a camera but people can go back to their families in my hand. It gave me a different life and lead normal lives, which was not experience because I was really looking.’ the case a few decades ago. After returning from Uganda in the ‘It’s important to show we’re making mid-2000s, Temperley moved to [progress] in these types of diseases. It London to follow her dream of working shows they’re worth investing in and as a photographer. ‘I didn’t know that the international community is anything about the industry or any doing such incredible [work]. Everyone photographers,’ she says. ‘I came back needs to know what a positive impact with utter naivety and I only managed [from] international aid looks like … because of that naivety. If I had thought These are huge success stories that are about it long and hard, and done my changing millions of lives. They should research, I would have been far too be told and celebrated.’ intimidated to give it a go.’ While the stigma of leprosy persists At around this time Temperley, who on a global level, there is progress. grew up on a cider farm in Somerset, ‘With an increased commitment spearheaded by the WHO, campaigns in where she now lives, was photographing circus events and [affected] countries, and with people performers – another topic that has long affected by leprosy having a key role, fascinated her. Her work was on show the success will continue,’ says in London at the Roundhouse during the Temperley. ‘With political will and local 2008 edition of CircusFest, and she engagement we can overcome credits the experience as kick-starting thousands of years of stigma.’ ‘absolutely everything’. Temperley’s passion for the project The common thread throughout her has twin roots. Having studied a work is marginalised master’s in the control of communities, she says. She infectious diseases at the has covered topics from London School of Tropical human rights abuses in the Medicine, Temperley began Omo Valley in Ethiopia to her professional life as a burlesque dancers in Las scientist and researcher, Vegas and, closer to home, working in Uganda, east the disastrous Somerset Africa. She took up floods in January 2014, all of photography when she which she has made into realised being a scientist PROFILE books. Her latest, published wasn’t for her. MATILDA TEMPERLEY this summer, is The League ‘I was young and impatient Work by the 2016 Joan Wakelin Bursary of Exotic Dancers: Legends and didn’t want to be on recipient has appeared from American Burlesque. computers the whole time,’ in publications including The floods work was she recalls. ‘Photography was The Guardian, especially significant for something I’d always liked The Telegraph and Temperley, however. but never thought was a valid National Geographic

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Ekua Ketsewa is welcomed home by some of her younger relatives after her more than 40-year absence

Ekua Ketsewa, 76, gets acquainted with her relatives after returning to the village of Assin Bosomadwe where she was born. She lived in Eyindakrom leprosy camp for 41 years

‘You can travel all over the world, but the closer you are to home and the more you know about something you have a great advantage [since you can bring] so much sincerity,’ she says. ‘I came back from Asia and was photographing the floods because I realised it was an event we had never seen before in Somerset. My grandfather’s house was one of the first to be flooded. Villagers were saying we needed to get [the story] in the press because no-one was talking about it.’ After contacting local news agencies with her images and getting nowhere, Temperley tried a handful of newspapers and had a breakthrough. After one published her images, others followed suit. The situation rapidly became political, she recalls, with the

‘THE CLOSER YOU ARE TO HOME, AND THE MORE YOU KNOW ABOUT SOMETHING, YOU HAVE A GREAT ADVANTAGE’ Environment Agency calling the floods a natural disaster but farmers and other locals believing otherwise. ‘It took about a month of being flooded before the press had the ‘right’ story – the story the people of Somerset knew: that [the cause] was the complete mismanagement of our drainage ditch. We were all campaigning for the truth to be out there.’ Winning the Vic Odden Award in 2015 for her floods work brought a

sense of recognition to something that began as a personal challenge. ‘It gave me validation at a time when I was lagging a bit.’ The award also gave Temperley the confidence to persevere with another project – Omo: Change In The Valley. About the people of the southern Ethiopian region, the ‘labour of love’ was 10 years in the making. Receiving the Joan Wakelin Bursary a year later strengthened her profile and enabled her to pursue another project she cared deeply about. ‘It encourages you as a photographer and helps to get your name out there, which is important,’ she says. ‘To have people share their stories with you is a great privilege.’

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MEMBER TEST Manfrotto’s Lumimuse 8 LED 621

MASTERCLASS Working with filters outdoors 623

INDEPTH Capturing a solar eclipse 624




Canon EOS 6D MkII


This compact and relatively lightweight 35mm full-frame DSLR is the first in its class with a variangle touchscreen. Gavin Stoker gets to play with a pre-production sample

his 6D update is still targeted at the same enthusiast or hobbyist photographer as its 2012 forebear. It comes with a new 26.2-megapixel full-frame CMOS sensor, a Digic 7 processor claimed to be 14x faster than the Digic 6, plus dualpixel CMOS AF technology which, Canon suggests, ensures 80 per cent of the image-capture area is covered when using the rear variangle touchscreen LCD in live view mode. For video, there is a headphone

input plus the ability to shoot 4K-quality time-lapse movies and an HDR capture option alongside full HD video at 60P. In continuous shooting mode it offers 6.5fps instead of its predecessor’s 4.5fps, potentially broadening its appeal to include sports and action photographers. With a dust and drip-resistant body the MkII feels reassuringly solid when gripped, without feeling prohibitively heavy. The 45-point all-cross-type AF sensor of the sample we had to play with locked on target in the

Price: From £1,999.99 body only Sensor: 35.9x24mm full-frame CMOS Lens: Optional, via Canon EF mount Display: 3-inch, variangle 1,040K dots Weight: 765g body only More: Summary: The 6D MkII is a quick and easy option for any Canon photographer seeking to move up from an APS-C-sensor DSLR to a full-frame 35mm alternative

blink of an eye, while there is a new BG-E21 accessory grip if you want to bulk up the camera or extend power performance should an already impressive 1,200 shots from a full charge not prove sufficient. Connectivity options include wi-fi, NFC, Bluetooth and GPS but otherwise controls haven’t changed drastically compared to the 6D, something its manufacturer says is intentional. An ‘if it ain’t broke, don’t fix it’ approach that should satisfy both long-term and newer supporters.

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Manfrotto Pro Light Bumblebee bags From £109.95

Zeiss Milvus 1.4/35 camera lens From £1,699

Outdoor bags built to survive harsh conditions while holding lots of kit

High-end premium lens for Canon and Nikon full-frame DSLRs

Feted for its tripods, Manfrotto also makes bags, with the Bumblebee range the latest in its line-up. The options are either backpacks or messenger-style bags, with the pitch being that they’ll protect kit in high temperatures, extreme cold or high humidity. Packs include the Bumblebee-230 PL, designed for DSLRs and up to 10 additional lenses, or the smaller 130 PL, aimed at DSLR and CSC owners with up to eight extra lenses. Photographers wanting to travel lighter and more discreetly with body, lens and laptop are directed to the messenger-bag selection in the Bumblebee-M30, which can cope with a 15-inch laptop, plus its M-10 model, which can hold a 13-inch laptop.

Looking for a top-quality, fast-aperture all-rounder for your full-frame DSLR that can deliver smooth performance even in the rough? Zeiss has a candidate in its 10th Milvusbranded lens to date; its metal barrel construction protecting against poor weather and dust. To ensure images are practically free from chromatic aberrations Zeiss claims to have given it a completely new optical design. Suitable for video as well as stills, with that f/1.4 aperture suggesting the possibility of ‘creamy’ bokeh, this will interest any photographer looking for a field of view similar to the human eye. It also promises impressive edge-to-edge definition, even twinned with the highest-resolution cameras.


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Nikon Coolpix W300 £389.99 Ruggedised compact camera with 4K capture mode

l Fujifilm has revealed that X Mount versions of its MK cinema lenses – specifically the 18-55mm and 50-135mm – are under development for its popular APS-C sensor-incorporating X series digital cameras, and due to be released by the end of this year. l For those who prefer their camera bags to resemble traditional doctors’ briefcases, Billingham has a plush offering on the way in the shape of the ‘Hadley One’. Designed for a mid-sized DSLR body and lens or ‘core’ CSC kit, this can be carried like either a briefcase or a holdall, complete with detachable shoulder sling

Clearly travel cameras that double up as action cameras are as popular as ever, especially come holiday season. The waterproofed Nikon W300 – a tenner cheaper than the Olympus TG-5 we featured last month – captures 16-megapixel photos and 4K or full HD 1,080P video at depths up to 30m without additional housing. It’s also dustproofed and drop-proofed, from heights of up to 2.4m, while the wideangle 5x optical zoom with bright f/2.8 maximum lens aperture is internally stacked to protect the lens. Its ‘tool’ button automatically displays GPS, number of steps taken, altitude/depth and air pressure/water pressure readings on its monitor. 3

MEMBER TEST ‘The unit feels well made and sturdy’ 4


Manfrotto Lumimuse 8 LED Light Nigel Spencer heads out in the field with this compact rechargeable lighting unit

A Tamron 18-400mm f/3.5-6.3 Di II VC HLD £649.99

Canon EOS 200D From £579.99 body only

Third-party telephoto lens offering a zoom ratio of an impressive 22.2x

Compact DSLR with features that belie its beginner-friendly status

Want an everyday zoom that goes from ultra wide angle to extreme telephoto without swapping glass? Canon and Nikon APS-C DSLR owners may want to check out Tamron’s 18-400mm f/3.5-6.3 Di II VC HLD. At 705g and 121.4mm in total length this is described as the world’s first ultra telephoto allin-one zoom lens for APS-C DSLRs to achieve its 400m reach (the equivalent of 620mm in 35mm film terms). Constructed of 16 elements in 11 groups, it has ‘low dispersion’ and aspherical elements to minimise chromatic aberrations and distortions. Travel, wildlife, action, sports and portrait photographers would seem to be the audience for this broad focal length, jack-of-all-trades.

In replacing the 100D, this new Canon DSLR is aimed at tempting those who tend to favour the convenience of smartphones to try out a ‘proper’ interchangeable-lens camera. Thus, here is a specification sufficiently enticing to make noticeable the difference from a phone – including new 24.2 megapixel APS-C sensor, plus Digic 7 processor and dual-pixel CMOS AF and angle-adjustable LCD; technology all shared with the more senior 6D MkII – but with the addition of a simplified control layout and guided user interface as also witnessed on Canon’s 77D and 800D. About as small and lightweight as you would want a DSLR to be, the 200D comes in regular black, silver or white.



s someone who rarely uses a flashgun, but often requires something to give my photography a low-light boost, I thought it was worthwhile trying a compact rechargeable lighting unit such as the Lumimuse LED range. When the unit arrived, the first thing that struck me was how tiny it was – useful for storing in a pocket or camera bag, but perhaps easy to leave behind if you put it down. Operating the unit could not be simpler. It plugs into a USB socket using the supplied cable and charges quickly upon switch-on. It has different power levels, and can be moved closer or further away from the subject depending on just how much light is required. The unit is supplied with a hot-shoe adapter but I was using it to photograph flowers, so found it easy to stand on the ground, positioning the light where needed. The look and feel of the unit are good. At a cost of £100 it is not cheap but

One of Spencer’s flower macros

it has the impression of being well made and sturdy – definitely better than many similar lights that can be purchased more cheaply online. Overall, I would have liked more power, and perhaps it being a bit bigger for my macro needs (although Manfrotto does sell larger, more powerful units). It didn’t quite give me enough light. Two used together at different angles to the subject would work really well. However, given its compact nature, and the fact that recharging and use are so easy, it could sit in a pocket of my camera bag and become a useful addition when I need that little bit of extra light.

AUTHOR PROFILE NIGEL SPENCER ARPS Based in the Midlands, Spencer specialises in macro and wildlife photography. His images can be seen at

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Top tips for working with filters


Mark Banks LRPS shares some advice for landscape photography

OVER AND IN Overgraduating the sky by an extra stop or two on long-exposure images helps define cloud movement and creates more texture

FULL CIRCLE While circular polarisers are generally used to reduce glare and add punch and colour to an image, they can also increase the amount of glare. This can be useful when you want extra contrast – particularly good for black and white images.


ilters have traditionally been used to control the amount of light that enters the camera, but some new filters allow us to be more creative.

THREE AND EASY Set up your filter holder to hold three at once, for greater flexibility. Be careful to check for vignetting on wide-angle lenses, though. QUALITY PAYS Cheap filters can cause colour casts and are generally quite small in size. Consider buying a premium system that is neutral in design and larger. Larger filters offer more flexibility with placement. THE DARK SIDE If you own a set of large (100mm) graduated filters you can use the dark end of these as standard neutraldensity filters. PLAY TO YOUR STRENGTHS Full-frame (35mm) camera sensors are twice as large as

Micro 4/3 sensors, so consider the strengths of graduated filters you buy. I mainly use hard and soft grads for my full-frame system but find them too soft for my Micro 4/3 system. I use very hard and medium grads for this system.


MARK BANKS LRPS Banks has been teaching landscape photography for more than 10 years markbanks

QUICK CHANGE All gradations are in the same place on the filter (the middle). So if you need to change the strength of a graduated filter in a hurry, simply slot another filter into a spare slot and push it down to the same level as the existing one. Then pull out the original filter and you can carry on taking pictures without adjustments. BOTTOMS UP Graduated filters can be used to great effect if introduced from the bottom of an image upwards, adding more perceived depth and allowing the eye to wander more naturally through a scene. Or consider filtering from the top and bottom of the image.

EBB AND FLOW A mixture of moving and static objects within an image can create more impact and a greater sense of movement, rhythm and fluidity.


MIDDLE MANAGEMENT Using two opposing graduated filters that overlap in the middle is a great way to hold back the bright light of sunset or sunrise on the horizon.

Join the workshop in Northallerton, led by Mark Banks, on Sunday 3 September. See VOL 157 / AUGUST 2017 / THE RPS JOURNAL / 623

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Prepare for a solar eclipse


The window of opportunity is small for capturing a moon-sun overlap – so it pays to be ready, advises Gary Evans ASIS FRPS

PROTECT YOUR EYES Never look directly at the sun. Only look at it through proper solar viewing glasses, such as mylar (plastic) eclipse glasses, which are cheap and easily available online. Even when 99 per cent of the sun’s surface is obscured by the moon, the remaining sliver of light can permanently damage your eyes. During the actual eclipse you can safely look at the sun without protection, but as soon as it peeps around the edge of the moon you must protect your eyes again. Don’t be tempted to view the sun through stacked neutral-density filters or crossed polarisers as these can still allow damaging infrared light through. BE READY This year’s eclipse lasts for just over two and a half minutes at totality. The partial phase before it lasts almost an hour. Plan your exposures and bracketing (see later), practise making any changes to camera

The sun through a white-light glass solar filter, 40 per cent crop from FX frame at 700mm, ISO 400, 1/250sec at f/11.

FIT TO FRAME The size of the sun viewed at different focal lengths on FX and DX cameras. FX sensor DX sensor

2,000mm 1,000mm

settings and the removal and replacement of the solar filter. Eclipses are exciting things – you won’t have time to think.

Set-up for a solar eclipse either side of totality – Nikon D800, 200-500mm f/5.6 lens with TC-14E 1.4x teleconverter, white-light filter taped to lens hood

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500mm 200mm

CHOOSE THE RIGHT LENS The sun appears smaller in the sky than you might imagine. For most SLR cameras, a focal length of 500mm to 1,000mm is ideal – much smaller and the sun will be quite little in the frame, much bigger and you

will need a computerised mount to follow the sun as it moves through the sky. Remember also that during the eclipse the corona, or outer atmosphere, of the sun is visible, so you need a bit of room to fit this in. The diagram above shows how big the sun appears at different focal lengths in DX and FX cameras. To see how big an image your lens will produce, try photographing the moon, as it appears roughly the same size in the sky as the sun.



n 21 August 2017, a total solar eclipse will be visible across a wide swathe of the USA, from Oregon to South Carolina – and a very slight partial eclipse visible from the UK. Millions of people will be able to photograph this astonishing celestial event, with thousands travelling from around the world just to see it. Here are a few tips for photographing an eclipse for the first time.

DIAMOND RING Captured a moment before totality, the ‘diamond ring’ is a spectacular sight (© Fred Espenak 2006)

A total eclipse and, below, a sequence of images made of the 2006 eclipse in Libya by Fred Espenak. Either side of totality are the two ‘diamond ring’ exposures

FIND THE RIGHT FILTER It is crucial to use a proper solar filter to capture the partial phase of the eclipse. Unfiltered sunlight can do a good job of frying the sensor on your camera. During the eclipse itself you can take off the filter. One solution is to attach the filter to a lens hood, allowing it to be removed and replaced easily. A mylar filter is cheaper and gives a grey-blue image of the sun, while a more expensive metal-coated ‘white light’

glass filter gives a more natural orange colour.

eclipse (during totality) while setting off your shots.

USE A TRIPOD A sturdy tripod is important. If you are using a lens with good vibration reduction this is less of an issue. In any case, the tripod should be quick and easy to align and adjust when necessary.

GET YOUR EXPOSURE RIGHT Bracketing is vital. Different exposures during totality will let you see different parts of the corona and capture other phenomena. Use the auto bracket function of your camera where available with full stop intervals to give the maximum possible range. If your camera doesn’t have exposure bracketing it may have an HDR mode that will

USE A REMOTE RELEASE Absolutely essential: a remote release will allow you to look either at the camera screen or at the

capture a range of exposures and blend them for you. A typical range of exposures would centre on 1/125sec at f/8 at ISO 400, with ± 4 stops of bracketing (1/8sec to 1/2,000sec). Most of all, do as much planning and set-up as you can before the eclipse starts. The experience of entering totality, when day turns to night like a dimmer switch on the world, is truly awesome. At that stage, you really just want to be looking up and taking in the wonder.

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LEARN A NEW SKILL The wide range of Society workshops 633

COUNCIL REPORT International Images for Science success 636

| GUIDE | 627

SOCIETY SHOWCASE David Bathard FRPS at Fenton House 638




American beauty

Husband-and-wife Fellows discuss their stateside projects


va and Tony Worobiec, both FRPS, are conducting a joint lecture for the East Anglia Region on Sunday 8 October. Eva’s presentation follows the theme of Abandoned on the Plains, on which her and Tony’s most recent joint book is based. Within this, Eva illustrates the strangely haunting beauty of the abandoned communities of the American High Plains. Tony’s presentation will address the concept behind his own most recent book, Photographing Landscape Whatever the Weather. Tony invites the

audience to understand that weather, in conjunction with light, is the defining quality of any landscape. Together the Worobiecs have received glowing reviews from newspapers around the world, including The Guardian and The Washington Post. Their travels to America since 1994 have led to numerous successful exhibitions and both are active members of the highly esteemed Landscape Collective. For more information, including prices and booking details, go to

Top: Elevator Buffalo Montana After Rain by Tony Worobiec

Above: Interior, Nebraska by Eva Worobiec

VOL 157 / AUGUST 2017 / THE RPS JOURNAL / 627

628 | GUIDE |


Meet photographers and view work in your area

`` £3 Society members `` Smethwick PS Club House,

Churchbridge, Oldbury B69 2AS `` Mike Sharples ARPS, as above


Now you see it, now you don’t

MIKE SHARPLES ARPS, 07884 657535

Thursday 5 October / 20:00-21:30


All kinds of everything Thursday 17 August / 20:00-21:30

`` £3 Society members `` Smethwick PS Club House,

Churchbridge, Oldbury B69 2AS `` Mike Sharples ARPS, as above

Rollright Visual Art Group – summer meeting Saturday 19 August / 10:00-16:00

`` £8 entry/£5 ploughman’s lunch

`` Village Hall, High Street, Long Compton, Shipston-on-Stour CV36 5JS `` Andreas Klatt ARPS, 01608 684848,

Tour of northern India Thursday 7 September / 20:00-21:30

`` £3 Society members `` Smethwick PS Club House,

Churchbridge, Oldbury B69 2AS `` Mike Sharples ARPS, as above

The art of metamorphosis

`` £3 Society members `` Smethwick PS Club House,

Churchbridge, Oldbury B69 2AS

`` Mike Sharples ARPS, as above Focus on the next level Saturday 7 October / 10:00-17:00

`` Looking for a new challenge?

Would you like to get your work seen by a wider audience? Then join four of the RPS’s finest photographers on this two-day workshop `` Middleport Pottery, Port Street, Stoke on Trent ST63PE `` Mo Connelly,

Architectural interiors Thursday 12 October / 20:00-21:30

`` £3 Society members `` Smethwick PS Club House,

Churchbridge, Oldbury B69 2AS `` Mike Sharples ARPS, as above

One man and his van Thursday 19 October / 20:00-21:30

`` £3 Society members `` Smethwick PS Club House,

Churchbridge, Oldbury B69 2AS `` Mike Sharples ARPS, as above

Thursday 14 September / 20:00- 21:30

`` £3 Society members `` Smethwick PS Club House,

Field trip to Ynys Llanddwyn, Anglesey

`` Mike Sharples ARPS, as above

`` Details TBC `` Mike Sharples ARPS, as above

Churchbridge, Oldbury B69 2AS

Distinctions advisory day, LRPS and ARPS Sunday 17 September / 10:00-16:00

`` £20/£15/£10 spectators `` Mike Sharples ARPS, as above Advisory sessions for LRPS and ARPS at DI Expo Saturday 23 September / 10:00-16:00

`` Advisory sessions for LRPS and ARPS at DI Expo

`` Holiday Inn, Birmingham Airport, Coventry Road, Birmingham B263QW `` Simon Vercoe, 01225 325733,

Tiger tales Thursday 5 October / 20:00-21:30

Saturday 28 October

annual exhibition

`` Wingfield Barns, Church

Road, Wingfield, Diss IP21 5RA `` Moira Ellice,

Creative Group joint event with East Anglia Region Sunday 8 October / 10:30-16:30

`` £15/£10/£5 Group and

Regional members `` Speakers Eva and Tony Worobiec, both FRPS, will spend the day showing some of their fine-art photography. `` Foxton Village Hall, Hardman Road, Foxton, Cambridgeshire CB22 6RN `` Moira Ellice, 01473 720928, moira.ellice2011@

Re-dedication of Robert Howlett’s grave Saturday 14 October / 14:00-16:00

`` Celebration to re-dedicate the

Your events

To ensure inclusion of your events in The RPS Journal please post them on the RPS website six weeks prior to publication. For a list of deadlines, cancellations or last-minute amendments, please contact Emma Wilson on 0141 375 0504 or email emma.wilson@ thinkpublishing. These listings are correct at time of going to print


Outing to RAF Barnham

21 Conway Street, London W1T 6BN `` Judy Hicks,

Brighton Pride community parade Saturday 5 August / 9:00-14:00

`` RPS London and SE Regions are joining together for a morning in Brighton to celebrate and photograph the 2017 Brighton Pride community parade `` Brighton Station/Hove Gardens, Queens Road, Brighton BN1 3XP `` Judy Hicks, Paul Connor, 07768 923620,

Regular meeting of the SW London Group Tuesday 8 August / 19:00-21:00

`` Putney – details to be confirmed

`` The Prince of Wales, 138

restored grave of Robert Howlett (1831-1858) `` Wendling and Longham Village Hall, Church of St Peter and St Paul, Wendling NR19 2NE `` Rose Teanby ARPS/Geoff Blackwell ARPS, 0114 266 8655,

Upper Richmond Road, Putney SW15 2SP `` London Web,

Regular meeting of the SE London Group Tuesday 29 August / 19:00-21:00

`` Greenwich Gallery, Peyton


Place, London SE10 8RS

STEWART WALL ARPS, 07955 124000

`` London Cave,


Photography that intervenes: talks by Paul Hill, Maria Falconer and Hugh Hamilton

London Region street walk Saturday 9 September / 9:45-14:00

`` Regular monthly walk for

Sun 10 Sep / 10:30-16:00

IAN WILSON ARPS, 07767 473594

`` Embassy of Croatia,

`` £10/£5 students `` Whatton Jubilee Hall, Church

those interested in street photography `` London – to be confirmed `` London Cave,

Street, Whatton in the Vale NG13 9EL `` Stewart Wall ARPS, as above

Sunday 10 September / 10:30-16:30

`` An outing to RAF Barnham, the cold war nuclear storage facility `` RAF Barnham, Gorse Industrial Estate, Barnham, Thetford IP24 2DJ `` Ian Wilson ARPS, as above

RPS Nature Group annual exhibition 2017 Sat 30 Sep – Sun 15 Oct / 11:00-16:00

`` A showing of the group’s

Environmental photojournalism and landscape photography day

Regular meeting of the SW London Group Tuesday 12 September / 19:00-21:00

`` Putney – details to be confirmed

Sunday 15 October / 10:00-16:00

`` £10 `` With Ben Cherry and

`` The Prince of Wales,

138 Upper Richmond Road, Putney SW15 2SP `` London Web,

Jane Goodall `` Whatton Jubilee Hall, Church Street, Whatton in the Vale NG13 9EL `` Stewart Wall ARPS, as above

Understanding and creating a photobook Saturday 16 September / 10:00-17:00


`` The workshop will help


Join the Central Region on a field trip to Anglesey 628 / THE RPS JOURNAL / AUGUST 2017 / VOL 157

Breathing London exhibition Until Fri 11 Aug / 11:00-12:00

`` A major Breathing London exhibition



participants create a photobook based on their images `` Regent’s University College, Inner Circle, Regent’s Park, London NW1 4NS `` London Events,

A Sunday morning walk with the London Naturally Group

| GUIDE | 629 Sunday 24 September / 10:30-13:00

Sunday 17 September / 10:30-16:00

`` Details to be confirmed `` London `` London Naturally, london_

`` An opportunity to

Regular meeting of the SE London Group Tuesday 26 September / 19:00-21:00

`` Greenwich Gallery, Peyton Place, London SE10 8RS

`` London Cave,

Regular meeting of the SW London Group Tuesday 10 October / 19:00-21:00

`` Putney – details to

be confirmed `` The Prince of Wales, 138 Upper Richmond Road, Putney SW15 2SP `` London Web,

London Region street walk Saturday 14 October / 9:45-14:00

`` Regular meeting for those

photographic scenery and industrial heritage in and around a disused slate quarry `` Gwynedd Council car park, Llanberis, Snowdonia LL55 4TY `` Richard Jones, 07974 235840,

`` An afternoon in the company of Joe Cornish HonFRPS Saturday 25 November / 14:00-16:00

`` See website for costs `` The Catrin Finch Centre,

Glyndwr University, Mold Road, Wrexham LL11 2AW `` Martin Brown LRPS, as above NORTH WEST BRIAN SMETHURST, 01942 719766 BSMETHURST(HOTMAIL.CO.UK

North West Region advisory day – LRPS and ARPS (all five categories) Sunday 24 September / 10:00-16:00

who enjoy street photography `` London – to be confirmed `` London Cave,

`` Hough End Centre, Mauldeth

The Bookworm Club

Long exposures on the Lancashire coast

Wednesday 18 October / 18:30-21:00

`` Regular meeting of the Bookworm Club

`` The Crusting Pipe,

27 The Market, Covent Garden, London WC2E 8RD `` London Bookworms,

A Sunday morning walk with the London Naturally Group Sunday 29 October / 10:30-13:00

`` London – to be confirmed `` London Naturally,

Regular meeting of the SE London Group

Road West, Manchester M21 7SX `` Brian Smethurst, as above

Sunday 8 October / 9:00-15:00

`` A great chance to improve on

your long-exposure skills at various locations on the Lancashire coast `` Blackpool Central Pier, Blackpool FY1 5BB `` Mick Rawcliffe, 07711 214701,

Autumnal walk – trains, trees and boulders Saturday 14 October / 9:30-18:00

`` Thornton in Lonsdale, St

Oswalds Church, New Road, Carnforth LA6 3PB `` Allan Hartley ARPS, 015242 61173,

Tuesday 31 October / 19:00-21:00

`` Greenwich Gallery, Peyton Place, London SE10 8RS `` London Cave, NORTH WALES MARTIN BROWN LRPS, 01691 773316 NORTHWALES(RPS.ORG

‘How to cheat in Photoshop’ with Steve Caplin Saturday 16 September / 10:30-16:00

`` A day with Steve Caplin,

author of the How To Cheat In Photoshop series of books `` Electric Mountain, Llanberis, Gwynedd LL55 4UR `` Martin Brown LRPS, as above

Dinorwig Quarry/ Chwarel Dinorwic


Northern Documentary Group meeting com

Guided walk along Hadrian’s Wall

who intend coming let Gordon Bates know by email `` Kibblesworth Village Millennium Centre NE11 0XN ``

Using filters for landscape photography Sunday 3 September / 11:00-20:00

`` Around the Tees estuary. Meet

outside the Joe Cornish Gallery, Register House, Zetland Street, Northallerton DL6 1NA `` Mark Reeves, 07968 616551,

Scotland Region advisory day – LRPS and ARPS (all five categories) Saturday 2 September / 10:30-16:00

`` Steel Rigg car park,

`` See website for costs `` Distinctions advice from

`` Carol Palmer ARPS, as above

`` Bridge of Allan Church Hall,

Sunday 10 September / 10:30-17:00

Henshaw NE47 7AN

panel members

Keir Street, Bridge of Allan FK9 4NW `` James Frost FRPS, as above

Northern Region advisory day – LRPS and ARPS (all five categories)

DIG Scotland Centre – September meeting

Sunday 17 September / 10:30-16:00

`` The opportunity to discuss

images with current panel members in a professional but friendly atmosphere. `` Newton Community Hall, Newton, Stocksfield NE43 7UL `` Carol Palmer ARPS, as above

Sunday 17 September / 13:30-16:15

`` £15 group season ticket/£5 `` Bridge of Allan Parish Church, 12 Keir Street, Bridge of Allan FK9 4NW `` Dave Hunt,


Scotland Region members’ print exhibition 2017/18 – Stow


Sun 1 – Fri 27 October /10:30-16:00


`` The Cloud House, 3 Townfoot,


Scotland Region members’ print exhibition 2017/18 – Falkirk Thu 3 – Thu 24 August / 10:00-17:00

`` Falkirk Town Hall, Westbridge Street, Falkirk FK1 5RS `` Bob Black,

Thursday 24 August / 10.30

`` Would any new members

Work on your long-exposure skills with the North West Region at Blackpool Pier

Photo forum Aberdeen Sunday 13 August / 10:30-16:00

`` £10/£8 Society members `` Aberdeen Arts Centre, 33

King St, Aberdeen AB24 5AA `` James Frost FRPS, as above

Scotland Region members’ print exhibition 2017/18 – Glasgow Sat 2 – Fri 29 Sep / 10:00-20:00

`` Hillhead Library, 348 Byres Road, Glasgow G12 8AP `` Ian Robertson LRPS,

Your events

To ensure inclusion of your events in The RPS Journal please post them on the RPS website six weeks prior to publication. For a list of deadlines, cancellations or last-minute amendments, please contact Emma Wilson on 0141 375 0504 or email emma.wilson@ thinkpublishing. These listings are correct at time of going to print

Stow TD1 2NQ

`` Ian Oliver LRPS,

Photo forum Dingwall Sunday 29 October / 11:00-16:00

`` Dingwall Camera Club,

Eagle House, Dingwall IV15 9RY `` James Frost FRPS, as above SOUTH EAST REGIONAL COMMITTEE SOUTHEAST(RPS.ORG

South East Region advisory day – LRPS and ARPS (all five categories) Sunday 3 September / 10:30-17:00

`` £10 spectators `` Fully booked for participants but spectator places available

`` The Haven Centre,

Hophurst Lane, Crawley Down RH10 4LJ `` Paul Connor,

VOL 157 / AUGUST 2017 / THE RPS JOURNAL / 629

630 | GUIDE | South East Documentary Group meeting Sunday 17 September / 10:00-13:00

`` A review of members’ work – prints or DPI

`` Tangmere Village Hall,

Malcolm Road, Tangmere PO20 2HS `` Janey Devine,

Visit to Holy Trinity Cuckfield and St Nicholas’ Worth Monday 18 September / 10:00-16:00

`` The A&H Group is organising a trip to two churches in Sussex `` Holy Trinity Cuckfield, Church Street, Cuckfield, Haywards Heath RH17 5JZ `` Garry Bisshopp,

A&H members’ showcase Saturday 7 October / 10:00-17:00

`` This long-standing annual

event is for all those with an interest in archaeology or heritage photography `` Leatherhead Institute, 67 High Street, Surrey, Leatherhead KT22 8AH `` Mike Sasse, 01892 531179,

Your events

To ensure inclusion of your events in The RPS Journal please post them on the RPS website six weeks prior to publication. For a list of deadlines, cancellations or last-minute amendments, please contact Emma Wilson on 0141 375 0504 or email emma.wilson@ thinkpublishing. These listings are correct at time of going to print

`` Lectures and showing work

by Nigel Hicks `` The Dolphin Hotel, Station Road, Bovey Tracey TQ13 9AL `` Mick Medley, as above

West Cornwall Group meeting Wednesday 20 September / 18:45-21:00

`` Bi-monthly meeting `` The Copper Room, Heartlands, Robinson Shaft, Dundance Lane, Pool, Redruth TR15 3QY `` Vivien Howse, 01326 221939,

Biannual regional members’ exhibition exhibition.

Hospital, Barrack Road, Exeter EX2 5DW `` John Widdows, 01752 781555,

Road, Bovey Tracey TQ13 9NG

`` Linda Wevill, linda.wevill@

An introduction to studio lighting Sunday 29 October / 10:30-16:30

`` Studio photography: a hands-

with master street photographer Trevor Gellard FRPS `` Brighton Pier, Madeira Drive, Brighton BN2 1TW `` Martin Gandy,

to scenic Stourhead house and gardens `` Near Mere, Wiltshire BA12 6QF `` Arron Davis, RPSLandscape.

on overview for beginners and those looking to improve `` The Dolphin Hotel, Station Road, Bovey Tracey TQ13 9AL `` Mick Medley, as above


Terry Hewlett ARPS – master flash and film noir lighting practical session the Digital Imaging Group Thames Valley Centre `` Woosehill Community Hall, Emmview Close, Woosehill, Wokingham, Berkshire RG41 3DA `` Alan Bousfield ARPS,

Walter Benzie HonFRPS: the future of the RPS, Society Distinctions and Millennium Cup print competition Sunday 15 October / 10:00-15:30

`` An open event `` Woosehill Community Hall, Emmview Close, Woosehill, Wokingham, Berkshire RG41 3DA `` Alan Bousfield ARPS,

PAUL COX ARPS, 07748 115057



Distinctions advisory day (LRPS)

Field trip to Hartland Quay

`` £20/£15/£10 spectators `` The Sutton Hall, Stockcross,

MICK MEDLEY, 01626 824865/07980 073808


Family picnic Sunday 13 August / 10:00-16:30

`` An informal day out, family picnic

`` Fenton House, 122 Wells Road, Bath BA2 3AH

`` David Norfolk ARPS, as above

Members’ showcase Sunday 10 September / 10:00-16:30

`` A showcase of Western Region members’ work

`` Fenton House, 122 Wells Road, Bath BA2 3AH

`` David Norfolk ARPS, as above

Western Region advisory day – FRPS Sunday 1 October / 10:00-16:30

`` Fenton House, 122 Wells Road, Bath BA2 3AH

`` Michelle Whitmore, michelle@

How to get it right – a joint Travel and Documentary Group workshop Saturday 21 October / 10:30-17:00

Thames Valley Region advisory day – LRPS and ARPS (fine art) Sunday 22 October / 10:00-16:00



Dorchester Crescent, Abingdon OX14 2AQ `` Steve Oakes, WESTERN


Sunday 10 September / 10:00-15:30

`` South West Visual Art Group `` The Dolphin Hotel, Station

`` Guided photo walk in Brighton

Thursday 26 October / 20:00-22:00

`` All Saints Church Hall,

`` An open event organised by

Saturday 21 October / 10:30-16:00

Sunday 8 October / 11:00-16:00

Saturday 14 October / 9:00-13:00

Tue 3 October – Wed 31 January 2018

`` The Royal Devon and Exeter

Society presentation about Distinctions

`` Landscape Group field trip

`` RPS South West Members

A day with Christine Widdall MPAGB EFIAP FBPE

South East Region – ‘A walk between the two Brighton piers’

Stourhead National Trust house and gardens

`` Amersham Community

Centre, Chiltern Avenue, Amersham HP6 5AH `` Kathy Chantler, 07738 112775,

`` Learn to get the most out

of your photo opportunities and how to critique your own and others’ images in an informal, friendly atmosphere with a small group of fellow photographers `` 13 Montpelier Central, Station Road, Bristol BS6 5EE `` Mo Connelly,

Saturday 16 September / 10:00-16:00

Newbury R G20 8LN.

Sunday 10 September / 10:30-17:00

`` A day exploring the Hartland

`` David Ashcroft, 07710

Quay area `` Hartland Quay, Bideford EX39 6DU `` Mick Medley, as above


Documentary Group South meeting

Thames Valley AGM Sunday 22 October / 14:00-14:30

`` Thames Valley AGM `` Amersham Community

Centre, Chiltern Avenue, Amersham HP6 5AH `` Mark Buckley-Sharp ARPS, as above

Western Region advisory day – LRPS and ARPS (all five categories) Saturday 28 October / 10:00-16:30

`` Fenton House, 122 Wells Road, Bath BA2 3AH

`` Michelle Whitmore, michelle@

Monday 25 September / 19:30-22:00

DI Group Western – David Mallows workshop

`` Regular meeting of DG South `` Nursling Village Hall, Nursling Street, Nursling, Southampton SO16 0XH `` Mo Connelly,

Sunday 10 September / 10:30-16:00

`` This lecture workshop is

aimed at intermediate to advanced users of Photoshop and Lightroom `` Merryfield Village Hall, Ilton, Ilton, near Somerset EX4 9HG `` Sheila Haycox, 01392 468859,

A day with Nigel Hicks

Imaging the moon Friday 29 September / 19:30-22:00



Sunday 17 September / 10:30-16:00

630 / THE RPS JOURNAL / AUGUST 2017 / VOL 157

`` £15/£10 Society members `` Lilian’s Observatory, 36

Linden Grove, Chandlers Ford SO53 1LD `` Lilian Hobbs, 07785 264684,

Visit the picturesque Stourhead house and gardens in October


Showcasing Yorkshire print exhibition Until Saturday 26 August /18:30-17:00

`` Some of the best bits of

Yorkshire and Yorkshire photographers on display `` Creative & Cultural Art Space2, Main Deck, Princes Quay, Hull HU1 2PQ `` Mary Crowther ARPS, as above

Self-help group Saturday 14 October / 10:30-12:30

`` VJs Art Bar, Finkle Street, York YO1 8RW

`` Robert Helliwell ARPS,

01904 500231,

Yorkshire Region advisory day – LRPS and ARPS (travel)

Visit to Holy Trinity Cuckfield and St Nicholas’, Worth Monday 18 September / 10:00-16:00

`` The A&H Group is organising

a trip to two churches in Sussex: Holy Trinity, Cuckfield, and St Nicholas’, Worth `` Holy Trinity Cuckfield, Church Street, Cuckfield, Haywards Heath RH17 5JZ `` Garry Bisshopp ARPS,

A&H members’ showcase Saturday 7 October / 10:00-17:00

Photobook craft and publishing with Contemporary SIG AGM

`` This long-standing annual

event is for all those with an interest in archaeology or heritage photography `` Leatherhead Institute, 67 High Street, Surrey, Leatherhead KT22 8AH `` Mike Sasse, 01892 531179,

Saturday 30 September / 10:00-16:30

`` £10 `` A one-day event is to be

combined with the Contemporary SIG AGM `` Manchester Central Library, St Peter’s Square, Manchester M2 5PD `` Avril Harris, 07990 976390,

Saturday 21 October / 10:30-16:30

`` New Brookhouse Club,

221 Barnsley Road, Wakefield WF1 5NU `` Robert Helliwell ARPS, 01904 500231,


Explore more aspects of photography and digital imaging ANALOGUE




AV National Championships


Sat 23 Sep – Sun 24 Sep / 10:00-18:00

Creative Group joint event with East Anglia Region

`` `` Leeds Trinity University,

Brownberrie Lane, Horsforth Leeds LS18 5HD `` Howard Bagshaw ARPS, as above

Sunday 8 October / 10:30-16:30

`` £15/£10/£5 Group and Regional members

`` Foxton Village Hall, Hardman


South East Documentary Group meeting

Road, Foxton, Cambridgeshire CB22 6RN `` Moira Ellice, 01473 720928, moira.ellice2011@

Sunday 17 September / 10:00-13:00

`` A review of members’ work -

prints or DPI `` Tangmere Village Hall, Malcolm Road, Tangmere PO20 2HS `` Janey Devine,


`` AUSTRALIA Elaine Herbert ARPS, eherbert `` BENELUX Richard Sylvester LRPS richard.sylvester `` CANADA `` CHINA BEIJING Yan Li, `` CHINA CHONGQING

The Archaeology and Heritage Group has arranged a trip to St Nicholas’ in Worth


DI Group Thames Valley: Terry Hewlett ARPS – master flash and

Sunday 10 September / 10:00-15:30

`` £15/£12/£8 group members `` An open event organised by the Digital Imaging Group Thames Valley Centre `` Woosehill Community Hall, Emmview Close, Woosehill, Wokingham, Berkshire RG41 3DA `` Alan Bousfield ARPS,

DI Group Western – David Mallows workshop Sunday 10 September / 10:30-16:00

`` £10/£8/£6 group members `` This lecture workshop is aimed at intermediate to advanced users of Photoshop and Lightroom `` Merryfield Village Hall, Ilton, Ilton, near Somerset EX4 9HG `` Sheila Haycox, 01392 468859,

DIG Scotland Centre – September 2017 meeting Sunday 17 September / 13:30-16:15

`` £15/£5 `` All welcome. DIG members

and non-members. Non-DIG members £5 at the door. `` Bridge of Allan Parish Church, 12 Keir Street, Bridge of Allan FK9 4NW `` Dave Hunt,

Royal Photographic Society members around the world

`` CHINA WESTERN Wei Han (Richard), `` CHINA SHANGTUF Guo Jing, `` CHINA QUANZHOU Xiaoling Wang, `` DUBAI Mohammed Arfan Asif ARPS, `` GERMANY Chris Renk, `` HONG KONG

632 / THE RPS JOURNAL / AUGUST 2017 / VOL 157


film noir lighting practical session

Shan Sang Wan FRPS, shansangwan@ `` INDIA Rajen Nandwana, rajennandwana `` INDONESIA Agatha Bunanta ARPS, `` ITALY Olivio Argenti FRPS, `` JAPAN TOKYO Yoshio Miyake, `` MALAYSIA Michael Chong ARPS, michaelcsc1985 `` MALTA Ruben Buhagiar, `` NEW ZEALAND Mark Berger, `` SINGAPORE Steven Yee Pui Chung FRPS, `` SRI LANKA

Romesh de Silva, `` SWISS CHAPTER Richard Tucker ARPS, `` TAIWAN Joanie Fan Hui Ling ARPS, djpassionfoto `` USA ATLANTIC CHAPTER `` USA PACIFIC CHAPTER Jeff Barton,

| GUIDE | 633


Hear from the experts and hone your skills

Theatrical and creative dance lighting Saturday 2 September / 10:00-17:00

`` £130/£105 Society members

`` Surrey

Introduction to Lightroom Saturday 2 September / 10:00-16:30

`` £95/£71 Society members `` Bath HQ

Printing with Lightroom Sunday 3 September / 10:00-16:00

`` £95/ £71 Society members

`` Suitable for beginners `` Bath HQ Macro and art photography Friday 8 September / 10:00-16:30

`` £55/£41 Society members

`` For anyone looking for

Introduction to Photoshop

Thursday 14 September / 10:00-17:00

Monday 18 September / 10:30-16:30

Sunday 24 September / 10:00-17:00

`` £115/£90 Society

`` £65/£48 Society

`` £95/£71 Society

members `` For those would like to use Photoshop to develop their creative skills in photography but are not sufficiently familiar with its range of tools and techniques `` Amersham

Creative techniques in Photoshop Friday 15 September / 10:00-16:30

range of approaches that enable participants to apply their creative vision to photographs `` Amersham

Pinhole photography Saturday 16 September / 10:00-16:30

`` £75/£56 Society

`` £95/£71 Society

`` £120/£95 Society

`` Learn how to use different

`` Learn how to create


several different techniques for lighting a figure `` Surrey

Two-day wedding workshop Sat 16 – Sun 17 Sep / 10:00-17:00

Developing personal projects and storytelling with Ben Cherry Wednesday 13 September / 10:00-17:00

`` £120/£95 Society members

`` Amersham Introduction to Photoshop essentials for creative


`` Amersham


Saturday 16 September / 10:00-17:00

members `` Learn how to create multiimage and strobe effects as well as getting the opportunity to work alongside a top model and professional ballet dancer `` Surrey

Wednesday 20 September / 10:00-16:00

`` £71/£95 Society

`` John Humphrey shows a

Saturday 9 September / 10:00-16:30

`` £120/£95 Society

Painting with light

`` This covers all aspects of

Art figure painting with light

Saturday 9 September / 10:00-17:00

members `` This is aimed at helping participants to get the most from their images with the potential to licence and sell them `` Bath HQ

`` £115/£90 Society

Movement photography

Creative dance lighting photography

members `` Lacock

Shooting for stock

new directions for their photography `` Amersham

sorts of deliberate camera movement, with and without flash, to produce interesting, more creative images `` Bath HQ

`` £120/£95 Society


members `` Make a camera and use it to take a series of shots `` Bath HQ


recognise that each month in the year offers different photographic opportunities `` Bath HQ

`` £165/£140 Society members

`` Fully booked `` Lacock

basic light painting

Plant and garden photography Friday 22 September / 10:00-17:00

`` £130/£105 Society

members `` This will help participants discover practical techniques and ideas to capture that elusive spirit `` Hereford

Advanced creative compositing in Photoshop Friday 22 September / 10:00-17:30

`` £140/£115 Society

members `` This is a practical workshop that will demonstrate and guide participants through the process of creating a composite image `` Surrey

Introduction to your digital camera Saturday 23 September / 10:00-17:00

`` £85/£63 Society members

`` Bath HQ

members `` This concentrates on areas of Photoshop that are key for all levels of photographers `` Bath HQ

How to photograph children and babies Sunday 24 September / 10:00-17:00

`` £120/£95 Society

members `` For those who enjoy working with children and want to achieve the professional finish to make big sales `` Lacock

Portraiture photography and getting the most from your subject Wednesday 27 September / 9:30-17:00

`` £115/£90 Society members

`` This includes a morning in the studio exploring the practicalities, skills and knowledge needed to take great portrait shots `` Amersham

Architectural and travel photography in and around Exeter Saturday 30 September / 12:00-19:00

Art-nude photography Saturday 23 September / 10:00-17:00

management and marketing considerations required `` Bath HQ

Two-day Photoshop workshop Sat 7 – Sun 8 October /10:00-17:00

`` £165/£140 Society members

`` Bath HQ Professional Photoshop retouching with Tim Daly Sat 14 October / 10:00-16:30

`` £95/£71 Society members

`` For delegates who have

already completed beginners’ or introductory Photoshop courses, or who are more experienced users `` Bath HQ

Practical wildlife photography Saturday 14 October / 10:30-16:30

`` £120/£95 Society members

`` Devon

Professional Photoshop colour control with Tim Daly Sunday 15 October / 10:00-16:30

`` £95/£71 Society members `` Bath HQ A beginners’ guide to product photography Thursday 19 October / 10:00-16:30

`` £115/£90 Society members

`` £95/£71 Society

`` Amersham

`` A combined architectural/

Hollywood lighting


travel photo shoot, shooting some of the old and modern buildings, and street scenes `` Exeter

Running your own photographic business Mon 2 – Tue 3 October / 10:00-16:00

Child portrait photography

`` Discover the financial,

`` £190/£165 Society members

Saturday 21 October / 10:00-17:00

`` £95/£120 Society members

`` Surrey

Studio portraiture Saturday 21 October / 10:00-17:00

`` £140/£165 Society members

`` Lacock

Sunday 17 September / 10:00-17:00

`` £120/£95 Society members

`` Ideal if participants

want the skills to take beautiful and natural images of children `` Amersham

The landscape photographers’ calendar with Tony Worobiec FRPS Sunday 17 September 10:30-16:30

`` £55/£41 Society members

`` The purpose of this course is to inspire participants to

Hone your plant and garden photography skills in Hereford next month

VOL 157 / AUGUST 2017 / THE RPS JOURNAL / 633

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| GUIDE | 635 Digital Imaging Expo 2017 Saturday 23 September / 9:00-17:00

`` See website for costs `` Holiday Inn Birmingham Airport, Coventry Road, Birmingham B263QW `` Rex Waygood, 01425 673216,

Advisory sessions for LRPS and ARPS at DI Expo Saturday 23 September / 10:00-16:00

`` £20/£15 Society members `` Holiday Inn Birmingham Airport, Coventry Road, Birmingham B263QW `` Simon Vercoe, 01225 325733,

DIG SE Centre: Steven Le Prevost FRPS Sunday 1 October / 10:00-15:30

`` £6/£9/£12 non-members `` Steven Le Prevost FRPS will

lead morning and afternoon sessions on his work, work flow and methods `` Weald of Kent Grammar School, Tonbridge TN9 2JP `` Barrie Brown, 07482 275811,

DI Group Thames Valley – Walter Benzie HonFRPS: the future of the RPS, Society Distinctions and Millennium Cup print competition Sunday 15 October / 10:00-15:30

`` £15/£12/£8 group members `` Woosehill Community Hall, Emmview Close, Woosehill, Wokingham, Berkshire RG41 3DA `` Alan Bousfield ARPS, DOCUMENTARY MO CONNELLY LRPS, 01590 641849 DVJ(RPS.ORG

Documentary Group South meeting

Focus on the next level Sat 7 – Sun 8 October / 10:00-17:00

`` £140/£120 Society

members and students `` Looking for a new challenge? Would you like to take your photography to a new level and get your work seen by a wider audience? Then join four of the RPS’s finest photographers on this two-day workshop `` Middleport Pottery, Port Street, Stoke on Trent ST63PE `` Mo Connelly,

How to get it right – a joint Travel and Documentary Group workshop

Street, Nursling, Southampton SO16 0XH `` Mo Connelly,


Sunday 3 September / 11:00-20:00


`` £80/£70/£65 group members

`` Led by professional

photographer Mark Banks, this outdoor workshop will share his expertise in using filters for landscape photography `` Around the Tees estuary. Meet outside the Joe Cornish Gallery, Register House, Zetland Street, Northallerton DL6 1NA `` Mark Reeves LRPS, as above

Guided walk along Hadrian’s Wall

Saturday 21 October / 10:30-17:00

Sunday 10 September / 10:30-17:00

`` £45/£40/£35

`` A guided walk along part of

group members `` Learn to get the most out of your photo opportunities and how to critique your own and others’ images in an informal, friendly atmosphere `` 13 Montpelier Central, Station Road, Bristol BS6 5EE `` Mo Connelly,

Hadrian’s Wall including the iconic Sycamore Gap, Steel Rigg and Crag Lough `` Steel Rigg car park, Henshaw NE47 7AN `` Carol Palmer ARPS,

A day with Nigel Hicks Sunday 17 September / 10:30-16:00


St Andrews trip Thu 14 – Sat 16 September / 14:00

`` Meet at the Scottish National Portrait Gallery, 1 Queen St, Edinburgh EH2 1JD `` Donald Stewart,

Re-dedication of Robert Howlett’s grave Saturday 14 October / 14:00-16:00

`` Wendling and Longham

Village Hall, Church of St Peter and St Paul, Wendling NR19 2NE `` Rose Teanby ARPS/ Geoff Blackwell ARPS, 0114 266 8655,

Monday 25 September / 19:30-22:00

`` £5 `` Regular meeting of DG South `` Nursling Village Hall, Nursling



Using filters for landscape photography


`` £20/£10 Society members `` Lectures and showing work

by Nigel Hicks `` The Dolphin Hotel, Station Road, Bovey Tracey TQ13 9AL `` Mick Medley, 01626 824865,

Dinorwig Quarry/ Chwarel Dinorwic Sunday 17 September / 10:30-16:00

`` £15/£5 Society members `` An opportunity to

photographic scenery and industrial heritage in and around a disused slate quarry `` Gwynedd Council car park, Llanberis, Snowdonia LL55 4TY `` Richard Jones, 07974 235840,

Long exposures on the Lancashire coast Sun 8 October / 09:00-15:00

`` £15/£5 Society members `` A great chance to improve on

your long-exposure skills at various locations on the Lancashire coast `` Blackpool Central Pier, Blackpool FY1 5BB `` Mick Rawcliffe, 07711 214701,

Stourhead National Trust house and gardens

Take your travel and documentary photography to new heights



RPS Nature Group annual exhibition 2017 Sat 30 Sep – Sun 15 Oct / 11:00-16:00

`` Wingfield Barns, Church

Road, Wingfield, Diss IP21 5RA


Rocky Mountain Gold 2017 – photo tour Monday 2 –Thursday 19 October

`` £2,250 `` An escorted photo visit to

Yellowstone, the Grand Tetons and Rocky Mountains `` Western USA, Denver, Colorado `` Keith Pointon LRPS, as above

How to get it right – a joint Travel and Documentary Group workshop Saturday 21 October / 10:30-17:00

`` £45/£40/£35 group members

`` Learn to get the most out of

your photo opportunities and how to critique your own and others’ images in an informal, friendly atmosphere with a small group of fellow photographers `` 13 Montpelier Central, Station Road, Bristol BS6 5EE `` Mo Connelly, VISUAL ART VIVECA KOH FRPS, 07956 517524 VIVECA.KOH(GMAIL.COM

Rollright Visual Art Group – summer meeting Saturday 19 August / 10:00-16:00

`` £8 entry/£5 lunch `` Members’ day with a focus on peer review

`` Village Hall, High Street,

Long Compton, Shipston-on-Stour CV36 5JS `` Andreas Klatt ARPS, 01608 684848,

A day with Christine Widdall MPAGB EFIAP FBPE

Saturday 14 October / 9:00-13:00

Saturday 21 October / 10:30-16:00

`` £15/£5 Society members `` Landscape Group field trip

`` £13/£10/£5 group members `` South West Visual

to scenic Stourhead house and gardens `` Near Mere, Wiltshire BA12 6QF `` Arron Davis, RPSLandscape.

Art Group

`` The Dolphin Hotel, Station

Road, Bovey Tracey TQ13 9NG `` Linda Wevill, linda.wevill@

VOL 157 / AUGUST 2017 / THE RPS JOURNAL / 635

636 | GUIDE |

REPORT OF THE COUNCIL MEETING JUNE 2017 MINUTES OF COUNCIL Subject to one change the minutes of the previous meeting were approved. MATTERS ARISING `` Four regions were noted as not having held any advisory days for members. Where a region had not done so the Distinctions department would be asked to step in to arrange an advisory day directly. FINANCE `` In the treasurer’s

absence, Derek Trendell reviewed the quarter 1 management accounts and the treasurer’s commentary. Membership income was highlighted as being slightly down. Comparative numbers for the previous year were requested for future reports and efforts would be made to reduce the time lag on the management accounts. The possible move of the AGM to June 2018 was unlikely to cause any issues with the finance staff and auditors. A conference call with the auditors was scheduled for 6 July.

FREE GROUP MEMBERSHIP `` After a discussion of the benefits and costs, council agreed to stop the Society’s support of the free group membership offer with effect from 1 January 2018. Groups would be welcome to retain and fund the offer if they wished to. `` An issue relating to a

recruitment drive by a group to all UK members was discussed. There was a potential contravention of the Data Protection Act it and it was agreed that canvassing of all the membership in this way would not be permitted.

OPEN UNIVERSITY COURSE `` David Cooke asked how many participants on the RPS/OU digital photography course had joined the Society. The course was attracting around 200/250 participants per presentation and represented an important opportunity to recruit members and to promote the Society’s workshops and competitions. Liz Williams was asked to provide access to the OU course forum for council members. Following the meeting the chief executive advised that some 135 course participants had joined the Society. RISK REGISTER `` This item was deferred to

the next meeting. Del Barrett asked that any feedback be emailed to her.

BY)LAWS AND RULES CHANGES `` The greater part of the meeting was spent reviewing line by line the proposed new by-laws and rules. The revisions would be fed back to Stone King for incorporating into the final draft documents which would be made

The success of the International

Images for Science exhibition has been discussed by council

available to the membership for consultation, and the final version published in August. If they were approved by the membership a revised management procedure (MP015) for elections would be required. `` A commentary on the proposed changes would be prepared for the July Journal. The resolution adopting the new by-laws and rules at the annual general meeting would be published as part of the agenda with the August Journal.

QUESTIONS FROM THE GROUPS AND REGIONS `` A series of questions from Nicola Young relating to the proposed changes to the advisory board had been submitted. These were reviewed and a response would be fed back and circulated in advance of the groups and regions meetings being held on 1 July. ELECTION NOMINATIONS `` The lack of nominations for council and the advisory board was disappointing. It was agreed that, in future, a person wishing to stand for election should be required to gather the required nominations and submit them so that there was visibility on when the required number had been reached. This would be included in the revised MP015 document. Council

agreed that the names of those nominating a candidate for the forthcoming election would not be shown on the ballot paper.

INTERNATIONAL IMAGES FOR SCIENCE EXHIBITION `` Gary Evans, International Images for Science (IIfS) exhibition coordinator, joined the meeting. He circulated a paper which summarised the impact of the IIfS exhibitions 20112017, and the changes effected as a consequence of the Siemens plc sponsorship which had been secured in 2015. He estimated that the forthcoming exhibition would be seen by c.250,000 visitors in 2017/18. Siemens’ sponsorship was due to continue until August 2018 but was not being renewed as a consequence of an internal restructuring. In order to continue with the science exhibition at its current level around £70,000 sponsorship was required. `` The president congratulated Gary Evans on the success of the IIfS exhibition. He reminded the meeting that the Society needed to be mindful of its position in science and that it recognised the importance of science imaging. Gary Evans noted that there was an opportunity for the science committee and Imaging Science Group to take a more active role in the exhibition and associated activities. `` Council asked that a sponsorship document be prepared and approaches made to potential sponsors. The outcome of this would determine when the next competition launched. ANY OTHER BUSINESS `` Alan Hodgson and

Image: greenbottle fly blowing bubble by Richard Beech 636 / THE RPS JOURNAL / AUGUST 2017 / VOL 157

Barry Hoffman would be invited to attend the July meeting. A trustees’ meeting would be held immediately after the annual general meeting.



2017 Members’ Biennial exhibition Until Saturday 5 August

`` Warrington Museum

and Art Gallery Roger Jeffery, 01925 442396, Fri 18 August – Thu 21 September

`` Arts Centre, Washington


Salons/exhibitions with RPS-approved patronage

1st Mahfuz Ullah International Memorial Photo Contest 2017 Closing date: 5 August `` `` `` RPS 2017/23 5th Danubius International Photo Art Salon ‘Best of CF’ Closing date: 7 August `` `` `` RPS 2017/28 Tafklub International Salon Closing date: 12 August `` `` `` RPS 2017/29 6th China International Digital Photography Art Exhibition Closing date: 15 August `` `` `` RPS 2017/37 Tai Po Photography Club International Salon 2017 Closing date: 20 August `` `` `` RPS 2017/27 Sydney International Exhibition of Photography Closing date: 28 August `` `` `` RPS 2017/14 38th Northern Counties International Salon Closing date: 1 September `` `` `` RPS 2017/20 The 50th E.A. International Salon of Photography Closing date: 5 September `` `` `` RPS 2017/35

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Jewels in the crown

David Bathard FRPS illuminates Indian culture through travel photography at his Fenton House exhibition, One Image is Never Enough


fter joining his local camera club in 1980, David Bathard was introduced to the Society and learned how the Distinctions process helps develop high-calibre photographers with a strong sense of vision and technique. Keen to hone his photographic ability, Bathard joined the Society to pursue his own Distinctions route, subsequently gaining his Licentiate in 1994, followed by his Associate in 1997 and Fellowship in 1999. Bathard’s Fenton House exhibition, One Image is Never Enough, encapsulates his trips to northern and southern India in October 2014 and January 2016 respectively. He hopes it reflects the cultural and social vibrancy of the country that captured his heart since first visiting 17 years ago. LEFT

What do you enjoy about travel photography? It’s such a privilege to experience a brief glimpse into people’s lives at every location. Fenton House’s gallery allowed me to split my exhibition into seven cameos according to theme and location. This was a brilliant way to utilise one of travel photography’s greatest strengths – the ability to highlight social and cultural aspects of a destination that visitors aren’t familiar with. From Kathakali dancers and southern Indian brick makers to the spiritual hubs of Varanasi city and the Holy Ganges, this exhibition offers an insight into the multifaceted nature of Indian culture.

In preparation, Golden Temple ABOVE

Devotees bathing in the Ganges

What has drawn you to India time and time again? My wife always says that India never disappoints and she’s right – there’s something new to discover at every turn. India has vibrancy, it has life and its people always seem to have smiles on their faces. Of course, like all countries, India has its downsides but I want my work to portray the incomparable personality that it possesses.

638 / THE RPS JOURNAL / AUGUST 2017 / VOL 157

What were the challenges of capturing this body of work? Lighting is always challenging with travel photography. Unlike England the sun rises and sets in India quite rapidly, so you have to be confident in your abilities to shoot competently in locations with bright sunlight and darker areas such as the Varanasi and the Golden Temple, where you have to rely on high ISO to achieve the images that you want. Luckily, digital cameras offer the flexibility to achieve this.





xxx xxxx

Of all the locations you have visited in India, what has been your favourite to photograph? Definitely the Golden Temple (Sri Harmandir Sahib), located in Amritsar city in the state of Punjab. Guru Nanak, the founder of the Sikh religion, once meditated here. I love photographing the volunteers in the gurdwara where the food is prepared for the 40,000 people who eat there every day. Coupled with its breathtaking mixture of architectural styles and the spectacle of the holy tank of Harmandir Sahib, it’s somewhere that I would never tire of visiting again and again. What do you want visitors to take away from you exhibition? I hope it shows that India is a country filled with vast cultural

and religious differences that work together harmoniously. I have a lot of love for India and I relish being able to showcase my enthusiasm

for its society through my photography. I can only hope that this fervour rubs off on those who come to view the exhibition.


Kathakali dancers

VOL 157 / AUGUST 2017 / THE RPS JOURNAL / 639


Many families of the time had a tintype memento of a trip to the seaside, such as this example from Great Yarmouth

Rise of the souvenir shot The tintype so beloved of the Victorians remains alluring


he luminous image by American photographer Joni Sternbach recognised in the 2016 Taylor Wessing competition uses tintype, a process familiar to photographers of the 1850s. More robust and popular than its predecessor, the ambrotype, its history begins in around 1852 with Adolphe Martin in France with the ferrotype. Coating a thin black lacquered metal sheet with collodion produced an underexposed negative image

– the dark background creating a positive image when viewed. In 1856 the process was patented in the UK by Kloen and Jones, and in the USA by Hamilton Smith, and it was there that the tintype enjoyed its earliest success. Although formally called ferrotypes – or melainotypes – the general public adopted the name tintype. The process was quick and easy – almost instant in comparison to other techniques of the time – and robust. This gave it a

640 / THE RPS JOURNAL / AUGUST 2017 / VOL 157

significant advantage over the glass-based ambrotypes in that a tintype could be sent through the post and carried around without fear of breakage. This, and its cheapness relative to the cost a carte de visite, made it a popular keepsake and memento during the American Civil War. Collodion was replaced by gelatine bromide coatings in 1870 and in the following decade the process gained popularity in Britain. As in America after the civil war, it became the

technique of choice for travelling and holiday resort photographers. Many a household would have had a tintype as a souvenir of a trip to the seaside or as a family snapshot. Technological developments added to the availability of the process. Multi-lensed cameras produced easily distributed images. An early four-lensed model gave a quartet of images on a 5x7in plate called bon-tons, while a 12-lensed model produced images about the size of a postage stamp that could fit into a brooch or medallion – little gems – all for less than one shilling. In 1899 an early version of the machines now commonplace – the photobooth, complete with artificial lighting – produced finished images in five minutes. Although the technique was overtaken by other developments, at least one London-based photographer was still producing tintypes in the 1950s. PETER HARVEY ARPS




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The RPS Journal, August 2017  

The Journal of the Royal Photographic Society

The RPS Journal, August 2017  

The Journal of the Royal Photographic Society