The RPS Journal, December 2016

MEMBER PROJECT

SEASONAL TIPS

OUR PICKS OF 2016

INSPIRING IMAGES OF RELIGION AND DEVOTION

HOW TO CAPTURE THE NORTHERN LIGHTS

THE BEST BOOKS, CAMERAS AND KIT

DECEMBER 2016 / VOLUME 156 / NUMBER 12 / WWW.RPS.ORG

COOL SHOTS for Christmas FEATURING

Martin Parr Laura Pannack Joe Cornish Hugh Turvey and RPS members

© Andreas Lundberg

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| DECEMBER 2016 | 881

OPENING SHOT A CHRISTMAS CRACKER

W COMING UP

IN FUTURE ISSUES We take a look at all the great Society workshops coming up in the New Year; and Rose Teanby ARPS explores the life of Brunel photographer and Society member Robert Howlett

PRINCIPAL PATRONS

elcome to the December issue of the RPS Journal. And what an issue it is too, full of great pictures by Society members and Honorary Fellows, such as Martin Parr, Polly Borland and Joe Cornish. It’s a real festive treat.

To celebrate all things Christmas, we offer you a fun-filled feature of images by top-flight photographers who explore festive themes.

They also share their seasonal memories, some of which are suitably ‘bah, humbug!’, perfect for readers less enthused by thoughts of turkey, gifts and Christmas jumpers.

It’s easy to forget, what with all the shopping and eating of mince pies, that Christmas is a religious festival – just one of the many holy celebrations that take place around the world every year.

In an ongoing project that will last five years, Society member Christopher Roche has been documenting faith traditions across the globe, including trips to Ethiopia and Varanasi in India.

Starting on page 920, we hear how an encounter with Buddhists during a trek through the Spiti Valley in the Himalayas first inspired Roche to begin his project, and how a Kickstarter campaign led to the

MAJOR PARTNERS

publishing of his first book. It’s an inspirational story that shows how much you can achieve with a little devotion – and some impressive photography skills.

With the end of the year in sight, we take the opportunity to share some of the best images available to view on the Society’s website. It was tough picking these shots from so many brilliant examples, but it was a real pleasure exploring so many of your great photographs.

We’d love to hear which of the selected images is your favourite. Take a look at the feature starting on page 928 and email us with your choice, being sure to tell us why you think it’s the best shot.

That just leaves me to wish you a merry Christmas and all the best for the New Year. I’ll see you again in January with loads more great photographs by Society members and more.

ANDREW CATTANACH Editor

SUPPORTING PARTNERS

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882 | DECEMBER 2016

IN THIS ISSUE The Royal Photographic Society Fenton House, 122 Wells Road Bath BA2 3AH, UK www.rps.org reception@rps.org +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 thinkpublishing.co.uk

943 Rich Ellis LRPS shares his tips on trips to best capture the northern lights

EDITORIAL ENQUIRIES Editor Andrew Cattanach andrew@thinkpublishing.co.uk 0141 375 0481 Contributing editors Fiona McKinlay, Jonathan McIntosh, Gavin Stoker

920

Design Matthew Ball, John Pender, Raymond Francis

Society member Christopher Roche tells of travels in search of devotion

Sub-editors Sam Bartlett, Kirsty Fortune, Andrew Littlefield Advertising sales Helen Rosemier helen.rosemier@thinkpublishing.co.uk 020 3771 7230

FEATURES

Group account director John Innes © 2016 The Royal Photographic Society.

All rights reserved.

912 | CHRISTMAS CRACKERS Some of photography's leading lights share their best seasonal images, if not all quite fully embracing the festive spirit

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.

920 | UNFLINCHING DEVOTION Christopher Roche's five-year journey to capture faith traditions reveals that many are under threat

Circulation 11,237 (Jan-Dec 2015) ABC ISSN: 1468-8670

Cover Samantha Crimmin

898 One Second of Light by Giles Duley HonFRPS made it to our top ten books of the year

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928 | SITE FOR SORE EYES Editor Andrew Cattanach unveils his favourite images of 2016 on the Society website, and which galleries were the biggest hits

GILES DULEY / BENWAY PUBLISHING; SHUTTERSTOCK; CHRISTOPHER ROCHE

906 | NEVER GIVE UP How Distinctions persistence paid off for the president of the Surrey Photographic Association

Editor-in-chief Clare Harris clare.harris@thinkpublishing.co.uk

THE CRAFT

EVERY MONTH

939 | MUST TRY/LATEST KIT Gavin Stoker gives us six of the best releases from the past year, plus member test

884 | BIG PICTURE Astronaut Tim Peake's spacewalk selfie

943 | IN DEPTH Northern lights by Rich Ellis LRPS

887 | IN FOCUS News, views, competitions and the best photography exhibitions

944 | MASTERCLASS Robert Rhead LRPS's light effects

898 | BOOKS The year's top 10 publications

HUGH TURVEY

900 | DISTINCTIONS Rod Dawson LRPS and Ann Healey ARPS 956 | SHOWCASE Bharat Patel ARPS exhibits his images of women workers in India

912 Hugh Turvey HonFRPS is just one of those sharing their favourite festive images

960 | TIMES PAST Snow Track by William A Cadby VOL 156 / DECEMBER 2016 / THE RPS JOURNAL / 883

884 | BIG PICTURE |

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From left: The Milky Way rising above the Indian Ocean; microsatellite DIWATA-1 launching from the International Space Station; one of Peake’s spacewalk selfies; a Patagonian glacier; a robotic arm of the space station with the Tunisian desert below

Spacewalk

By Tim Peake British astronaut Tim Peake beamed his way into our living rooms, and our hearts, earlier this year when he took part in the six-month Principia mission to the International Space Station.

During his mission, Peake became the first British astronaut to complete a spacewalk, and this breathtaking image (above left) shows planet Earth in all its glory, reflected in Peake’s visor.

Peake confessed to developing a love of photography while in orbit, and no wonder, with these sorts of sights.

The images here are among more than 150 collected in his book, Hello, is this planet Earth?, published last month.

ENTER AND WIN Hello, is this planet Earth?

by Tim Peake is published

by Century. We have two copies to give away to readers. Just email rpsjournal@thinkpublishing. co.uk with the subject line ‘Space’ to be in with a chance of winning

VOL 156 / DECEMBER 2016 / THE RPS JOURNAL / 885

A Revolution in

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887

HAVE GUIDE, WILL TRAVEL Society unveils Distinctions guide 888

WHAT NOT TO MISS Our pick of the best exhibitions 894

ROCKIN’ ROTTERDAM Benelux Chapter’s new project 896

INFOCUS NEWS, VIEWS, EXHIBITIONS AND MEMBER INSIGHT

MEMBERS’ BIENNIAL EXHIBITION OPEN FOR ENTRIES

Competition invites submissions from student, amateur and professional photographers One of the highlights of the Society’s calendar, the Members’ Biennial Exhibition is open for submissions. The competition invites entries from all members, including student, amateur and professional photographers working in any genre, and offers cash prizes of £200 for gold, £150 for silver and £100 for bronze-medal winners.

The selection panel, which includes Ben Brain ARPS, Tony Bramley FRPS, Maria Falconer FRPS, Andre du Plessis FRPS, Steve Smith FRPS and Joe McNally FRPS, will be choosing images to be part of a UK-wide exhibition touring from March.

Entrants submit up to four images online, and submissions before 15 December will be included in the early-bird prize draw.

Julie McGuire’s Lord of the Living Room from the 2015 Biennial

JULIE MCGUIRE

For further details and to enter online see the competition website rps-biennial.org

BOOK NOW!

WORKSHOP: CINEMATIC HOLLYWOOD BEAUTY LIGHTING MADE SIMPLE

International model Carla Monaco reveals how lighting can give beautiful results. For details turn to page 948 VOL 156 / DECEMBER 2016 / THE RPS JOURNAL / 887

888 | IN FOCUS |

‘AFGHAN GIRL’ IN ROW OVER DEPORTATION Steve McCurry HonFRPS’s famous subject deported from Pakistan Not only is Afghan Girl the most famous image by Steve McCurry HonFRPS, it’s one of the most famous images of the 20th century. Sadly, however, the subject of the portrait, Sharbat Gula, has fared less well in real life.

Afghan native Gula has been deported back to her home country from Pakistan after allegedly falsifying documents and staying there illegally. Gula was arrested at her family home in Peshawar, a few miles from where the portrait was taken in 1984.

‘I am committed to doing anything and everything possible to provide legal support to her and family,’ said McCurry when he heard of her arrest. ‘I object to this action by the authorities in the strongest possible terms. She has suffered throughout her life, and we believe that her arrest is an egregious violation of her human rights.’

The Journal spoke to McCurry back in October 2014, on the event of his being awarded the Society’s prestigious Centenary medal the same year.

In our interview, McCurry

WHO IS THE AFGHAN GIRL?

Now a mother of four, Sharbat Gula was photographed by Steve McCurry as a 12-year-old girl at a refugee camp in Pakistan in 1984. Gula, along with millions of fellow Afghans, fled Soviet-occupied Afghanistan and sought refuge in neighbouring Pakistan, where she lived until the recent deportation.

spoke about how he first visited Afghanistan in 1979, after being smuggled in by the mujahideen from neighbouring Pakistan. ‘There was no electricity, no running water, nothing to buy,’ he told

us. ‘I was in the country illegally, in a war zone.’

McCurry has visited the wartorn country several times during his career. However, it was in a Pakistani refugee camp in 1984 that he met the

Pashtun girl, Sharbat Gula, then aged 12.

The photographer learned the name of his subject much later, in 2002, when he returned to Afghanistan after the US invasion, in another assignment for National Geographic magazine.

The article read: ‘Time and hardship had erased her youth. The eyes still glare; that has not softened.’

The Society is set to release a practical guide to the Travel Associate Distinction this month.

The guide will provide a host of examples and expert tips for members and non-members, and deal with the causes that lead to unsuccessful submissions. Contributors

888 / THE RPS JOURNAL / DECEMBER 2016 / VOL 156

include Society Fellows David Noton and Leo Palmer.

The full-colour book is part of the Society’s drive to make the Distinction process as accessible as possible.

Travel ARPS: A Distinctions Guide will be available from the RPS website this month.

Visit rps.org/shop

ULRICH PERRY, AFP / GETTY IMAGES

NEW GUIDE TO TRAVEL ARPS

| IN FOCUS | 889 FROM WALTER BENZIE HonFRPS

SUCCESS IS IN YOUR HANDS

Costly gear is no substitute for application

M Steve McCurry with portraits of Sharbat Gula, taken nearly two decades apart

GIFTS GALORE AT THE RPS ONLINE SHOP

LOG ON FOR FESTIVE TREATS

Visit the Society’s online shop to find loads of great RPS products, including a Society-branded camera strap, mug, tie and bag, as well as the latest publications and exhibition catalogues for the International Print Exhibition and the International Images for Science.

Visit rps.org/shop

any photographers will have winced at the comments made by the uninitiated when looking at their work: ‘I bet you have an expensive camera’. The implication is pretty clear, that the camera does the work and all the photographer has to do is push the button.

As equipment has become more automated, a detailed knowledge of some of the advanced techniques has indeed become less critical. For example, in the past, macro shots using extension tubes required some exposure compensation – and just how effective this would be was only revealed when the film had been processed. Now, with automatic exposure and instant recall, this is a skill of the past – likewise with flash compensation.

Many male friends of mine do appear to have a love of their equipment that borders on the obsessive; in contrast most of the women photographers I know see the camera more as a tool to master, but not to admire in quite the same way.

As Christmas approaches, there must be a great number of photographers thinking of treating themselves to the latest innovations from their preferred suppliers – and no doubt wondering if the claimed improvements would really help capture that elusive winning image.

Personally, I don’t know of any photographers actually limited by their

equipment, but rather limited in the way they use their equipment. That includes myself. However I am still shocked at the number of people who are quite happy to purchase state-of-the-art equipment, but have very little idea as to how to get the best out of it.

As the annual cost of a Society subscription seems such a tiny proportion of the capital cost already invested, it seems astonishing that more do not consider that by attending a workshop, an advisory day or by joining a special interest group they might rekindle that vital enthusiasm.

Photography is an art form, and as artists we need to be challenged and stimulated to improve our skills and learn to use our equipment to its fullest capability.

Enjoy your photography!

Walter Benzie HonFRPS President of The Royal Photographic Society Turn to page 947 to find out what you can do with your membership, with our guide to events, activities, workshops and exhibitions

VOL 156 / DECEMBER 2016 / THE RPS JOURNAL / 889

890 | IN FOCUS |

FOUR TO EIGHT YEARS’ SERVICE Brian Smethurst ARPS Colin Harrison FRPS Malcolm Kus ARPS Tony Potter ARPS Tessa Mills FRPS Martin Addison FRPS Jill Pakenham FRPS Allen Lloyd ARPS

SOCIETY ASSOCIATE GETS COVER SCOOP

Charles Joseph ARPS tells how he took his striking kingfisher photo

Annual DepicT! cinematography prize goes to movie-making duo

EIGHT TO TWELVE YEARS’ SERVICE Anthony Healy ARPS Steve Boyle ARPS Clive Haynes FRPS Paul Reynolds ARPS Monica Weller FRPS Susan Brown FRPS TWELVE YEARS’ AND OVER SERVICE Jon Allanson LRPS Alan Angel FRPS Afzal Ansary ASIS FRPS Leo Palmer FRPS Pete McCloskey FRPS Anne Cassidy FRPS Mike Birbeck FRPS Richard Walton FRPS Chris Palmer FRPS

GO ONLINE Head to the RPS website for all the latest Society news rps.org/news

Perseverance and patience are key to Joseph’s work

When Charles Joseph ARPS entered several images into Bird Photographer of the Year last year and didn’t hear anything, he assumed they hadn’t made the cut.

So he was delighted to discover that he’d not only been shortlisted, but that Bird Watching magazine wanted to use his kingfisher photo for its November cover.

‘My big tip to members hoping to get published is study your subject well before shooting it. You need to be patient and persevere. It took me six years of learning about and photographing kingfishers to get this image,’ Joseph says.

He gained his LRPS in 2010, his ARPS in 2011 and turned professional in 2012 while caring for his mother. See emotionsinvision.co.uk

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890 / THE RPS JOURNAL / DECEMBER 2016 / VOL 156

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| IN FOCUS | 893

365 UNTITLED NYC

By David Gleave LRPS I was staying in Harlem for some intensive street photography. While there I was walking up to 12 hours per day, shooting people with the best street photo camera

OCTOBER’S ONLINE COMPETITION WINNERS

DOCUMENTARY

GET INVOLVED

Submit photographs for the next competition at rps-365.org

ever, the Ricoh GR. This image was one of the last shots taken on my final day there.

A gang of rowdy teenagers stood on the street, so I moved towards them and shouted to get their

DAD, DAD LOOK!

By Robert Bishop LRPS This graffiti in central Bristol, while interesting, needed a reaction to it to make it a documentary image. I didn’t want to influence this, so I stood in the middle of a busy main road to get in a good position.

Using a Fuji X-T1 with an 18-55mm lens at f/5-6, ISO 400, 1/640, I took several images but didn’t get the one I wanted until this pair walked by. The boy’s reaction was perfect.

For this type of photography, patience is key; it’s satisfying when it works out. attention. They surrounded me and started playing up for the camera and coming right up close - a dream for me really. I rattled off about 15 shots, five of which were really good ones.

YEAR OF THE MUD

By Jay Goodman Earlier this year I was lucky enough to experience Glastonbury music festival.

Although the festival is well known for its boggy land, I am told that 2016 will always be known as the year of the mud.

This shot was taken

in an attempt to capture the difficulty visitors have in navigating the festival – many wellies were lost to Glastonbury this year.

This photograph was taken using a 1979 Olympus OM-2 with a 50mm lens and loaded with my favourite film – Kodak Portra 400.

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894 | IN FOCUS |

WHAT NOT TO MISS FEMINIST AVANT GARDE OF THE 70s The Photographers’ Gallery, London UNTIL 29 JANUARY 2017

An exhibition of 48 female artists and more than 150 major works from the Verbund Collection in Vienna, featuring Cindy Sherman, Francesca Woodman and Martha Rosler, among others. thephotographersgallery.org.uk

40 YEARS OF PUNK Proud Camden, London UNTIL 22 JANUARY 2017

TRACES OF WAR King’s College London, Somerset House east wing UNTIL 18 DECEMBER

This major exhibition is the fruit of collaboration between the Department of War Studies at King’s College and

Jananne Al-Ani, Baptist Coelho and Shaun Gladwell.

Working primarily with photography, film and multimedia installations, all three have direct experience of conflict and war zones in Iraq, India, Bangladesh and

Afghanistan. Gladwell, for example, served as Australia’s official war artist in the first Gulf War and Afghanistan, and uses his photography to critically analyse the use of cameras and filmography in warfare. kcl.ac.uk/Cultural

Adrian Boot was a music photographer at the height of punk in the late 70s, and this exhibition features many bands and performers from this influential era. Boot had a close relationship with The Clash, while The Sex Pistols, Ramones, Blondie and Madness also feature. proudonline.co.uk/exhibitions

YOUTH WITHOUT AGE, LIFE WITHOUT DEATH: CHAPTER 1 Francesca Maffeo Gallery, Leigh-on-Sea, Essex UNTIL 23 DECEMBER

Set in the Romanian landscape, Laura Pannack’s new work takes inspiration from a local folk tale, of a prince’s quest for eternal life. It’s the first chapter of a body of work on the Balkans, each one based on a folk tale. francescamaffeogallery.com

IN THE CITY Kosmonaut Bar, Manchester DECEMBER 8

This is an exhibition of gritty street photographs

by David Gleave LRPS. ‘I don’t like to intellectualise photography,’ he explains. ‘It’s every experience I’ve ever had.

It’s every film I’ve ever seen.

It’s every song I’ve ever loved and every person I’ve ever known all coming together.’ northernfacephoto.com

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THE QUEEN, THE CHAIRMAN AND I Impressions Galley, Bradford 16 DECEMBER TO 18 MARCH 2017

Marking the 20-year anniversary of Hong Kong’s return to Chinese sovereignty, this is an intriguing journey into the entwined histories of China and the UK, traced through the family history of photographer Kurt Tong. impressions-gallery.com

Harry Benson: Seeing America Scottish Parliament, Edinburgh Until 3 December Welcome to Belfast Belfast Exposed, Belfast Until 23 December Reality is a Dirty Word Proud Gallery, London Until 3 January 2017 Street View: Photographs of Urban Life Graves Gallery, Sheffield Until 11 March 2017 Drawn to the Land Fox Talbot Museum, Lacock Abbey Until 12 March 2017

© JANANNE AL&ANI, AERIAL IV, PRODUCTION STILL FROM THE FILM SHADOW SITES II, 2011; VALIE EXPORT; ADRIAN BOOT; KURT TONG; DAVID GLEAVE LRPS; LAURA PANNACK

ALSO SHOWING

Levon Biss FRPS, Microsculpture, at Xposure International Photography Festival, UAE. Image Š Levon Biss

896 | IN FOCUS |

FENTON ARCHIVE HEADS TO LACOCK Historic cameras from seminal Society member to go on show at Fox Talbot Museum

BBC ON THE LOOKOUT FOR PHOTO FANATICS Send in your family pictures and you could appear on television next year BBC Four is looking for a family of photo fanatics to take part in its programme Smile! The Nation’s Family Album. The broadcasters are asking families who are keen photographers – ideally three generations – to come forward to share their treasured photo collections.

Smile! The Nation’s Family Album, which will tell the story of family life in Britain

FOR THOSE ABOUT TO ROCK

Benelux Chapter members kick off street photography challenge Members of the Society’s Benelux chapter have begun a new street photography venture, dubbed Rockin’ Rotterdam.

Their first meet-up took place at the end of November, with regular

from the 1950s to the present day, focusing on the cameras that shaped home photography and the people who used them, is part of a season of programmes celebrating UK photography called Britain in Focus.

It would be great to see a family of Society members represented, so make sure you submit your family pictures.

A significant collection of historic photographic technology and images formerly owned by Society member James Fenton FRPS is being transferred from the British Film Institute to the Fox Talbot Museum at Lacock in Wiltshire.

The move is being made possible by a £36,100 grant from the Heritage Lottery Fund and support

from Art Council England’s Preservation of Industrial and Scientific Materials (PRISM) fund.

The collection comprises hundreds of cameras, optical devices and toys from the 18th century to the late 1980s as well as nearly 3,500 photographic images ranging from the earliest processes through to the first part of the 20th

This negative retouching desk is among the items being transferred

For more, visit bbc.co.uk/ familyalbum

sessions planned for early 2017. The aim is to capture as many postcodes in the city, photographically, and bring together Benelux Chapter members.

Dawn Black ARPS, chapter organiser, said: ‘Having been virtually decimated during WW2, Rotterdam has grown to be a relaxed, quirky and vibrant city which does not look the way many people imagine traditional Dutch cities to look.’

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CAMERA!LIKE KODAK PHONE RINGS CHANGES

Long-running firm makes new foray into smartphone market

DISTINCTIONS SUCCESSES

Fenton’s sliding back portrait camera, circa 1860

century. It was assembled

by James Fenton, a founder member of the Society’s Historical Group, and formerly exhibited as Fenton Museum of Photography in the Isle of Man. Roger Watson, curator of the Fox Talbot Museum, said: ‘We are now better able to tell the history of photography, and to care for this incredible collection in the way it deserves.’

The collection includes hundreds of cameras, optical devices and toys

Read more at rps.org/news A new smartphone with a camera is hardly news in 2016, but the oncemighty Kodak is turning heads again with its new Ektra smartphone, carefully aimed at enthusiast photographers. The Android-powered Ektra has a physical shutter button and powerful imageediting software, along with a small handgrip and leatherette covering.

Inside, the Ektra packs a 21-megapixel Sony sensor

KODAK MOMENTS

with phase-detection autofocus, a fast, optically stabilised f/2 lens, and expandable memory. Also supplied are a suite of editing software, apps and a choice of leather cases. See kodak.com

The firm has achieved several firsts in its long history. George Eastman pioneered the world’s first commercial transparent roll film, in 1889. His firm became Eastman Kodak in 1892, and its Brownie helped usher in the age of popular photography in 1900. Kodacolor was claimed to be the ‘world’s first true colour negative film’ in 1942.

10/16 LRPS Howard Ashton-Jones, Fife John Clark, Denbighshire Linda Corcoran, Sussex Elizabeth Cowle, Singapore Rodney Dawson, Durham Carolyn Dee, Buckinghamshire Sarah J Dow, Wiltshire Pat Goodall, Hampshire Stephen Haddon, Bristol Boulos Isaac, Egypt Kevin Verrant James, Hampshire John Jennings, Hertfordshire Michelle Howell, Yorkshire John Mccarthy, London Ashley Miller, Surrey John Mucklow, Staffordshire Wendy North, South Yorkshire John Patterson, Cheshire Mike Pearce, Bedfordshire Judith Rolfe, Surrey Angus Stewart, London Terry Summers, Monmouthshire Steve Varman, Middlesex Lee Williams, London Althea Wilson, London Lin Wyles, Herefordshire Peter Wyles, Herefordshire 10/16 LRPS Exemptions Emma Lord, Swindon Lynette McGill, Dumfries & Galloway Gareth Edward Meecham, Leicester Mark Overell, Northern Ireland Catherine Thompson, Northern Ireland Aurelie Walder, London 10/16 ARPS Creative Mike Berry, Cleveland Lorna Brown, West Sussex Jan Jerome, Midlothian Desmond Lingard, London Michelle Whitmore, Wiltshire Sambhu Das, West Bengal 10/16 ARPS Pictorial Dawn Black, Holland Peter Fry, Swansea Michael Hawkridge, Gloucestershire Brian Innes, Midlothian Kirsty Ralfs, Kent

VOL 156 / DECEMBER 2016 / THE RPS JOURNAL / 897

THE RPS COLLECTION 898 | TIMES PAST | FROM

THE YEAR’S 10 BEST BOOKS

It’s been a great 12 months for photography publications – so here’s our Christmas wish list drawn from the last year of the Journal

AVEDON/WARHOL

By Larry Gagosian, Michael Bracewell and Ara Merjian Abrams & Chronicle This sumptuous volume tied in with a fascinating exhibition at the Gagosian Gallery. Richard Avedon (1923–2004) and Andy Warhol (1928–1987) were artists who came to define their times, and although they never collaborated both had an unshakeable belief in the power of the image to influence, shock and seduce.

The book shows how they interpreted the same (often world-famous) sitter in different media, while essays provide fascinating insight.

ROBERT FRANK IN AMERICA Peter Galassi Steidl (£29) Frank is one of the masters of American documentary photography and his seminal work The Americans continues to influence leading contemporary photographers.

This magisterial volume brings together the images that Frank made between 1947, when he arrived in the USA from Switzerland aged 22, and the early 1960s. There is an extensive introduction

by Galassi, a leading photography scholar and critic, and some wonderful maps that track Frank’s journey across the USA.

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CHANGING CIRCUMSTANCES Curated by Wendy Watriss, Steven Evans, Frederick Baldwin Schilt Publishing (£35) Only the most determined climate change deniers could fail to be moved by this beautifully produced book on how photographers and other artists are responding to environmental change.

Fantastic photographers featured include Edward Burtynsky, David Doubilet and Joel Sartore, alongside some thought-provoking essays by scientists and other experts. An admirable project that will hopefully open more minds and eyes to what’s going on.

ONE SECOND OF LIGHT Giles Duley Benway (£30) The portrait on the cover of this major collection evokes Don McCullin’s shell-shocked marine.

Duley, like his fellow Honorary Fellow, is a deeply compassionate photographer who has recorded the cost of war in troubled spots such as the Ukraine and Afghanistan (where he lost both legs and one arm to an IED).

Despite the pain and difficulties faced by many of Duley’s subjects, their spirit and determination shine through. It’s not easy reading, but is utterly inspiring.

DOUGIE WALLACE; TONY WOROBIEC

ROAD WALLAH Dougie Wallace Dewi Lewis Publishing (£35) Dougie Wallace is an idiosyncratic and exciting street documentary photographer, celebrated for shooting both stag and hen parties in Blackpool and rich shoppers in Knightsbridge. Here, Wallace focuses his Hogarthian eye on Mumbai’s iconic black and yellow taxis, their drivers and passengers.

The book bursts with local colour and characters, and Wallace has done a sterling job of capturing the personalities of everyone involved in the journey. A must for travel and street fans.

BOOK REVIEWS

| IN FOCUS | 899

TONY WOROBIEC

PHOTOGRAPHING LANDSCAPE WHATEVER THE WEATHER Tony Worobiec RHE Media (£5.99) Tony Worobiec FRPS is a Society stalwart and celebrated landscape and travel photographer.

His latest book is required reading for all photographers who must endure the UK’s weather, along with anyone else who tends to put their camera away when the heavens open.

It’s full of practical ideas for making the most of less than ‘ideal’ conditions: the right gear, stormy skies, drab skies, flooded landscapes, ice and snow, and more.

THE DOCUMENTARY IMPULSE Stuart Franklin Phaidon (£19.95) This major book by the renowned Stuart Franklin HonFRPS is not about his photographs per se, but a readable, stimulating, history of documentary images – from the earliest days of cave drawings to the present day.

It looks at how documentary photography has changed as society’s views have changed, how photography is a witness and catalyst for change, and its influence on interpreting everyday life. The chapter on Manipulation, Staging and the Future is one of the standouts.

THE BAND: PHOTOGRAPHS 1968%1969 Elliott Landy Landy Vision/Backbeat Books (£19.99) The Kickstarter campaign for this book broke all records, and it’s easy to understand why. Veteran US photographer Elliott Landy took more than 8,000 frames of the roots rock pioneers, the best of which appear here.

It’s mostly a black and white record of The Band at Woodstock, recording their second album in Los Angeles and backstage for their first concert. As such, the book is a hybrid of monograph and rock music history.

THE THAMES AND HUDSON DICTIONARY OF PHOTOGRAPHY Edited by Nathalie Herschdorfer Thames and Hudson (£65) Despite a few omissions, this is a very enjoyable tome to dip into during the Christmas holiday downtime. The dictionary weighs in at more than 400 pages, and it’s well written and nicely designed.

Although it’s a shame there isn’t room for more images, this is understandable considering the breadth of content the editor covers. The entries on each artist and technique serve as a good primer and inspiration for more in-depth study.

AUTOPORTRAIT Martin Parr Dewi Lewis (£16.99) Need some light relief after a turbulent year? Wherever he travels, the Society Honorary Fellow has his portrait taken, either by a local photographer or in a portrait booth.

Some of the images are very funny, particularly when Parr is shot amid the cheesy props of an oldschool studio or subjected to atrocious retouching.

Whatever indignities he’s subjected to, Parr’s expression remains deadpan, making this a very entertaining stocking filler.

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900 | DECEMBER WHAT ARE DISTINCTIONS?

Distinctions are standards of achievement recognised throughout the world

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

Rod Dawson LRPS

‘I decided to try for a Licentiate Distinction when I anticipated a period where I would have less time to take images’ I was getting work done on my house, which meant I couldn’t get out as much as usual, so I chose to submit a portfolio using images on my hard drive.

As well as allowing me to do some home-based photography work, it also let me take a critical look at my library. I decided that if I didn’t have sufficient good-quality images, then I would need to reassess what I’ve been doing for the past few years.

The portfolio I submitted reflects my aim to avoid clichés and capture something slightly different from what others may have seen at a particular location.

This sounds rather pretentious, but in my case it’s almost a subconscious process.

For instance, in some cases I photographed the reflection of a subject rather than the subject itself.

Likewise, I used a macro lens to offer a different take on an object. And to further develop my eye, I looked at the work of other photographers.

The earliest image in my portfolio was shot in September 2008, and the latest in March this year.

However, most were made in the last three years. The final selection of images in the submission was heavily influenced by the Society panel members at the advisory day I attended.

I would recommend that anyone undertaking a Distinction attends an advisory day.

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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

BIRCH TREES, NR ULLAPOOL

A transient cloudscape is the making of this image. Canon EOS 5D MkII and EF 24-105mm lens at 24mm, with Lee filters BEACH HUTS, SCARBOROUGH, YORKSHIRE

I relied on perspective and colour.

Canon EOS 450D and EF-S 18-55mm lens at 40mm LOCH AT DRUMRUNIE, NEAR ULLAPOOL, LOOKING TOWARDS STAC POLLAIDH

At ground level the composition fell into place. Canon EOS 5D MkII and EF 24-105mm lens, at 24mm, with Lee graduated filters SEAWEED AT HOWICK HAVEN

This was one of the first images I made with a macro lens. Canon EOS 5D MkII and EF 100 f/2.8 macro lens

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| DISTINCTIONS | 903

ROCK FORMATION AT CAMAS MALAG, SKYE

This was taken in March 2014. Never mind three seasons in one day, this part of Skye experiences them in an hour. Canon EOS 5D Mark II with EF 24-105mm lens, at 24mm Lee graduated filters, Manfrotto 055 tripod, with geared head THE TOWN HALL, DELFT

This was taken in March this year. It was only on the last day of a short holiday to Delft that the light was good for reflections of the houses in the Oude Delft canal. Canon EOS 50D and EF-S 17-85mm lens at 44mm

HOUSE ON THE ISLAND OF TORCELLO, VENETIAN LAGOON

I was attracted by the distressed nature of the building, and its painterly quality. I cropped on the right-hand side to take out one of the building’s corners. Canon EOS 50D and EF-S 17-85mm lens at 17mm ASSESSOR’S VIEW

Karen Berry FRPS chairperson of the Licentiate panel Rodney Dawson’s portfolio had immediate impact. It exhibits cohesion not only in subject matter but also in tone. The portfolio is very well balanced and the positioning of the images that contain trees has been well thought out. The only

landscape-format print in the submission, which also contained the strongest colours, was positioned in exactly the right place – in the middle of the bottom row.

Dawson’s visual awareness comes across. He has made very effective use of colour and clearly has a good understanding of light and its effect on texture. Choosing interesting viewpoints, he has not taken the obvious

photograph. Dawson has considered the scene before him and carefully composed the image, avoiding distracting elements, communicating clearly with the viewer.

The photographs where he has chosen to go in close to his subject, creating an abstract image, were particularly appealing and they added variety. There is variety not only in subject matter but also in approach.

The photographs were all appropriately sharp and well exposed. The print quality was very good, with evidence of tonal control. There was good colour management throughout. The highlight areas were well controlled.

Rodney’s portfolio clearly met all of the required criteria for the Licentiate Distinction and we were delighted to recommend that he be awarded a Licentiate.

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904 | DISTINCTIONS |

CANAL HOUSES, OUDE DELFT, DELFT

THE BEACH AT BAMBURGH, NORTHUMBERLAND

Like the town hall image, this was taken during a springtime holiday to Delft.

I loved the light on the water, which made for some stunning reflections. The level of disturbance caused by the ripples in the canal is, I think, just right. Canon EOS 50D and EF-S 17-85mm lens at 44mm

This image was taken at around 8am on an early March day. After a rather unsuccessful attempt to capture the sunrise, I turned to face the other direction.

The windblown patterns in the sand caught my attention. Canon EOS 5D Mark II and EF 24-105mm lens at 24 mm

HANGING PLAN

'His portfolio exhibits cohesion not only in subject matter but also in tone'

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FACT FILE

Rod Dawson has been a photographer since his teenage years, but it is only in the past 10 years or so that he has taken positive steps to improve his images, by attending Society workshops

ROCK PATTERNS, RUMBLING KERN, NORTHUMBERLAND

The rock surface, on which I was standing, had been eroded at different rates to produce abstract patterns.

Canon EOS 5D MkII and EF 24-105mm lens, at 24mm VOL 156 / DECEMBER 2016 / THE RPS JOURNAL / 905

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| DISTINCTIONS | 907 Opposite page: Slender anole Below: Blue dasher

Try, try, try again

Ann Healey explains how determination helped her achieve an ARPS after twice falling short

A

nn Healey ARPS became a member of the Society eight years ago so she could achieve a Distinction. It was central to her joining and felt like the logical next step in her photography practice. But after gaining her Licentiate with relative ease she hit upon a stumbling block, failing her Associate Distinction.

It subsequently took her two more attempts to finally achieve Associate level. The process was tough, with all kinds of emotional ups and downs, but she nonetheless kept on trying, despite how disheartening it sometimes felt. For anyone else

out there struggling to achieve their ARPS, Healey hopes her story will help you stick it out.

You’ll get there in the end, she says, and the process will make you a better photographer.

MY FIRST ATTEMPT I had been a member of the Richmond and Twickenham Photographic Society for only a year when I submitted a Licentiate portfolio. With the help of more experienced club members, as well as a mentor’s input, I compiled a submission and achieved LRPS quite easily.

I was in no rush to get my Associate Distinction, and was in the meantime quite content with

FACT FILE

Ann Healey ARPS is former president of the Surrey Photographic Association and is well known for her images of the natural world

my LRPS. Then, in 2012, I was asked to become the president of the Surrey Photographic Association, at which point I decided the ARPS was what I needed in my new role.

Knowing that insect photography is my forte, I decided to do an Associate portfolio in natural history, and so printed out loads of my photos – in a small, preview format – and pulled out three potential submissions. I then took these to a panel member for advice and together we came up with a selection we both felt would work. The images were of a variety of British insects, all in some sort of activity.

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908 | DISTINCTIONS |

So far, so good. However, when it came to printing the images for assessment, I reproduced them far too large.

It’s not that I printed them larger than the Distinction guidelines allow, it was more that they were at such a size that the slightest flaw was greatly emphasised – flaws that the panel member couldn’t spot when I showed him the smaller prints.

This problem became apparent when, during my assessment, the panel members explained that most of the images had either been oversharpened or were too soft.

It was tough criticism, but when I looked at the portfolio with less emotion I could see exactly what they were talking about. It was back to the drawing board.

SECOND TIME AROUND Because of the nature of the criticism my first portfolio received, I decided to start from scratch with my second attempt and thus compiled a selection of images of true flies. A lot of work went into this portfolio, taking thousands of photos in my garden, Kew Gardens and at locations in London and Surrey.

I was confident this portfolio would pass, taking care to print it much smaller, and so when I attended the assessment day and heard the panel members again tell me there were problems with the sharpness of the images, I was devastated.

I am so careful about taking and selecting my images that the comments felt very damning of my ability as a photographer.

Thankfully, nothing stops me from taking pictures, other than bad weather. So I was right back out there photographing again, determined not to let the process get me down. Nonetheless, I chose to take a break from trying for my ARPS, and it was a year before I made my third attempt.

In the meantime I was trying even harder than before to take better images and had achieved success in international salons and club competitions, winning

Top: Swallowtail in flight Below: Cicada

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HOW TO SPOT OVERSHARPENING Oversharpening is a common problem in photography, particularly when the subject is small.

The main sign of oversharpening is a halo effect around areas of contrast. This will appear like a jagged edge, where there should in fact be a definite line of contrast.

| DISTINCTIONS | 909

HANGING PLAN

What they said

Ann Healey’s final natural history ARPS portfolio, 13 September 2016

FEEDBACK FROM FIRST ATTEMPT ‘This was an interesting set of pictures that looked very nice from a distance when the portfolio was first displayed.

The images were well arranged and showed an interesting and wide variety of insects, and insect behaviour.

Unfortunately, on closer inspection, a large number of the images showed visible signs of oversharpening, noise and artifacts, which was a great pity.’ awards and accreditations.

When thinking about different subjects for my next Distinctions portfolio, I decided to pick images taken during a twoweek trip to Costa Rica.

I showed a panel member some of these images, and he was impressed, so we went through them and selected a portfolio. Compared to my second attempt, which was all flies on leaves, this one was quite varied, with different kinds of birds, reptiles and insects, taken over a relatively short period.

When attending the assessment day I was far from confident, convinced I was going to fail (the previous six portfolios assessed that day had not been recommended). But when it came to my assessment the panel members had nothing bad to say about the images –they loved them. The subject was

interesting and varied, they said, and the images were sharp. I was over the moon.

Looking back, despite all the work I had put in to getting my ARPS, and all the emotional turmoil, I am now a much better photographer. It was clearly a process I needed to go through, even if at the time I didn’t agree with the panel members’ decisions.

The main lesson I learned was to never give up, to persevere no matter what. No challenge is too great for me now.

What advice would I give others trying for their ARPS? Be under no illusions that this is an easy road; it is a very difficult journey. It was one that took me three and a half years and it was full of obstacles and disappointments, but the satisfaction and the pride I now feel have made it all worthwhile.

Above left: Chestnut woodpecker Above right: Common basilisk

FEEDBACK FROM SECOND ATTEMPT ‘You have chosen a very difficult subject which requires a great deal of magnification, and you have produced a nice range of interesting images.

While from a distance the portfolio looked excellent, on closer examination there were a number of images that lacked critical sharpness, which is necessary to achieve the Associate Distinction.’

VOL 156 / DECEMBER 2016 / THE RPS JOURNAL / 909

Photography Courses Studio Lavalette runs focused photo-holidays, in SW France, for photographers who want to get more from their cameras and improve their photo-editing skills.

New in 2017 are a limited number of courses designed to help you prepare for a photography qualification.

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holiday. focus. france

| DISTINCTIONS | 911

Multimedia: ‘support it or lose it’ Roger Reynolds HonFRPS, chair of the Distinctions Advisory Board, makes a plea to members

T

CHEVU/ SHUTTERSTOCK

he multimedia Distinction was introduced in 2011 to meet the advancements in the delivery of photography brought about by the digital revolution in camera technology, software development and post-production.

While it continued to support the more traditional audio visual, the new Distinction created an outlet for those who wished to explore the many new avenues that had been opened for creative image delivery. With its introduction, the Society’s intention was to offer those who work in areas beyond the still image the opportunity to have their skills recognised.

Whether individuals were working in time-lapse, short films, three-dimensional imagery, audio visual, material produced for the web or the many other creative avenues that have manifested themselves during the first part of the 21st century, the multimedia Distinction was intended to be receptive to all approaches.

It is therefore very disappointing that this Distinction is being so poorly supported, given that there are so many creative talents showing their work through avenues such as YouTube and other internet platforms. That is not to say that there have not been some superb and exciting applications, but there have only been a few.

It is the role of the Distinctions Advisory Board to examine the viability of continuing the multimedia Distinction considering the low uptake. There is always a financial implication in supporting a specialist area of the Distinctions and the cost-effectiveness must be considered in such circumstances.

With the introduction of the new film category, the multimedia Distinction came under detailed scrutiny at the Distinctions Advisory Board’s May meeting.

A low uptake in the multimedia Distinction means that those working beyond the still image may lose out

‘THE DISTINCTIONS ADVISORY BOARD WILL BE DOING ALL IT CAN TO ENCOURAGE MULTIMEDIA APPLICATIONS’

Some of you might have read a report to council relating to the audio visual aspect of the multimedia distinction. That report may give concern to those who are considering entering work into this multimedia category, so I need to clarify the situation as it stands. The Distinctions Advisory Board decided that it would examine the viability of the multimedia Distinction over the next two years with a view to encouraging more applications.

During that time, the board will be observing the audio visual distinction held by the Photographic Alliance of Great Britain (PAGB). If after this time the application numbers do not increase significantly, then consideration will have to be given to abandoning this Distinction.

If that course of action is necessary, then further thought will be given to see if there are other ways the Society can recognise those working in this area of photography. One option is a possible discussion with the PAGB

regarding a reciprocal route for audio visual, if that was considered a viable option.

There are, of course, issues with such a course of action, as the audio visual is just one aspect of photographic practice in the multimedia Distinction, so such a move would not offer similar opportunities for many other areas of multimedia. Of course, no discussions can take place until a final decision has been taken, as the Distinctions Advisory Board would prefer to retain this Distinction, so it will be doing all it can to increase the number of applications.

This is a plea to all who are working in this area of photography and who may be considering a Distinctions application – please apply. The Society may not be able to sustain the multimedia Distinction if it is not supported.

It is a case of ‘support it or lose it’.

The next multimedia assessment day will be held on 27 October 2017 VOL 156 / DECEMBER 2016 / THE RPS JOURNAL / 911

912 | GALLERY |

12 Shots of

Christmas

What are the ingredients for a festive feast?

Some of our best-loved photographers provide the essentials (classic and quirky) for the celebrations to come

CREDITBORLAND POLLY SITS IN BOX HonFRPS 4MM DEEP

BY GEMMA PADLEY

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| TOP NAMES | 913 1*Santa

CREDIT SITS IN BOX 4MM DEEP

Father Crimbo by Polly Borland HonFRPS This photograph is a rather surreal take on Father Christmas. I wanted to photograph an aspect of Christmas that was iconic, and Father Christmas was it, but in an Andy Warhol kind of way. I love Christmas and all things Christmassy.

For me it is a holiday with kitsch visuals and loads of delicious food that can be exciting for children and very stressful for adults.

Guest photographers discuss the key elements of a great Christmas photo and share their best (and worst) festive memories. By Gemma Padley

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914 | GALLERY |

From Youth Without Age

by Laura Pannack I shot this in Romania while working on my project Youth Without Age, Life Without Death. The snow was fierce, and this lady was strong but struggling. She was alone and without family. I liked that her turkeys seemed to echo her appearance.

My fondest memories are the hilarious Christmas mornings spent with my mum and sister. It’s a tradition for them to drag me out of bed, sit by the fire and giggle our way through the morning.

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3*Snow

Snow comes to the North Sea

by Joe Cornish HonFRPS As much as I love this image (it was shot on 21 December, if memory serves), I have to be honest – I am not a big fan of Christmas. I associate it with stressful family gatherings, congested motorway journeys, ludicrous political hypocrisy and a sickening bonanza of pointless, environmentally destructive materialism, although I have done some of my favourite long-distance walking on Christmas Day or Boxing Day. In an ambassadorial role for Christmas I am about as well qualified as Ghenghis Khan was for world peace, harmony and fraternal tolerance.

JOE CORNISH HonFRPS; LAURA PANNACK

2*Turkey

5*Frost

4*Santa’s sleigh

‘TO BE OUT SHOOTING AT CHRISTMAS IS FOR ME THE PERFECT THING TO DO’

© CHRIS STEELE"PERKINS/ MAGNUM PHOTOS; , DAVID NOTON

Father Christmas in a car, London, 1986 by Chris Steele-Perkins HonFRPS One year I did a story about Father Christmases. I was fascinated by their different manifestations – the parental Santa, the department store one, the office party one.

This Santa belonged to a Father Christmas company that arranged for Santas to give presents to children. I think his day job was working as a driving instructor but he was making a bit of extra money. Christmas really is for kids, and while the commercial side of it can be awful, I enjoy it. I like the ritual.

Skye by David Noton FRPS In England, the conditions we associate with Christmas – frost, snow, and crisp winter days – rarely happen. But they do in Scotland, up in the Highlands. These images are from a Christmas trip up to Scotland a few years ago.

We’d rented a cottage on the Isle of Skye and had the most fabulous Christmas.

We were lucky to get those really frosty, wintery conditions. To be out shooting at Christmas is for me the perfect thing to do because it can be a claustrophobic time of year. I look forward to getting warm and cosy afterwards, and enjoying a very welcome tipple.

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916 | GALLERY |

Falklands Nativity by Jon Tonks I took this image of a nativity play dress rehearsal in the Falkland Islands while working on my project Empire. For me, this image is a flashback to primary school – to the nativity plays where the kids have tea towels on their heads.

Although it was taken thousands of miles away from where I grew up, it is exactly the same as it was for me 30 years ago. I don’t go seeking Christmas pictures, but every now and then you have something like this, which is a throwback.

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7*Stockings

Chromosome Socks

by Gina Glover I created this image while an artist-in-residence at Guy’s and St Thomas’ NHS Foundation Trust in London.

Human chromosomes, when seen under a microscope, have the banded appearance of stripy socks. Each chromosome is made of a long thread, which is of course DNA. These socks belonged to staff in the genetics department of Guy’s.

I remember the excitement as a young child in the 1950s of creeping into my mother’s bed and opening my stocking.

GINA GLOVER; JON TONKS

6*Shepherds

| GALLERY | 917 8*Dinner

Christmas Dinner, Horncastle, England 2014 by Martin Parr HonFRPS I took this shot, from a good while back, at my wife’s parents’ house where they always had big family gatherings. It was very raucous and this image really does bring back (fond) memories.

You can see here I am in the phase where I was using a macro lens with a ring flash.

There is so much to shoot at Christmas. The present opening, the cooking of the meal, even the washing-up.

So I encourage people to shoot out of their comfort zone and explore ideas that are new and that keep us all fresh.

9*Lights

© MARTIN PARR/ MAGNUM PHOTOS; JANE HILTON

Dog by Jane Hilton HonFRPS I’ve always had a fascination with lights, whether they’re Christmas ones or not. They’re so atmospheric. They put a smile on my face and make me positive and happy.

One of the best things about Christmas is that everything lights up.

Quite often I’ll be in the US in December and people really go to town with their lights.

Wherever I am I will stop what I’m doing and take pictures of the houses lit up. One year I travelled to Houston in Texas especially for the lights.

Shooting Christmas lights is an ongoing project.

‘ONE OF THE BEST THINGS ABOUT CHRISTMAS IS THAT EVERYTHING LIGHTS UP’ VOL 156 / DECEMBER 2016 / THE RPS JOURNAL / 917

918 | GALLERY |

Father Christmas, Paul Hill This image ran on the front page of The Guardian in 1965. You have to come up with ideas as a freelance photographer, as I was then, and seasonal ones are good. I’d taken my kids to a local department store in Wolverhampton, and it struck me – what about taking a different picture of Father Christmas?

I normally do things on the fly, but on this occasion I asked Santa to walk out of the store and head home.

I’ve always had the mantra of trying to take a different perspective on things.

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FATHER CHRISTMAS 1966, PAUL HILL; DAVE STEWART

10*Shopping

| GALLERY | 919 11*Christmas jumper Telenor Jumpers, David Stewart This image was a commission for the agency Green Cave People, based in London.

The client was Telenor, a Norwegian multinational telecommunications company.

Part of a teaser campaign, the image plays on the idea of receiving terrible Christmas presents – in this case, a Christmas jumper.

I don’t particularly like Christmas, so my only fond memories are of excitement

receiving presents as a child.

Usually, Christmas images are fairly clichéd and play on people’s reference points, but because of my style of work the images I produce tend to involve humour and sending Christmas up.

HOW TO…

TAKE GREAT PHOTOS AT CHRISTMAS

PREPARATION IS KEY Make sure your 1 batteries are charged, pack extra memory cards, consider if you need a flash and suss out some backgrounds that aren’t too distracting.

THINK ABOUT LIGHT Is the room you’re in 2 dim or blazing with light from the Christmas decorations? Pay attention to the colours around you and use different flash settings, such as night mode, to avoid harsh shadows. Diffusers and reflectors are useful, too.

DON’T STRIKE A POSE Forcing your loved 3 ones to sport cheesy grins never works. Adopt a photojournalist’s attitude and snap events as they happen – from peeling the spuds to the first sofa snoozer.

HUGH TURVEY

12*Gifts

Presents, Hugh Turvey HonFRPS It’s every child’s wish to know what gifts are lying wrapped under the Christmas tree and I will always be a big kid. So I put on my x-ray specs and had a sneaky peek. I've been working with x-rays for over 20 years and I never get tired of seeing things I shouldn’t.

I guess the only challenge will be looking surprised on Christmas day when I’m opening my presents. My vision of a perfect Christmas is hidden surprises, the unexpected, and seeing how it all comes together at the last minute.

SHOOT IN CONTINUOUS MODE Opening Christmas 4 presents is filled with an array of emotions, expressions and excitement – especially when young children are involved. Using burst mode will provide you with an excellent series of shots that capture every moment.

TAKE IT OUTSIDE Why not use the 5 post-dinner slump as an excuse to head out to catch some low-light landscapes, sparkling lights or even some seasonal street photography.

Turn to page 943 for more tips on great winter photography

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920 | TRAVEL |

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| TRAVEL | 921

BELIEF IN ACTION

In an ongoing five-year project, Society member Christopher Roche has been photographing faith traditions, some of which are now threatened by globalisation and climate change

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922 | TRAVEL |

I

ve worked in the film industry for most of my professional career, but photography has been a passion since I was a kid. In 2014 I decided to take it more seriously and explore a theme of some depth and substance, one that would keep me inspired over a long period.

Five years earlier I had been invited on a trek through the Spiti Valley, a remote Buddhist enclave in northern India. Enamoured by the landscape and culture I returned home, held my first exhibition, and decided devotion would be my theme.

I chose to explore lesser-known faith traditions around the world, focusing on our common humanity rather than dogma. My first location was Ethiopia, 922 / THE RPS JOURNAL / DECEMBER 2016 / VOL 156

‘I DECIDED I WOULD EXPLORE LESSER!KNOWN FAITH TRADITIONS AROUND THE WORLD, FOCUSING ON OUR COMMON HUMANITY’ with its mystical history and tales of the Ark of the Covenant. I researched the traditions of the Ethiopian Orthodox Church and made two trips to the northern highlands, photographing the festivals of Genna and Timkat (Christmas and Epiphany) as well as the hidden mountaintop churches of Tigray.

At times the trip was challenging, especially when I stumbled upon tour groups of photographers in Lalibela at Christmas. However, few of them stayed up to witness the 100,000 white-robed pilgrims who keep an all-night candlelit vigil.

Returning to London, a Kickstarter campaign enabled me to self-publish a book, The Priests and Pilgrims of Ethiopia. I held another exhibition and

won a couple of awards that encouraged me to keep going with my project.

My next planned destination was Mount Kailash in Tibet, a holy location for four different religions, but the Chinese authorities had closed the border. So instead I turned to Varanasi on the banks of the Ganges, the holiest city in India, where seemingly all the country’s colour and noise are condensed into one place.

The Hindu faith infuses every aspect of life and death, and in Varanasi there is a real blurring of the boundaries between public and private expressions of belief. With time on my side, I was able to build up relationships with the boatmen and sādhus (religious ascetics or holy men).

| TRAVEL | 923

Clockwise, from far left: Sunning the Buddha at Labrang; Priests at dawn, Christmas Day, Lalibela; The Priest of Abuna Yemata

WIN A COPY OF BANARAS HOLY CITY

AUTHOR PROFILE Christopher Roche was born in Quebec, Canada, to Irish parents. Roche has worked in the film industry in Rome and Dublin, and now divides his time between directing TV advertisements and film projects, and working on his photography.

To be in with a chance of being one of five winners of a copy of Christopher Roche’s Banaras Holy City send us your answer to the following question: Through which two countries does the Ganges flow?

Send your answer to RPS Journal, Think, Suite 2.3, Red Tree Business Suites, 33 Dalmarnock Road, Glasgow G40 4LA or email rpsjournal@ thinkpublishing.co.uk VOL 156 / DECEMBER 2016 / THE RPS JOURNAL / 923

924 | TRAVEL |

I love this picture. My idea was: photograph refugees as human beings – almost like celebrities. Put them against the white background, take it away from the victim mentality, make it about them as individuals.

One sādhu in particular sticks in my memory – Baba Luxman. After visiting his little chai stall for a week I asked someone to translate that I would like to photograph him. He grunted ‘yes’; I suggested he ignore me and carry on as normal. He promptly stripped off and jumped into the Ganges, one of the most polluted rivers in the world.

I think he knew I couldn’t get a good photograph from the bank and wanted to see how serious I was. I had no choice but to strip off and follow him in, the water lapping at my chin as I took his portrait (shown above).

I was also lucky enough to get permission to photograph burning ghats, something that is usually taboo. Day and night, throughout the year, the dead are burned here. It is believed that to die in Varanasi guarantees liberation from the endless cycle of life and death, so ill and 924 / THE RPS JOURNAL / DECEMBER 2016 / VOL 156

Burning is learning, Manikarnika Ghat

| TRAVEL | 925 Clockwise, from this image: Baba Luxman, morning puja; Manikarnika Ghat; Lali Baba

Morning puja at the Shiva temple

elderly people come to make the city their final resting place.

Next came the Amdo region of Tibet and the great Monlam Prayer Festival.

In the heart of winter it attracts tens of thousands of pilgrims to the cham dances that relate Buddhist teachings, and to ceremonies such as the ‘sunning of the Buddha’, when a giant thangka (tapestry) of the Buddha is rolled down a mountainside. I also witnessed women prostrating their way along the icy road from Labrang to Lhasa, a journey that would take them months.

The humility, humour and dedication of these pilgrims was incredibly moving.

In February this year I went to Iranian Kurdistan to witness a pre-Islamic ceremony believed to date back to Zoroastrian times, the wedding festival of a legendary character, Pir-e-Shaliar.

This festival attracts dervishes from the surrounding mountain villages who dance themselves into a trance after a great feast.

In June, I headed for the Peruvian Andes, where 80,000 pilgrims participate in the festival of Qoyllur Rit’i, a mix of Catholicism and Incan traditions held at an altitude of around 5,000m. I hiked up the holy Sinakara glacier at night to capture devotees descending at dawn into the valley below, carrying crosses on their backs.

I believe these ancient practices will not exist in the same form for much longer, as they are being altered by the effects of globalisation, mass tourism, political oppression and global warming.

VOL 156 / DECEMBER 2016 / THE RPS JOURNAL / 925

926 | TRAVEL | Throughout the project the best moments have been when I’ve connected deeply with the subject, whether it’s a landscape or a person. If the subject realises I’ve seen their inner beauty and dignity, I feel I’ve succeeded at what I’m trying to do. I’m trying to capture something beneath the surface.

A lot of suffering has been caused in the name of religion over the centuries – and a lot of good too.

I’m not making any judgement or argument, I’m just photographing people practising, or getting involved in, a major aspect of our shared humanity.

‘IF THE SUBJECT REALISES I’VE SEEN THEIR INNER BEAUTY AND DIGNITY, I FEEL I’VE SUCCEEDED AT WHAT I’M TRYING TO DO’

Christopher Roche was talking to David Clark Banaras Holy City by Christopher Roche is published by Prestel.

Both this book and The Priests and Pilgrims of Ethiopia are available from chrisrochephotographer.com

Monks attending the great Monlam Prayer Festival in Tibet

CELEBRATING SPIRITUALITY

With Faith Through a Lens competition judge Don McCullin HonFRPS

The positive effects of faith in communities are celebrated in the annual Faith Through a Lens competition, which is open to UK-based amateur photographers.

This year’s winners were announced on 16 November.

‘The judges are looking for images that bring out a connection with people’s faith and beliefs, which is something we need now more than ever, in my opinion,’ says Don McCullin HonFRPS, who has led the judging panel since 2010. l For more information see faiththroughalens. co.uk

HIGHLY COMMENDED Prayer in the Wind by Richard Hainsworth ‘This photograph, taken in Tibet, shows people putting up prayer flags which contain their thoughts about love, peace and kindness. The light is always crystal clear and brittle at these high altitudes and this picture is very bright and colourful. Richard has composed the picture well and the flags are a joy to the eye.’

OVERALL WINNER The Gathering by Simon Hathaway ‘Everything about this picture is beautiful.

Even though Simon was shooting against the light, he’s managed to retain the richness of the occasion. It was taken in Lalibela, Ethiopia, where I’ve been many times.’

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HIGHLY COMMENDED Running Late by Sanjay Gupta ‘These kinds of robes often have a sinister feel, but here the photographer has captured an amusing moment as two people rush through the back streets to take part in a traditional procession in Seville, Spain.’

THEMACALLAN.COM P L E A S E S AV O U R R E S P O N S I B LY

928 | EDITOR'S PICK |

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| EDITOR'S PICK | 929 Journal editor ANDREW CATTANACH selects his favourite member images from the RPS website

F 2016 With every new year, Society members share more and more of their images on the RPS website. There are now nearly 56,000 of your pictures on the site, held on web pages that have been viewed over eight million times since the site was launched in 2014. These are impressive figures, which show no sign of slowing any time soon.

To get in on the action, create a profile for yourself on the RPS website and start sharing your images today. To find out exactly how a profile can benefit you, turn to page 935. Talking of benefits, it has been a delight selecting these images from the huge variety available to view online.

I’ve seen a lot of outstanding examples from all genres, and my only disappointment is not being able to publish more of your exceptional work. I hope you enjoy my selection.

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930 | EDITOR'S PICK |

SUE MACPHERSON ARPS Alpaca Farming in Dorset In this portfolio, Sue Macpherson manages to present a compelling narrative about what the industry entails, meanwhile capturing all the potential humour that these long-necked, shaggyhaired creatures could possibly offer.

But as well as being a charming collection of photos, they also reveal the tougher side of raising livestock, including restraints, coercion and injections. rps.org/ sue-macpherson 930 / THE RPS JOURNAL / DECEMBER 2016 / VOL 156

| EDITOR'S PICK | 931

TIM HARRIS ARPS Sligachan Tim Harris assures me that this location in Skye is relatively easy to reach, despite its rugged appearance.

However, accessibly was undermined on the day by the brutal weather and the fact that Harris was in the water when he took this wide-angle shot, trying desperately not to slip.

I like the way he has captured the bleakly beautiful landscape and not shied away from showing a rainy day – a very common occurrence on the west coast of Scotland. rps.org/tim-harris

CAROL TIPPING FRPS Free the Bird The contrast between David the bird ringer's big hands and these unfeasibly tiny birds

is central to Carol Tipping's excellent photographs.

David's tenderness towards the animals is instantly apparent, and you can't help but

be moved by these images. Tipping tells me that David has sadly had a stroke since the images were taken, and they stand as a kind of

memorial to his onetime passion.

For Tipping, this image represents the embodiment of trust, and I have to agree. rps.org/carol-tipping

YATING WANG Amazing in Backstage This shot, taken at this year's Shanghai Fashion Week, is part of a portfolio exploring

life backstage during the annual event.

Yating Wang effortlessly captures the often forgotten labour behind the scenes – all the

preparation, preening and waiting around.

The biggest challenge to getting these shots, says Wang, was the chaos backstage, making it

all the harder to find a good angle when taking a photo, which is certainly not apparent in these great images. rps.org/yating-wang

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932 | EDITOR'S PICK |

GLENN PORTER FRPS Dance Moves What is there not to love about this picture of photographer Glenn Porter's grandson Kobi dancing like Michael Jackson?

His outfit, his hair style and, of course, the bombastic, crotch-grabbing dance move – it all adds up to make a humorous and decisive moment.

The fact the adults in the background are also looking on really adds to the image, and I like how one woman seems to be pulling a rather judgmental pout. rps.org/glenn-porter 932 / THE RPS JOURNAL / DECEMBER 2016 / VOL 156

| EDITOR'S PICK | 933 MOST!VIEWED MEMBER ALBUMS

1 SAMANTHA CRIMMIN Antarctica Taken at Neko Harbour during one of Samantha Crimmin's many trips to Antarctica, this shot

STEPHEN JACKSON Kodak Aerochrome Taken on infraredsensitive Kodak Aerochrome film, which was developed

shows two penguins passing as one goes to hunt and the other returns to nest.

Crimmin, whose image is on this issue's cover, worked

for military surveillance purposes, this vibrant image shows Gordes in Provence, France.

As Stephen

in the polar region for seven years, first as a doctor for the British Antarctic Survey and later as a guide and doctor for a polar tourism company.

Jackson points out, it's the perfect setting for such an image as the Cypress trees reflect just the right amount of infrared,

Her images reveal the harsh environment that these hardy creatures have to endure. rps.org/ samantha-crimmin

the warm daubs of colour offset by the ancient stone architecture. rps.org/ stephen-jackson

Ilya Fisher LRPS’s Licentiate portfolio – 1,171 views

2

Glyn Paton LRPS’s Licentiate portfolio – 1,151 views

3

Desmond Lingard LRPS’s Licentiate portfolio – 992 views

4

Richard Hadfield LRPS’s Licentiate portfolio – 884 views

5

Jo Kearney LRPS’s Licentiate portfolio – 595 views

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934 | EDITOR'S PICK |

PAOLO SOLARI(BOZZI Zambian Portraits Taken from Paolo Solari-Bozzi's second photobook Zambian Portraits, this impressive image shows two fishermen on the Zambezi river catching small fish called deninga, which are found during a black moon.

Solari-Bozzi aims to depict modern Africa's multiplicity, and avoid well-worn representations. He only uses analogue equipment and techniques, which help give the photos an intimate feel. rps.org/solari-bozzi

ALISTAIR COWAN Blooms It's hard to believe this alpine glow flower, which Cowan shot at a Scottish alpine exhibition in Edinburgh, measures only a couple of centimetres in diameter.

This photo represents Cowan's less traditional approach, using postprocessing to create a high-contrast, textured image, and I love the way he brings drama to this otherwise subtle flower, making the colours appear rich. rps.org/ alistair-cowan

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SANDRA HARPER Irish Travellers Sandra Harper photographed a travelling community outside Limerick while on a photography workshop run by Joseph-Philippe Bevillard.

These girls, she says, loved to pose and this image shows their favourite handson-hips posture.

Harper wanted to depict how people in the community care for one another, and I particularly like how she's made a political work that is fun and heart-warming. rps.org/ sandra-harper

| EDITOR'S PICK | 935 PERKS OF A PROFILE

What you can enjoy if you create your own account on The Royal Photographic Society website 1 Use your page and portfolios to promote yourself and your work 2 Quickly and easily renew your membership 3 Find out about and join special interest groups 4 Get up-to-the-minute information on activities, including free Distinctions advice at rps.org/advice

ANDREW MASON Night Photography I was instantly struck by this futuristic shot of London – the stillness of the water perfectly

contrasts the vibrancy of the city.

Mason, who runs a night photography course, rightly points out that the Thames makes for an

intriguing subject. Full of old bones, pottery and Roman relics, it offsets the modernity of the brightly lit city. rps.org/ andrew-mason

5 Find forum discussions that are tailored to you at rps.org/rps-forum 6 Get exclusive access to The RPS Journal to download in PDF format, as well as back issues 7 Download the Society crest and add it to your own photography website. Login to My RPS then click the blue Member Only tab 8 Book Society events, many with member discounts. Booked events will appear at the top of the list in your My Events tab when you’re logged into My RPS 9 Download the Society’s model-release form for use in your professional practice at rps.org/mrf

For any queries on making the most of the website, contact webadmin@rps.org

VOL 156 / DECEMBER 2016 / THE RPS JOURNAL / 935

936 | EDITOR'S PICK | RAY MASSEY FRPS Javier Bardem Ray Massey took this image of actor Javier Bardem for a poster to publicise the Alejandro Amenábar film The Sea Inside.

Massey had to ask Bardem to dive into the pool 30-40 times before he was satisfied he had all the shots he needed, but says that the actor was very accommodating.

The shot, which was taken in a glasssided swimming pool in Barcelona, perfectly illustrates Massey's talents as a professional photographer specialising in using fluids. His work is full of great ideas and well worth checking out. rps.org/ray-massey

PICK YOUR FAVOURITE IMAGE We’d love to hear which of these images you like best. Let us know by sending an email with ‘2016 BEST’ in the subject line to rpsjournal@ thinkpublishing.co.uk, including the name of the photographer and a brief reason for your choice.

We'll let you know the results next issue GEOFF FROST Peak District This image is one of several taken as a record of photographer Geoff Frost's time working as a ranger at the Peak District National Park in the 1980s.

The images, all taken on Frost's trusty Minolta X-700, transport me back in time, and I love the way the colours, more than anything else, seem to evoke that period.

Frost has a great eye for capturing the quirky aspects of everyday life and one gets a real sense that he enjoyed his work and the chance encounters it facilitated.

Sadly, Frost, who is now partially disabled, doesn't get out as much but has developed a website (doveheritage.com) about his time as a ranger and is aiming to write a memoir. rps.org/geoffrey-frost

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© STEVE JONES LRPS, JOIE DE VIVRE

CALL FOR ENTRIES MEMBERS’ BIENNIAL EXHIBITION

2017

This essential event on the RPS membership calendar is now open for submissions CLOSING DATE: 10 January 2017 Enter before 15 December to be included in the early bird prize draw CASH PRIZES The exhibition will tour the UK in 2017 For more details and to enter online visit rps.org/mb2017

‘Recognition by selectors from such an internationally renowned society is an honour. It has given me the opportunity to present my work to a global audience’ Steve Jones LRPS 2015 gold award winner

MUST TRY

TOP GEAR REVIEW 2016

Fujifilm X-Pro2

T

Gavin Stoker unveils his picks from kit released over the past 12 months

his mirrorless system camera for advanced amateurs and pros appeared early in the year – and we’d argue much that followed either spun out from it (particularly Fuji’s own releases) or paled slightly in comparison.

The first time we took the 24-megapixel X-Pro2 out in public it drew enquiries from complete strangers as to whether it was actually a digital camera, such is its retro design and solid magnesium build.

Noticeably faster than its

predecessor, it matched what we expected from a DSLR for both AF and processing speed.

One big talking point is the hybrid viewfinder, enabling us to switch between the optical and the 2.36 million-dot electronic with scant noticeable difference.

The alternative is the 3-inch, 1.62 million-dot screen below which, at a pinch, we’d have liked to be angle adjustable. Still, at 0.48 inches the viewfinder is larger than most in its class, visibility is crystal clear and the dual SD card slot is a welcome addition.

Price £1,300 body only Sensor 24MP APS-C X-Trans CMOS III sensor Lens Fujifilm X-mount LCD 3-inch, 1.62 million-dot resolution Weight 495g with battery and card More fujifilm.co.uk Summary: Fuji has brought the X-Pro2 up to speed, offering a very viable option for someone who hasn’t invested in an X-T2 , or for photographers considering switching from a DSLR to the compact format

The rangefinder-type controls, such as front-and-back dials and top-plate wheels, are sensible and intuitive, although having to pull up on the shutter speed dial to access the ISO settings, rather than push down or twist, takes some familiarisation.

While this Fuji range topper sports an APS-C sensor rather than a full-frame chip, quality is such that users won’t feel shortchanged. Advanced amateurs and pros looking to switch or TURN expand on existing systems OVER should sit up and take notice.

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940 | THE CRAFT | LATEST KIT

4 2

FIVE OF THE BEST

2016’s essential products continued 1

3

Fujifilm GFX 50S ‘Under $10,000’

Rotolight Anova Pro From £999.99

The biggest news of Photokina 2016 – Fuji’s courtship of high-end interchangeable-lens camera users – had to be included, even though it’s not on sale until early next year.

Yes, this is a 51.4MP-resolution medium-format camera, but it’s broadly the size of a DSLR and feels surprisingly lightweight, despite its chunky looks.

We like the attention to detail and user-friendly innovation: for example, a waist-level tilting screen and an attachable (or detachable) fully rotating eyelevel viewfinder. The top-plate LCD window displaying key shooting info is also bright and clear. While it’s a high-end proposition with a price tag to match, compared to the likes of Hasselblad’s HD6 it looks a steal.

This British-designed and distributed product is a flicker-free continuous light with the added advantage of a flash sync capability for those who want to freeze movement.

A further enticing feature is ‘true aperture dimming’, which automatically adjusts to the brightness the photographer (or videographer) chooses – eliminating the need for metering.

It’s versatile and portable enough to use either in the studio or on location, thanks to a long battery life. We also loved the traditional barn doors, providing the ability to shape the light and achieve a natural, softlooking effect with flatteringly warm skin tones. It also works as readily for video work with your DSLR as stills photography.

User-friendly innovation fujifilm-x.com/gfx 1

LED and flash head in one rotolight.com 2

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TRENDS $ FADS HIGH%END HEROES With mobiles and tablets having all but killed off the humble point-and-shoot, the trend towards higher-end products continued, with compact system manufacturers universally introducing 4K capture, as well as resolution-boosting innovations.

INSPIRING PAST The past, however, continued to provide inspiration: from camera bags to bodies, retro was seemingly what the public wanted.

VIRTUAL FUTURE As the year neared its end, virtual reality was the new buzzword, with Nikon’s 360°-shooting KeyMission action camera finally going on sale. Drones were not forgotten, but there was little innovation.

Olympus PEN-F £999 body only

Classic looks, great detail olympus.co.uk Those who favour great design and handling will have loved the digital PEN-F on sight. Made from milled aluminium, with no visible screws, its rangefinder-type top-plate dials sit alongside an electronic eye-level viewfinder with conveniently built-in eye sensor. Previous OM-D and PEN cameras had 16MP resolutions, but in March this one upped the ante to 20MP to match its rivals, and brought a new sensor along with it. That said, the priority here is quality and detail – delivered in spades.

A 50MP option – achieved by combining eight sequential images, a feature first seen on the OM-D E-M5 MkII’s 40MP composites – seemed a little gimmicky, but the PEN-F feels as substantial as it looks.

3

| THE CRAFT | 941 MEMBER TEST 5

YI 4K action camera

T Adobe Creative Cloud £8.57 per month, depending 2015.5 From on subscription package

Hasselblad £17,900 (trade-in) H6D From for the 50MP model

If you don’t mind being hooked into a monthly fee for your software, then Adobe’s subscription-packaged Photoshop, Lightroom et al are arguably the best in the business.

The newest version integrates Adobe’s stock service (a library of more than 100,000 images that it says meet the required standards of advertising agencies and print publications) even more deeply with Creative Cloud, plus a number of other subtle refinements.

Performance enhancements include Photoshop now being three times faster at start-up and when opening files, or a ‘content-aware crop’ feature that seeks out the edges of the frame and expands it outwards, saving the need to ‘build’ that extra space oneself.

Handmade in Sweden, in 50-megapixel or 100MP versions, the H6D feels relatively lightweight, and is intended to free medium-format photographers from being studio based.

We like the large, intuitive and crisp touchscreen display at the rear, capable of being customised for your most used functions, and the CFast and SC dual storage options, particularly if not shooting tethered in the studio.

The 100MP (‘100c’) version features 4K-video capture; the 50MP/’50C’ iteration offers full HD. For video, ports include a USB 3.0 and type C connector, but there’s no built-in mic.

The H6D’s route to creating huge files for a diverse range of uses is more direct than ever.

Big news, big update adobe.com/uk

KEN SCOTT ARPS

4

Shell out now, love it forever hasselblad.com 5

he YI will appeal to those who want something small and fast for innovative video shooting.

First impressions are of its matchbox-like size – far too small for my hands – and no gadgets or waterproof housing were supplied, not even a lens cap. The camera did not work with the GoPro clamps I tested.

Usability is otherwise excellent. Touchscreen menus are intuitive, allowing easy switching between still and video modes, and exposure compensation, ISO and white balance controls are all accessible.

I like the slow-motion and time-lapse video modes alongside normal video, stills and burst

shooting: 1,080p HD and 4k video can be shot at 30fps, but up to 240fps is available at 720p for super-slow motion.

The fixed lens is ultra-wide at 3mm.

Auto-exposure performs well in all lighting. Image quality is fine for video viewing at 1080p but falls way short of what a discerning stills photographer would want. Edge sharpness is poor, especially with chromatic aberrations in high-contrast light, and digital noise very obvious above ISO 1,000.

Overall, this was fun to try but I would not choose it over a GoPro. And the video capability in my Sony NEX camera is superior to both for most of my needs.

‘Auto-exposure performs well in all lighting conditions’ AUTHOR PROFILE KEN SCOTT ARPS With nearly 40 years’ experience in mountaineering and trekking, Scott coaches photography and runs retreats and workshops. See touchingthelight.co.uk

VOL 156 / DECEMBER 2016 / THE RPS JOURNAL / 941

| THE CRAFT | 943

Photographing the northern lights

IN DEPTH

Ellis has captured the aurora borealis in Norway, and on the Isle of Lewis, below

CAMERA SETTINGS I shot with a 17-40mm f/4 lens, and found the best settings to be:

Shutter speed around 8-20 seconds

ISO 1,600-3,200

Focus set to infinity

Aperture as wide as possible

Rich Ellis LRPS heads north to seek out an ethereal scene

A

keen landscape photographer, I visited Norway in the hope of seeing the aurora borealis (northern lights).

On the first night I booked a tour run by professional photographers. However, the spots were less scenic than I had hoped and on subsequent days I drove to better locations to get the results I wanted. Here is my guide to capturing some excellent images of the northern lights.

useful – and there are probably equivalent sources of information for all the main aurora-spotting locations.

RESOURCES There are many factors that need to be just right for the northern lights. I am no scientist, but I found online resources that gave me the information I needed. Space Weather (spaceweather.com) and Yr (yr.no) were especially

PERFECT CONDITIONS The most important thing is to get away from populated areas and other sources of light pollution. Contributing factors to a good display are sun-spot activity, the right magnetic field conditions and, importantly, no cloud cover.

TOP TIPS The aurora can be hard to see with the naked eye – so give it a shot and see if your camera picks up things that you didn’t spot.

The lights don’t always show up in the north, but could be seen in any direction.

Hunting the northern lights can be a cold and windy business, so get a good hat.

Find a striking landscape to help your composition and give stronger results.

1 ABOUT THE AUTHOR RICH ELLIS LRPS Ellis is a commercial photographer specialising in portraiture, product photography and more. He enjoys travelling and shooting landscapes in his free time

2 3 4

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944 | THE CRAFT |

Three illuminating light-painting techniques Robert Rhead LRPS explains how to produce these impressive effects

ESSENTIAL KIT DSLR camera with manual and/or bulb mode A good solid tripod A remote shutter release Somewhere dark

C

reating a good picture with light painting is about more than just the effect. It’s important to make sure that the scene will work well with what you want to do, and that it will make a strong and interesting composition in itself.

When you arrive at your location, and it’s suitably dark, set up the camera and tripod and take a few test shots.

You want to get a fairly good exposure for the scene before adding any light-painting effects.

Typically for this kind of photography, because you want pretty much everything to be in focus, set the aperture between f/8 and f/11. Shutter speed will typically be around 30 seconds, with an ISO of about 400.

To set the focus, shine a torch on the area where you will be creating your light effect and then adjust manually – autofocus will struggle in low light.

Now it’s time to start light painting.

Take your remote shutter release and try out one of these fun techniques.

LED strip

Take a piece of wood and attach a cheap LED strip – you can get them off eBay. If you choose one with controls, you can adjust the colour and have them flash at different speeds. When you open the shutter, switch on the light stick and move the stick around. It makes passers-by look at you strangely, but the effects are great.

WHAT YOU NEED Piece of wood LED strip

944 / THE RPS JOURNAL / DECEMBER 2016 / VOL 156

MASTER CLASS

Portal effect

Bunch the lights together with tape and swing them around on the cable while standing in one spot. You can pick up lights like these online for just a couple of quid, and there are lots of different colours available.

The most important thing is to get a consistent swinging motion. I tend to place a 50p piece on the ground and concentrate on that as my centre point, keeping my hand swinging the light around just over the coin as I turn around. It takes a bit of practice.

WHAT YOU NEED Battery-powered LED Christmas tree lights

AUTHOR PROFILE ROBERT RHEAD LRPS A widely published landscape photographer based near Chester, Rhead also works on commercial commissions and teaches photography

Flying sparks

Place the wire wool inside the whisk and attach the whisk to a piece of string. When you set fire to the wire wool and spin it around, the sudden rush of oxygen creates a huge amount of sparks, flaring up as it moves through the air.

Be very careful, however. A few times a small piece of hot metal has landed on my head.

This can be quite painful.

WHAT YOU NEED Kitchen whisk String Wire wool

VOL 156 / DECEMBER 2016 / THE RPS JOURNAL / 945

MEMBER Pictures in print

Widely published photographer, architect and critic Gerry Badger leads a two-day London masterclass in February

L

earn how to create high-quality photobooks at this weekend course organised by the Society’s London Region.

Following a brief from course leader Gerry Badger, participants will shoot their images over a single day prior to the event, before being taught essential skills including editing, page layout, telling a story and sequencing.

Participants will leave with a

ready-to-print pdf. They will need to bring along a laptop enabled with InDesign or Scribus.

While it is possible to use the book tab of Lightroom, Scribus and InDesign are more powerful programs and will result in a more professional photobook, with more control over page layout and text.

For more information contact londonevents@rps.org, see the events section of the Society website or turn to page 949.

| GUIDE | 947

GUIDE

YOUR RPS EVENTS ! COURSES PROGRAMME

DEC!JAN"FEB

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

Above: A selection of photobooks by Ilya Fisher LRPS Left: Naples 2016

by Gerry Badger

VOL 156 / DECEMBER 2016 / THE RPS JOURNAL / 947

948 | GUIDE |

WORKSHOPS

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

Hear from the experts and hone your skills

Developing personal projects and storytelling with Ben Cherry

REGIONS

Meet photographers and view work in your area CENTRAL

MIKE SHARPLES ARPS, 07884 657535 MIKES.SHARPLES(VIRGIN.NET

Fri 9 December / 10:00-17:00

‘PG Tips: the latest brew’,

by Peter Gennard

` £120/£95 Society members ` Fully booked ` Amersham

Thursday 8 December / 19:30-22:00

` £3 Society members ` Smethwick Photographic

Night-shoot photography

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

Sat 10 December / 18:00-22:00

` £35/£26 Society members ` Learn various creative techniques for working in low light conditions and painting with light ` Bath Abbey, Bath

Introduction to Lightroom Saturday 21 January / 10:00-16:30

` £95/£71 Society members ` Bath HQ Printing with Lightroom Sunday 22 January / 10:00-16:00

` £95/£71 Society members ` Learn how to get the best results from your printer and Adobe Lightroom. Suitable for beginners ` Bath HQ

Studio portraiture Sat 28 January / 10:00-17:00

` £165/£140 Society

members ` A workshop for beginners that covers all that’s needed to take great images in a studio environment ` Lacock

Introduction to your digital camera Saturday 28 January / 10:00-17:00

` £85/£63 Society members ` Bath HQ Introduction to Photoshop Sunday 29 January / 10:00-17:00

` £95/£71 Society members ` Bath HQ Two-day Photoshop workshop Saturday 4 February / 10:00-17:00

` £165/£140 Society members ` Bath HQ

Macro and art photography Thursday 9 February / 10:00-16:30

` £55/£41 Society members

` Amersham

Portraiture photography and getting the most from your subject

Friday 24 February / 10:00-16:30

` £115/£90 Society members ` Amersham

Friday 10 February / 9:30-17:00

` £115/£90 Society members ` A morning in the studio explores the practicalities, skills and knowledge needed to take great portrait shots.

The afternoon will be spent shooting with various light sources and light set-ups in the studio ` Amersham

Theatrical and creative dance lighting Saturday 11 February / 10:00-17:00

` £120/£95 Society

members ` Learn how to create theatrical-style images in a studio setting ` Surrey

Two-day wedding workshop Sat 11 – Sun 12 February / 10:00-17:00

` £165/£140 Society members

` Lacock

A beginner’s guide to product photography Thursday 16 February / 10:00-16:30

` £115/£80 Society members

` Amersham Introduction to mindfulness, meditation and how these link to photography

Architecture photography Holme Pierrepont Hall

to help every photographer connect more fully with the present moment, the goal being to help restore peace and balance in our bodies and minds ` Amersham

Creative techniques in Photoshop

948 / THE RPS JOURNAL / DECEMBER 2016 / VOL 156

Thursday 15 December / 19:30-22:00

` £3 Society members ` Smethwick Photographic

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

Friday 24 February / 10:00-16:30

` £99/£75 Society members ` An opportunity to access

an amazing country house and gardens and explore composition, lighting, lens choices, artificial light and fill-in flash – all to add mood/ drama to your interiors, with guidance throughout ` Nottingham

Art nude photography

‘My passion or obsession’ by Graham Hodgkiss ARPS Thursday 19 January / 19:30-22:00

` £3 Society members ` Smethwick Photographic

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

‘Through my viewfinder’

by Warren Alani ARPS

Saturday 25 February / 10:00-17:00

Thursday 2 February / 19:30-22:00

` £120/£95 Society

` £3 Society members ` Smethwick Photographic

members

` Suitable for photographers

wishing to learn about controlled lighting and working with a nude model to producing high-quality photographs. The techniques are suitable for pregnancy and maternity photography ` Lacock

Cinematic Hollywood beauty lighting made simple

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

‘Kingdom of the ice bear’

by Pam Lane ARPS and Eddy Lane ARPS Thursday 2 February / 19:30-22:00

` £3 Society members ` Smethwick Photographic

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

Saturday 25 February / 10:00-17:00

` £115/£90 Society members ` International model Carla Monaco will reveal how to use lighting to get stunning and beautiful results ` Surrey

Friday 17 February / 10:00-16:30

` £95/£71 Society members ` Techniques that can be used

‘An evening with Frank’

by Frank McGowan

Creative eye photography Sunday 26 February / 10:00-16:30

` £95/£71 Society members ` Bath HQ

‘A trio of processes, remembered and reinvigorated’ by Ray Spence FRPS Thursday 9 February / 19:30-22:00

` £3 Society members ` Smethwick Photographic

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

‘Nudes night’ by Tim Pile Thursday 16 February / 19:30-22:00

How to photograph children and babies Sunday 26 February / 10:00-17:00

` £120/£95 Society members

` Lacock

` £3 Society members ` Smethwick Photographic

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

Winter meeting

| GUIDE | 949 members’ day Saturday 25 February / 10:30-16:00

` £8 entry, £5 ploughman’s lunch

` Rollright group meeting ` The Village Hall, Main Street, Long Compton CV36 5JS ` Andreas Klattt, andreas@ klatt.tv EAST ANGLIA IAN WILSON ARPS, 07767 473594 IAN(GREENMEN.ORG.UK EAST MIDLANDS STEWART WALL ARPS, 07955 124000 STEWARTWALL(ICLOUD.COM

Excellence, 63-64 Margaret Street, London W1W 8SW ` London Distinctions, londondist@rps.org

Regular meeting of the SW London Group Monday 9 January / 19:00-21:00

` The Prince of Wales, 138

Upper Richmond Road, Putney SW7 2RL ` London Web, Londonweb@ rps.org

Getting started with macro photography at the Nikon School Friday 13 January / 10:30-16:30

EIRE MICHAEL O’SULLIVAN INFO(MOSULLIVANPHOTO.COM LONDON JUDY HICKS AND NEIL CORDELL LONDONEVENTS(RPS.ORG

Joe McNally FRPS – talk Thursday 1 December / 18:30-21:00

` £25/£20 Society members ` World-renowned

photographer Joe McNally talks about a professional photographer’s life over the span of a 30+-year career ` Wetherby Preparatory School, 48 Bryanston Square W1H 2EA ` London Events, londonevents@rps.org

Good Picture 2016: ‘Facets of imaging’ Saturday 10 December / 10:00-16:00

` £74/£42 concessions ` The latest in the series of

Good Picture symposia organised by the Imaging Science Group ` University of Westminster, 309 Regent Street W1B 2UW ` Dr Mike Christianson, 01753 890480, pandm@ christianson.freeserve.co.uk

London Region street walk: Columbia Road flower market Sunday 11 December / 9:45-14:00

` Please note date change,

from Saturday 17 December ` Shoreditch High Street overground station, Braithwaite Street, London E1 6JU ` London Cave, londoncave@ rps.org

Regular meeting of the SW London Group

` £129/£99.99 Society members

` An informative and interactive entry-level workshop for anyone interested in learning how to shoot close-up and macro images ` The Nikon Centre for Excellence, 63–64 Margaret Street, London W1W 8SW ` London Events, as above

London Region street walk

Upper Richmond Road, Putney ` London Web, Londonweb@ rps.org

ARPS Fine Art: one-toone Distinctions review Saturday 7 January / 10:00-16:30

` The Nikon Centre for

4NS

AFZALANSARY(AOL.COM

londonevents@rps.org

Contemporary North West meeting

` London Events,

London Region street walk Saturday 11 February / 9:45-13:00

` Followed by lunch ` Greenwich Gallery, Peyton Place ` London Cave, londoncave@ rps.org

Saturday 14 January / 9:45-13:00

Regular meeting of the SW London Group

` Venue to be confirmed ` London Cave, londoncave@ rps.org

Breathing London project ` We’re in. Are you? Sign up to

take part in our project to photograph the diversity of the UK capital’s open spaces ` Judy & Jen, greenlondon@rps.org

48 Bryanston Square W1H 2EA ` London Events, londonevents@rps.org

London Naturally walk Sunday 29 January / 10:30-12:30

` Morning walk in Holland Park ` london-naturally@rps.org Regular meeting of the SE London Group Tuesday 31 January / 19:00-21:00

` Please note new date, the last Tuesday of the month ` Greenwich Gallery, Peyton Place, London SE10 8RS ` London Cave, londoncave@ rps.org

Make a photobook workshop with Gerry Badger Sat 4 – Sun 5 February / 10:00-17:00

` £190/£165 Society members ` Weekend workshop teaching how to make a photobook

` Regent’s University London,

Inner Circle, Regent’s Park NW1

Sunday 18 December / 11:00-16:00

Sunday 26 February

to Limehouse ` london-naturally@rps.org

Thursday 26 January / 18:30-21:00

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. co.uk. These listings are correct at time of going to print

Christmas lunch ` £16.50 ` We will have a speaker, an

` Details to be confirmed ` Regent’s Canal from Mile End

` £5/free for Society members ` Wetherby Preparatory School,

Services, Jct 27-28 M6 northbound, Mill Lane, Chorley, Lancs PR7 5LR ` Alan Cameron, 07825 271344, alan.cameron@me.com

` The Prince of Wales, 138

London Naturally walk

London Region AGM and keynote talk

Monday 5 December / 19:30-22:00

` Days Inn Charnock Richard

Tuesday 14 February / 19:00-21:00

Upper Richmond Road, Putney SW7 2RL ` London Web, Londonweb@ rps.org

Friday 20 January – Monday 17 April

Tuesday 13 December / 19:00-21:00

` The Prince of Wales, 138

Warren Alani ARPS will disucss his work with the Central Region Image: At Home by Warren Alani ARPS

excellent christmas lunch, quiz, raffles and a day to relax and enjoy among friends ` Hough End Centre, Mauldeth Road West, Manchester M21 7SX ` Afzal Ansary FRPS, as above NORTHERN GERRY ADCOCK ARPS, 01661 830882 GERRY(GERRYADCOCK.CO.UK

Regular meeting of the SE London Group

RICHARD CORBETT 07805 381429

Tuesday 28 February / 19:00-21:00

RICHARD(RICHARDCORBETTPHOTOGRAPHY.COM

` Greenwich Gallery, Peyton Place, London SE10 8RS

` London Cave, londoncave@ rps.org

NORTHERN IRELAND

SCOTLAND JAMES FROST FRPS 01578 730466/07881 856294 JAMES.FROST11(BTINTERNET.COM

Celebration of Distinctions

NORTH WALES MARTIN BROWN LRPS, 01691 773316 NORTHWALES(RPS.ORG

Print workshop: ‘Capture to output’ Sunday 15 January / 10:30-16:00

` £15/£10 Society

members/£5 students

` John Herlinger, MD of

Fotospeed and The Fine Art Print Room, will share his knowledge on printing, mounting and framing ` Llandudno Junction Community Club, Victoria Drive, Llandudno Junction, LL31 9PG ` Martin Brown LRPS, as above

Saturday 3 December / 10:30-16:00

` £15/£10 Society members ` A selection of successes ` Bridge of Allan Church Hall, Keir Street, Bridge of Allan

` James Frost FRPS, as above DIG Scotland Centre – printing workshop Sunday 4 December / 10:30-16:00

` £12/£10/£5 group members ` Edinburgh Photographic Society, 68 Great King Street, Edinburgh EH3 6QU ` Doug Berndt ARPS, digscotland@rps.org SOUTH EAST

NORTH WEST

TERRY McGHIE ARPS, 01323 492584

DR AFZAL ANSARY ASIS FRPS, 07970 403672

SOUTHEAST(RPS.ORG

VOL 156 / DECEMBER 2016 / THE RPS JOURNAL / 949

950 | GUIDE |

COUNCIL REPORT ! SEPTEMBER 2016 MINUTES OF COUNCIL

` The minutes of 16 August 2016 were approved.

MATTERS ARISING

` The president raised the

matter of a discrepancy between trustees’ voting in MP001 and the Society’s rules. It was agreed to get advice on what would be considered best practice SOCIETY FINANCE

` The treasurer reported that

there was nothing of concern to report. The three areas of his report on membership were discussed. Council supported his conclusions that: no unwaged membership category should be introduced; that a financial analysis did not support the introduction of an e-journal category; and a modest increase in subscriptions for 2017.

SOCIETY PREMISES

` The chief executive reported that the Society’s offer document for Holy Trinity Bath had been submitted on 20 September and the agents had acknowledged receipt. In the event that the bid was not accepted he would arrange for the refurbishment of the existing staff work area as it would be likely that the Society would remain in situ for some time. ` He had attended a public event on the Bath Quays development which was still at a very early stage.

There seemed to be limited opportunities for the Society but he would keep a watching brief as plans developed.

MEMBERSHIP

` The trustees reviewed the

recent membership statistics.

The affiliated students would be separated out in detailed membership statistics.

GROUPS / REGIONS / CHAPTERS ` The views of the advisory board would be sought on a paper which looked at reducing the number of Society regions. It was noted that all groups and regions were competing for support from a declining pool of volunteers. Regional

organisers needed to provide a range of events and groups could be more focused in meeting their members’ needs. ` Concerns around the status of overseas members and the chapters had been identified.

Stone King had been asked for advice and had requested additional documents and information before it would be able to give a view.

STRATEGIC REVIEW

` A draft strategy document

which reflected input from the recent region and group meetings was presented. The trustees accepted the five aims, and minor changes would be made to the plan which would be for the period 2017-2022. It was asked that strategic and operational matters were kept distinct. An operational plan would be developed by the staff with goals set and costed. The trustees would review progress against the plan annually and report on it in the annual report. The regions and groups would be asked to deliver some of the objectives.

AWARDS

` The president commented

that the awards evening had been very successful and the choice of the award recipients had been highly regarded by those attending.

DISTINCTIONS AND QUALIFICATIONS ` Council agreed that the Distinctions department could send names for ratification to the DAB and council at the same time to speed up the response to applicants. It asked that referrals be consolidated weekly to reduce the number of emails. ` There would be a meeting with the chair of the DAB on 19 October to discuss the Distinctions report in advance of the full DAB meeting on 17 November. A memo from Roger Reynolds concerning the reporting of the multimedia Distinction in the Journal was considered and a meeting would be arranged.

EXHIBITIONS

` The Magic Gallery would

950 / THE RPS JOURNAL / DECEMBER 2016 / VOL 156

close at the end of September.

It had been successful with students and the concept should be looked at to see if it could be replicated elsewhere.

Securing volunteers had been an issue.

WEBSITE ` A request to council by a member for more detailed website statistics was considered an operational matter and referred back to the chief executive. He gave an overview of changes to the website arising from a technical review.

RPS COLLECTION

` The chief executive

reported that a second draft of a memorandum of understanding with the V&A had been received. Subject to one amendment it met the objectives for the collection outlined by the president.

ADVISORY BOARD, COUNCIL AND GOVERNANCE ` Douglas May, chair of the governance review, joined the meeting and went through the approach and recommendations arising from the group’s work. The review had made no attempt to redraft by-laws or rules which would be for the Society and its solicitors to do.

The trustees thanked him for the report and would consider the recommendations.

CO'OPTIONS TO COUNCIL

` The meeting was reminded that there was one year before the next election and council needed to consider co-opting individuals on to

council. The chief executive was asked to circulate an email to the membership and Journal on behalf of council, specifying particular skills that council was looking for EXTERNAL ORGANISATIONS ` The Society would be attending the next PAGB executive meeting. The chief executive was asked to investigate setting up reciprocal membership schemes with the BIPP and MPA. ANNUAL GENERAL MEETING ( 24 SEPTEMBER 2016 AT 10.15AM ` Thirty one members were present. ` The chief executive, Dr Michael Pritchard, read the notice convening the meeting.

MINUTES OF THE ANNUAL GENERAL MEETING HELD ON 26 SEPTEMBER 2015 ` The minutes of the annual general meeting held on 26 September 2015 were accepted as a true record of the proceedings. Proposed by Robert Gates, seconded by Afzal Ansary and carried unanimously.

ANNUAL REPORT AND ACCOUNTS ` The president, Walter Benzie, summarised the main areas of the Society’s activity reported in the annual report for the year ending 31 December 2015. He noted that applications for the Society’s Distinctions reached

Regional organisers at a meeting this summer

1,098, with a 44 per cent success rate. The Society’s International Print and Science exhibitions continued to develop and reach new audiences. Membership at the year end stood at 11,434, although Council is concerned at the Society’s membership age profile and is mindful of the need to attract younger members. He acknowledged the important role that volunteers played in helping the Society realise its objectives and expressed his thanks for their support. He ended by noting that council had initiated a number of reviews and these would be reporting back during 2016.

He took questions from members. ` The treasurer, Geoff Blackwell, reported that 2015 had been a satisfactory year and he paid tribute to Nick Rogers, finance manager, Jackie Rumble, finance assistant and Simon Bibb, membership manager. A number of legacies had been received in 2015 and the Society was grateful for those. The Society would, unless requested otherwise, acknowledge those over £1,000 in the Journal. The Society’s investments had recovered from a slight reduction in their value and the income from them had grown. Council had authorised the chief executive to add to the staff and it had planned for a managed deficit in 2016. ` It was proposed by Del Barrett, and seconded by Richard Tucker, that the trustees’ annual report and accounts for 2015 be accepted. This was approved by the meeting, with one vote against.

APPOINTMENT OF THE SOCIETY’S AUDITORS ` It was proposed by Robert Gates and seconded

by John Page that council be authorised to appoint and agree a fee for The Society’s auditors for the ensuing year.

This was carried unanimously. ` The meeting closed at 10.34am. ` Following the meeting John Page HonFRPS made a

| GUIDE | 951 personal statement to those present.

REPORT OF THE ADVISORY BOARD MEETING, 24 SEPTEMBER 2016 ` Introductions. The president introduced himself and welcomed those attending the meeting. He introduced Douglas May, who would be presenting a summary of the recent governance review.

MINUTES OF THE PREVIOUS MEETING ` The minutes of the advisory board held on 26 September 2015 were accepted by those present as a true record of the meeting.

PRESIDENT’S ADDRESS ` The president made an address to the meeting which summarised the work of council in its first year. It would be published in the October 2016 RPS Journal.

REPORT ON THE GOVERNANCE REVIEW ` Douglas May, chair of the governance review group, reported on the outcome of the review to the meeting. The report had been presented to council the previous day. He highlighted the terms of the reference for the review, and its principal areas of concern: general governance, introduction of electronic voting, and the role and composition of the advisory board. Council would be considering the review’s recommendations. Following the report, he took questions.

Howard Bagshaw asked whether the full report would be made available to the advisory board. The president confirmed that it would be circulated in due course.

UPDATE ON A NEW HEADQUARTERS BUILDING ` The chief executive made a presentation on progress with a new building. He reported that the trustees had approved making a preliminary offer on a building in Bath. Provided the Society’s detailed business case and fundraising for the premises supported it, and the trustees approved a formal offer, then the Society could be occupying the premises in 2019. He emphasised that there was a long way to go but

the building was promising and would be a game-changer for the Society in terms of supporting the growing of its activities, providing an exhibition space and enhancing its public presence. ` Richard Tucker commented that advice he had taken indicated that the work done to date had made the best use of the space offered by the building. In response to a question from Afzal Ansary Geoff Blackwell said that the project would not go ahead unless it was financially viable and would not be a drain on the Society’s reserves.

UPDATE ON THE RPS JOURNAL ` Think Publishing had provided a presentation on the Journal reporting on the past year and the plans for the future. ` Individual trustees presented overviews of different aspects of the Society’s activities.

THE SOCIETY’S STRATEGIC PLAN ` Del Barrett reported on the work undertaken by council, staff and group and region representatives on the Society’s future strategy. The Society’s vision was summed up as ‘the vision to create’ and she summarised the principal five strategic objectives. A wider discussion ensued. The strategy would be underpinned by an operational plan, and groups and regions would also be encouraged to establish their own plans to support the Society’s strategic objectives. The strategy document would be circulated to the board once some further work had been completed and it would be published on the website. ` An exercise was undertaken with those present to look at the Society’s regional structure. ` As part of a final discussion, Ian Wilson commented that the Society needed to adopt a ‘push’ model for events and activities rather than rely on members looking at the website. A monthly events newsletter was suggested. ` The meeting was reminded that the Society ran regular volunteer induction days.

The dates for the next three had been set and would be circulated.

The South West Region will be joined by top photographer William Cheung FRPS in February Image by William Cheung FRPS

Long exposure: coastal exploration Sunday 4 December / 10:00-16:00

18 January / 18:45 - 21:00

` £10/£5/free group members ` Fully booked ` Old Fort Road, Shoreham ` Richard Ellis,

` The Copper Room,

sre868@gmail.com

Members’ day Sunday 5 February / 11:00-16:30

` £10/£7.50 Society members ` An opportunity for members and non-members to display examples of their work and talk about their photographic interest and experience ` The Haven Centre, Hophurst Lane, West Sussex, Crawley Down RH10 4LJ ` Terry McGhie ARPS, as above

Visit to the Pitt Rivers Museum’s photographic collections, Oxford Tuesday 7 February / 14:00-16:00

` £5/free to group members ` A curator-led behind the

scenes view of the Pitt Rivers photographic archives ` Pitt Rivers Museum, South Parks Road, Oxford OX1 3PP ` Geoff Blackwell ARPS, 0114 266 8655, gblackwell@ fastmail.fm SOUTH WALES MIKE LEWIS, 07855 309667, 01446 710770 MIKEGLEWIS101(BTINTERNET.COM SOUTH WEST MICK MEDLEY, 01626 824865/07980 073808 RPSSWREGION(GMAIL.COM

Introduction to Distinctions Sunday 11 December / 10:30-16:00

` £15/£10 Society members ` The Dolphin Hotel, Station Road, Bovey Tracey TQ13 9AL

` Martin Howse ARPS, 01326

221939, mghkh@btinternet.com

Annual ‘blow the cobwebs away’ Monday 2 January / 10:30-15:30

` A day in Hayle to blow away

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

West Cornwall Group meeting

the Christmas and new year blues ` Graham and Carol’s chalet, Towans, Phillack, Hayle TR27 4AE ` Graham Hodgson, graham. hodgson@artslive.org.uk

Heartlands, Robinson’s Shaft, Dundance Lane, Pool, Redruth TR15 3QY ` Vivien Howse, 01326 221939, vivien939@btinternet.com

Will Cheung FRPS talk Sunday 5 February / 10:30-16:00

` £15 Society members ` The Dolphin Hotel, Station

Road, Bovey Tracey TQ13 9AL

` Mick Medley, as above

Fellowship advisory day Sunday 12 February / 10:30-16:00

` £30 Society members ` The Dolphin Hotel, Station

Road, Bovey Tracey TQ13 9AL

` Martin Howse ARPS, 01326

221939, mghkh@btinternet.com

South West Region AGM and panel showing Sunday 26 February / 10:30-16:00

` The Dolphin Hotel, Station

Road, Bovey Tracey TQ13 9AL

` Mick Medley, as above SOUTHERN

DAVID ASHCROFT LRPS, 07710302684 SOUTHERN(RPS.ORG

Distinctions advisory day (LRPS/ARPS) Saturday 3 December / 10:00-16:00

` Fully booked for advice ` Old Basing Village Hall, Old

Basing, Basingstoke RG24 7DA

` David Ashcroft LRPS, 07710 302684, southernsecretary@ rps.org

DIG Southern Centre: photography, Photoshop and Lightroom

by Glyn Dewis Sunday 4 December / 10:30-16:00

` £12/£10 group members ` Dewis will discuss and

demonstrate how he takes and makes his distinctive images using Photoshop and Lightroom ` Greyfriars Community Centre, 44 Christchurch Road, Ringwood BH24 1DW ` Barry Senior HonFRPS, 01425 471489, digsouthern@ rps.org

VOL 156 / DECEMBER 2016 / THE RPS JOURNAL / 951

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Discover the next generation ultra-telephoto zoom lens from Tamron.

SP 150-600mm F/5-6.3 Di VC USD G2 (Model A022) For Canon, Nikon and Sony* mounts Di: For APS-C format and full-frame DSLR cameras * Sony mount model without VC

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| GUIDE | 953 A talk with Jeremy Walker and the use of filters Sunday 15 January / 11:00-16:00

` £25/£15 Society members ` Walker will demonstrate his

work with examples, followed by a discussion into the techniques and use of filters for landscape photography ` Hamworthy Club, Magna Road, Wimbourne BH21 3AP ` Dave Peckham, 07434 170644, davepeckham@mac.com

How I achieved my Distinction Sunday 29 January / 10:15-16:15

` £25/£15 Society members ` Learn about the process of

applying for a Society Distinction – the criteria, specialist categories, and see how others achieved theirs ` Otterbourne Village Hall, Cranbourne Drive, Otterbourne, Winchester SO21 2ET ` Lilian Hobbs LRPS, 07785 264684, lmh@dbevolution.co.uk THAMES VALLEY MARK BUCKLEY,SHARP ARPS, 020 8907 5874 MARK.BUCKLEY,SHARP(TISCALI.CO.UK

DI Group Thames Valley: ‘Digital adventure’ with Colin Harrison FRPS Sunday 15 January / 10:00-15:30

` £15/£12/£8 group members ` A digital adventure using various techniques to produce stunning images ` Woosehill Community Hall, Emmview Close, Woosehill, Wokingham, Berkshire RG41 3DA ` Laurie Pate, digthamesvalley@rps.org

Thames Valley advisory day Sunday 22 January / 10:00-16:00

` Fully booked for advice (£15); observers £10 ` Amersham, Community Centre, Chiltern Avenue, Amersham HP6 5AH ` Kathy Chantler, 01296 483469/07738 112775, kathychantler@gmail.com

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

DI Group Thames Valley: ‘Digital imaging and the evolution of the creative image’ with Mike McNamee FRPS

professional landscape photography unveiled Sunday 29 January / 10:00-16:00

` £10/£8/£6 group members ` Clapp is presenting a

showcase and workshop on his professional photography. He will unveil his intricate use of computer technology ` Clyst St Mary Village Hall, Clyst St Mary, near Exeter EX5 1BG ` Dennis Knowles, dennisknowles123@btinternet. com

Sunday 19 February / 10:00-15:30

` £15/£12/£8 group members ` Digital imaging and the

YORKSHIRE MARY CROWTHER ARPS, 07921 237962

evolution of the creative Image from conception to print ` Woosehill Community Hall, Emmview Close, Woosehill, Wokingham, Berkshire RG41 3DA ` Laurie Pate, digthamesvalley@rps.org

PHOTOBOX50(GMAIL.COM

SPECIAL INTEREST GROUPS

WESTERN DAVID NORFOLK ARPS, 07771 515273 WESTERN(RPS.ORG

Explore more aspects of photography and digital imaging

DIG Western Centre: Stephen Bank ‘Dorset Scouser’ – stargazing

ANALOGUE

Sunday 4 December / 10:00–4:00

RICHARD BRADFORD ARPS

` £8/£7/£5 ` Capturing the Milky Way on Dorset’s Jurassic Coast

ARCHAEOLOGY AND HERITAGE RODNEY BERNARD THRING LRPS, 01276 20725

Nr Taunton ` Dennis Knowles, dennisknowles123@btinternet. com

Members’ Christmas party and show-and-tell Sunday 11 December / 10:00-12:30

` Prints and digital images ` RPS HQ, Fenton House, 122 Wells Road, Bath BA2 3AH

` David Norfolk ARPS, as above DIG Western Centre: David Clapp –

RODNEY.THRING(NTLWORLD.COM AUDIO VISUAL HOWARD BAGSHAW ARPS, 01889 881503 HOWARD.BAGSHAW(NTLWORLD.COM

World-renowned photographer Joe McNally FRPS will speak to the Documentary Group Image: George Lucas, Los Angeles, 1998 by Joe McNally FRPS

DIG Scotland Centre – printing workshop Sunday 4 December / 10:30-16:00

` £12/£10/£5 group members

` Edinburgh Photographic

Society, 68 Great King Street, Edinburgh ` Doug Berndt ARPS, digscotland@rps.org

DIG Southern Centre: photography, Photoshop and Lightroom by Glyn Dewis Sunday 4 December / 10:30-16:00

` £12/£10 group members ` Dewis will discuss and

demonstrate how he takes and makes his distinctive images using Photoshop and Lightroom ` Greyfriars Community Centre, 44 Christchurch Road, Ringwood BH24 1DW ` Barry Senior HonFRPS, 01425 471489, digsouthern@rps.org

DI Group Thames Valley: ‘Digital adventure’ with Colin Harrison FRPS Sunday 15 January / 10:00-15:30

ANALOGUE(RPS.ORG

` Merryfield Village Hall, Ilton,

dennisknowles123@btinternet. com

CONTEMPORARY PETER ELLIS LRPS, 07770 837977 WORDSNPICSLTD(GMAIL.COM

Contemporary North West meeting

` £15/£12/£8 group members ` A digital adventure using various techniques to produce stunning images ` Woosehill Community Hall, Emmview Close, Woosehill, Wokingham, Berkshire RG41 3DA ` Laurie Pate, digthamesvalley@rps.org

DIG Western Centre: David Clapp – professional landscape photography unveiled

Monday 5 December / 19:30-22:00

Sunday 29 January / 10:00-16:00

` Days Inn Charnock Richard

` £10/£8/£6 group members ` Clapp presents a showcase

Services, Jct 27-28 M6 northbound, Mill Lane, Chorley Lancs PR7 5LR ` Alan Cameron, 07825 271344, alan.cameron@me.com CREATIVE BARRY COLLIN LRPS CREATIVECHAIR(RPS.ORG DIGITAL IMAGING JANET HAINES DIGCHAIR(RPS.ORG

DIG Western Centre: Stephen Banks ‘Dorset Scouser’ – stargazing Sunday 4 December / 10:00-16:00

` £8/£7/£5 group members ` Capturing the Milky Way on Dorset’s Jurassic Coast ` Merryfield Village Hall, Ilton, Nr Taunton ` Dennis Knowles,

and workshop on his professional photography. He will unveil his intricate use of computer technology ` Clyst St Mary Village Hall, Clyst St Mary, near Exeter EX5 1BG ` Dennis Knowles, dennisknowles123@btinternet. com

DI Group Thames Valley: ‘Digital imaging and the evolution of the creative image’ with Mike McNamee FRPS Sunday 19 February / 10:00-15:30

` £15/£12/£8 group member ` Digital imaging and the

evolution of the creative image from conception to print ` Woosehill Community Hall, Emmview Close, Woosehill, Wokingham, Berkshire RG41 3DA

VOL 156 / DECEMBER 2016 / THE RPS JOURNAL / 953

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| GUIDE | 955 ` Laurie Pate,

digthamesvalley@rps.org DOCUMENTARY MO CONNELLY LRPS, 01590 641849 DVJ(RPS.ORG

Joe McNally FRPS – talk Thursday 1 December / 18:30-21:00

` £25/£15 Society members ` World-renowned

photographer Joe McNally talks about a professional photographer’s life over the span of a 30+-year career ` Wetherby Preparatory School, 48 Bryanston Square W1H 2EA ` London Events, londonevents@rps.org

PATRONAGE

TIM PARISH LRPS LANDSCAPE(RPS.ORG

Long exposure: coastal exploration

The following salons/exhibitions have RPS-approved patronage:

Sunday 4 December / 10:00-16:00

4th Cork International Salon of Photography Closing date: 1 December ` ` corkcameragroup.net/ ` RPS 2016/75

` £10/£5/free to group

members ` Fully booked ` Old Fort Road, Shoreham ` Richard Ellis, sre868@gmail.com MEDICAL DR AFZAL ANSARY ASIS FRPS, 07970 403672 AFZALANSARY(AOL.COM NATURE RICHARD REVELS FRPS, 01767 313065

1st Knowledge Bowl International Photography Award Closing date: 7 December ` ` kb2007.com ` RPS 2016/72

RICHARD.REVELS(TALKTALK.NET HISTORICAL JENNIFER FORD ARPS, 01234 881459 JENNYFORD2000(YAHOO.CO.UK

Visit to the Pitt Rivers Museum’s photographic collections, Oxford Tuesday 7 February / 14:00-16:00

` £5/free for group members ` A curator-led behind the

scenes view of the Pitt Rivers photographic archives ` Pitt Rivers Museum, South Parks Road, Oxford OX1 3PP ` Geoff Blackwell ARPS, 0114 266 8655, gblackwell@ fastmail.fm IMAGING SCIENCE

TRAVEL KEITH POINTON LRPS, 01588 640592 BAGPOINT(AOL.COM

Springboard to success 25 March 2017 / 9:30-17:00

` £45/£35 group members ` A special one-day event

in the London area with renowned travel and landscape photographer Joe Cornish HonFRPS as the main speaker ` Runnymede-on-Thames Hotel, Windsor Road, Egham, TW20 0AG ` Richard Lewis, travel@rps.org VIVECA KOH FRPS, 07956 517524

KEN.MACLENNAN(BTINTERNET.COM

VIVECA.KOH(GMAIL.COM

Good Picture 2016: ‘Facets of imaging’

Winter meeting members’ day

Saturday 10 December / 10:00-16:00

Saturday 25 February / 10:30-16:00

` £74/£42 concessions ` University of Westminster,

` £8 entry,

LANDSCAPE

£5 ploughman’s lunch

` Winter meeting of the

Rollright group ` The Village Hall, Main Street, Long Compton CV36 5JS ` Andreas Klattt, andreas@ klatt.tv

OVERSEAS CHAPTERS ` AUSTRALIA Elaine Herbert ARPS, eherbert @alphalink.com.au ` BENELUX Richard Sylvester richard.sylvester@ skynet.be Didier Verriest studio visit Saturday 3 December / 10:00-16:00 Saturday 4 February / 10:00-16:00

Sint-Veerleplein 5, Ghent, Belgium

Didier Verriest has invited the Benelux Chapter to visit his studio in Ghent, Belgium

Maitland International Salon of Photography Closing date: 16 January ` ` maitlandsalon.myphotoclub. ` RPS 2017/02 49th Howarth Colour Salon 2017 Closing date: 17 January ` ` sophowrah.net ` RPS 2017/03

15th PSI International Salon 2016 Closing date: 12 December ` ` photographicsocietyofindia.

Salon Photo de Riedisheim Closing date: 29 January ` ` spr-photo.fr ` RPS 2017/10

com

3rd Creative International Salon 2016 Closing date: 31 December ` ` bplclub.in ` RPS 2016/77 10th NBPC Salon of Photography 2017 Closing date: 3 January ` ` nbpcraiganj.org ` RPS 2017/07

Photography Award Closing date: 8 January ` ` www.digirap.sg ` RPS 2017/08

com.au/

11th International Salon Circuit ‘With love to women’ 2016 Closing date: 7 December ` ` galleryprostir.com ` RPS 2016/76

` RPS 2016/58

VISUAL ART

KEN MACLENNAN,BROWN

309 Regent Street, London ` Dr Mike Christianson, 01753 890480, pandm@ christianson.freeserve.co.uk

1st CHKFPA International Salon of Photography 2016 Closing date: 2 December ` ` chkfpa.com.hk/ ` RPS 2016/74

1st Sandven Image House International Photography Award Closing date: 3 February ` ` sandvenimagehouse.com ` RPS 2017/11

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

1st digiRAP International

104th Southampton International Exhibition Closing date: 12 February ` ` southampton internationalexhibition.co.uk

` RPS 2017/01

Royal Photographic Society members around the world

` CANADA John Bradford, jb.rps@cogeco.ca ` CHINA BEIJING Yan Li, yanli88@yahoo.com ` CHINA CHONGQING ` CHINA WESTERN Wei Han (Richard), oolongcha @hotmail.com ` CHINA SHANGTUF Guo Jing, shangtuf@yahoo.com.cn ` CHINA QUANZHOU Xiaoling Wang, hgudsh@163.com

` DUBAI Mohammed Arfan Asif ARPS, dubai@rps.org ` GERMANY Chris Renk, germany@rps.org ` HONG KONG Shan Sang Wan FRPS, shansangwan@ yahoo.com.hk ` INDIA Rajen Nandwana, rajennandwana@gmail.com ` INDONESIA Agatha Bunanta ARPS, agathabunanta@gmail.com ` ITALY Olivio Argenti FRPS,

info@rps-italy.org ` JAPAN TOKYO Yoshio Miyake, yoshio-raps@nifty.com ` MALAYSIA Michael Chong ARPS, michaelcsc1985@gmail.com ` MALTA Ruben Buhagiar, info@rubenbuhagiar.com ` NEW ZEALAND Mark Berger, rps@moothall.co.nz ` SINGAPORE Steven Yee Pui Chung FRPS, peacock

@sandvengroup.com ` SRI LANKA Romesh de Silva, romesh@access.lk ` SWISS CHAPTER Richard Tucker ARPS, tucker42@bluewin.ch ` TAIWAN Joanie Fan Hui Ling ARPS, djpassionfoto@gmail.com ` USA ATLANTIC CHAPTER Carl Lindgren, lindgren.carl @gmail.com ` USA PACIFIC CHAPTER Jeff Barton, rps@vadis.net

VOL 156 / DECEMBER 2016 / THE RPS JOURNAL / 955

SHOWCASE 956 | GUIDE | MEMBER

Images for change

Bharat Patel ARPS hopes his exhibition at Fenton House will prove to be a call to action

I

n India, to be poor, self-employed and a woman is to be vulnerable to exploitation. This month at Fenton House, Bharat Patel ARPS presents what he hopes will be a life-changing exhibition, Women Workers in the Informal Sector – India.

More than 90 per cent of India’s female workforce is based in the informal sector: trades such as street vending, domestic work, construction and rag picking. Devoid of salaried employment and social security benefits, they are

rendered powerless and invisible, says Patel, and often mistreated by agents and contractors.

Comprised of images captured between 2008 and 2015, Patel’s exhibition charts the experiences of selfemployed women.

Here, he reveals the reasons behind his project, and how he hopes it will prompt social change.

What inspired you to begin this project?

It began around nine years ago after a visit to my ancestral home in India. After taking photographs of women

956 / THE RPS JOURNAL / DECEMBER 2016 / VOL 156

Brick worker, above, one of the images captured through Patel’s involvement with India’s Self-Employed Women’s Association

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

working on a nearby construction site I went to share the photos with them, but the foreman questioned me in a way that suggested he thought these women were so socially irrelevant that they weren’t worth acknowledging.

This got me thinking about the relationship between female workers and social inequality in India. I got involved with the Self-Employed Women’s Association (SEWA) – a 1.5 millionstrong trade union of women workers – whose aim is to provide essential support

services like savings and credit facilities, healthcare, childcare and legal aid.

The aim of my exhibition is to raise awareness of the plight of these vulnerable women and establish a record of the working conditions they are entrenched in.

What were the main challenges of the project?

I’ve captured so many photographs for this project over the years that it was difficult to narrow down a selection of images for exhibition.

Often I had let my photographer’s mindset

EXHIBITIONS

LESLEY GOODE,

EXHIBITIONS MANAGER 01225 325720, LESLEY'RPS.ORG

RPS International Print Exhibition 159 – Royal Albert Hall UNTIL SUNDAY 11 DECEMBER

BHARAT PATEL ARPS; ALICE, CAROLYN MENDELSOH; WIDE OPEN, ALICE NEALE

Clockwise, from above: Main bread winner; Passing on the bricks; Young construction worker

take a back seat to ensure each image encapsulated the social messages we were trying to portray.

While photographing these women, there was always a thin line between showing poverty and showing hardship. Unfortunately, both go hand in hand because it remains the basic underlying cause that pushes these women to undertake what they do for the sake of their families.

How have audiences reacted to the images?

People are always shocked to see women

working in such harsh and physically demanding environments. These photographs highlight just how dangerous and demoralising these environments are for female workers.

Have you noticed any changes in India’s working environment over the past nine years of working with SEWA? These photographs have helped SEWA pressure governing authorities to implement change for female workers. This includes establishing spaces for female street vendors to sell their

VISIT

BHARATPATEL PHOTOGRAPHY. CO.UK

goods without fear of intimidation, and recognition of domestic work as professional employment. Slowly but surely SEWA’s vision is becoming a reality and I am privileged to be working with them.

By associating myself and SEWA’s work with the Society, I hope more people become aware of the plight of these women and strive to help make a change. There is much more to be done and I would welcome opportunities to exhibit these images elsewhere in the world.

` The Royal Photographic

Society has a long and prestigious history, and the print exhibition is the world’s longest-running exhibition of its kind, having been held almost every year since The Society was founded in 1853.

Selected from a worldwide open call, by a panel of industry professionals, the exhibition showcases a rich variety of photographic genres and styles, and gives a fascinating insight into the range and diversity of work being created today. An exhibition catalogue is available to order online from the RPS web shop. ` Royal Albert Hall, Kensington Gore, London SW7 2AP ` David Gamble, dgamble@royalalberthall.com

RPS International Print Exhibition 159 – Taunton SAT 14 JANUARY # SAT 11 MARCH 2017

` Museum of Somerset,

Taunton Castle, Castle Green, Taunton TA1 4AA ` Sam Astill, sam.astill@swheritage.org.uk

VOL 156 / DECEMBER 2016 / THE RPS JOURNAL / 957

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CANON EF-S NON FULL FRAME LENSES 10-18 F4.5/5.6 IS STM . . . . . . .£184 18-55 F3.5/5.6 IS STM no box £169 18-135 F3.5/5.6 IS U Nano . . . £448 18-135 F3.5/5.6 IS STM no box £349 24 F2.8 STM . . . . . . . . . . . . . . . . £138 CANON EF FULL FRAME LENSES 8-15 F4 L USM Fisheye. . . . . . . £999 11-24 F4 L USM . . . . . . . . . . . .£2679 16-35 F2.8 L USM MKIII . . . . .£2348 16-35 F4 L IS USM. . . . . . . . . . . £879 17-40 F4 L USM . . . . . . . . . . . . . £547 20 F2.8 USM . . . . . . . . . . . . . . . . £379 24 F1.4 L II USM. . . . . . . . . . . .£1348 24 F2.8 IS USM . . . . . . . . . . . . . . £439 24-70 F2.8 L II USM. . . . . . . . .£1688 24-70 F4 L IS USM. . . . . . . . . . . £694 24-105 F3.5/5.6 IS STM . . . . . . £368 24-105 F4 L IS USM MKII. . . .£1128 28 F2.8 IS USM . . . . . . . . . . . . . . £398 35 F1.4 USM LII . . . . . . . . . . . .£1798 35 F2 IS USM. . . . . . . . . . . . . . . . £418 40 F2.8 STM . . . . . . . . . . . . . . . . £168 50 F1.2 L USM . . . . . . . . . . . . .£1278 50 F1.4 USM . . . . . . . . . . . . . . . . £298 50 F1.8 STM . . . . . . . . . . . . . . . . £109 70-200 F2.8 IS LII USM. . . . . .£1848 70-200 F2.8 non IS L USM. . .£1179 70-200 F4 L IS USM. . . . . . . . .£1019

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Used Canon 500mm f4 LI IS USM

£4499

BRONICA ETRS 645 USED 40 F4 MC ..............................£149 50 F2.8 E...............................£149 75 F2.8 PE ............................£149 105 F3.5..................................£99 135 F4 PE M- box ..............£249 150 F3.5 E ..............................£99 150 F3.5 PE M- Box...........£149 200 F4.5 PE..........................£199 E14 or E42 ext tube ea......£49 120 RFH ..................................£69 Polaroid Back .......................£39 AEIII prism ...........................£199 Plain prism ............................£59 Rotary prism .........................£99 Angle viewfinder E...........£129 Winder early .........................£79 Speed Grip E.........................£39 Tripod adapter E .................£39 Winder early .........................£49 Metz SCA 386 .......................£49 BRONICA SQ 6x6 USED SQA + 80 + back + prism .£249 40 F4 S ..................................£299 50 F3.5 PS ............................£299 50 F3.5 S...............................£149 110 F4.5 PS macro ............£399 135 F4 PS M-.......................£229 150 F3.5 S ..............................£79 150 F4 PS ................... £149/199 180 F4.5 PS..........................£399 200 F4.5 PS M- box ..........£199 2x PS converter M- ...........£179 135N back ...........................£119 SQA Polaroid back..............£59 SQAi 120 RFH .......................£79 SQA 120 RFH ........................£49 SQAi prism late ..................£299 45° Prism box .....................£129 Plain Prism S Boxed ...........£69 AE Prism Early ......................£79 ME Prism Finder ..................£69 Metz SCA 386 .......................£49 Pro shade S ...........................£59 Lens Hood 65-80.................£20 SQAi Motorwinder ...........£149 Speed grip S .........................£69 CANON DIGITAL AF USED 1DX MKII body ................£4599 1DX body box .................£2399 5DsR body box ...............£2299 1D MKIV body ..... £1299/1499 1Ds MKIII body box..........£799 1Ds MKII body....................£699 1D MKIII body ....................£699 7D body ...............................£499 5D MKIII body box.........£1799 5D MKII body ..............£599/799 5D MKI body box ................£499 60D body ................................£399 50D body ................................£299 30D body ................................£129 500D body .............................£199 450D body .............................£149 BG-E2...........£39 BG-E2N .....£49 BG-E4 box..£69 BG-E6 ........£89 BG-E7...........£89 BG-E8. .......£69 BG-E9 box .................................£79 BG-E11......£199 BG-E13 ...£139 BG-E16 box ............................£149 CANON AF USED EOS 1V body M- box .......£699 EOS 3 body M- box ..........£299 EOS 1n body.......................£149 EOS 30/5 body each ..........£69 EOS 650 body ......................£39 EOS 600 body ......................£39 EOS 50E/300V body each £29 EOS 500N/1000 b/o each £29 10-18 F4.5/5.6 IS STM......£159 10-22 F3.5/4.5 U ................£279 16-35 F2.8 USM LII............£899 16-35 F2.8 USM LI.............£749 17-40 F4 L ............................£449 17-55 F2.8 EFS IS USM ....£449 17-85 F4/5.6........................£199 24 F3.5 TSE MKII box.........£1199 24 F3.5 TSE MKI box.............£749 24-70 F2.8 LII USM box....£1199 24-70 F2.8 L USM box .........£799 24-85 F3.5/4.5 USM..............£149 24-105 F4 L...............................£549 28 F1.8 USM box ...............£259 28 F2.8 ..................................£129 28-90 F3.5/5.6 ......................£79 28-135 F3.5/5.6 IS USM ..£199 50 F1.2 L USM box............£999 50 F1.4 USM........................£239 60 F2.8 USM EFS mac ......£279 70-200 F2.8 IS USM LI......£899 70-200 F2.8 USM L ...........£799 70-200 F4 U L .....................£399 70-300 F4/5.6 L IS U£699/849 70-300 F4/5.6 DO IS U.....£399 70-300 F4.5/5.6 IS USM ..£299 75-300 F4/5.6 MKII .............£99 85 F1.8 M-............................£219 100 F2.8 USM box.............£319 100-400 F4.5/5.6 L IS U... £899 135 F2 L M- box.................£549 180 F3.5 L mac .................... £899 300 F2.8 LI IS U..................£2999 300 F4 L IS USM box ......... £849 400 F5.6 L box ..................... £799 500 F4 LI IS USM...............£4499 1.4x extender MKII ............ £239 2x extender MKII ................ £219 2x extender MKIII..............£299 2x extender MKI ................£169 Teleplus 2x DG conv ..........£89 Kenko ext tube set DG ......... £89 PB-E2 drive M- box...........£199 PB-E2 drive fits EOS1/3 ...£149 SIGMA CAF USED 10-20 F4/5.6 HSM box .£219 12-24 F4.5/5.6 EX DG ..........£399 17-70 F2.8/4 DC .....................£129 18-50 F2.8/4.5 DC OS .......... £99 18-125 F3.8/5.6 OS DC .....£149 18-200 F3.5/6.3 HSM OS..£149 18-250 F3.5/45.6 DC OS...£149 24-70 F2.8 HSM....................£469 28-135 F3.8/5.6 ...................... £99 50 F1.4 EX DG Art................£499

50 F1.4 EX DC........................£249 50 F2.8 EX macro ............... £149 50-500 F4/6.3 EX DG .......£399 105 F2.5 EX DG OS box ..£269 120-300 F2.8 DG OS Sport box ..........................£1899 120-300 F2.8 EX DG .........£749 120-400 F4/5.6 DG ...........£399 150 F2.8 EX DG OS mac ...£499 150-500 F5/6.3 HSM ..........£499 150-600 F5/6.3 DG OS ........£999 170-500 F5/6.3 APO DG.....£299 180 F3.5 EX DG HSM mac.£399 1.4x or 2x EX DG conv ea ..£149 1.4x or 2x EX conv ea ............ £99 Kenko Pro 300 1.4x conv..... £99 Kenko ext tubes....................... £79 OTHER CAF USED TAM 18-200 F3.5/6.3........£119 TAM 18-270 F3.5/6.3 VCII .£169 TAM 28-75 F2.8 XR Di ......£199 TAM 28-300 F3.5/6.3 PZD .£399 TAM 28-300 box ................£149 TAM 70-300 F4/5.6 ............... £99 TAM 90 F2.8 .................£179/249 TAM 200-500 F5/6.3...........£449 CANON FLASH USED CP-E3 batt pack ...................£49 ST-E3 transmitter box .....£199 ST-E2 transmitter ................£79 MR-14EX ringflash ............£349 MT-24EX ringflash ............£549 430EXII..................................£169 550EX ....................................£149 580EX box ...........................£179 600EX RT box .....................£279 CONTAX 645 AF USED 45 F2.8 ..................................£499 CONTAX 35mm AF USED 45 F2......£399 90 F2.8 .....£299 CONTAX MF USED 28-70 F3.5/4.5 MM ...........£169 FUJI DIGITAL USED X-Pro2 body box ............£1099 X-T1 body graphite box .£599 X-T1 body black....... £499/599 X-T10 body box .................£379 X-E2s body silver...............£369 X-M1 body blk box...........£149 18-55 F2.8/4 XF .................£399 27 F2.8 XF box ...................£199 35 F1.4 box .........................£399 50-230 F4.5/6.7 XC box ..£169 60 F2.4 macro box............£429 90 F2 XR box ......................£679 1.4x converter ....................£269 X-T1 vertical grip...............£129 HASSELBLAD XPAN USED Centre filter 49mm.................£129 HASSELBLAD 6x6 USED 500C body chrome ..........£199 WLF late ...............................£110 WLF chrome late.................£99 WLF early ...............................£49 Sports viewfinder ...............£69 Chimney.................................£89 A12 chrome latest ............£299 A12 late blk/chr .................£129 Polaroid back tatty .............£79 50 F4 CF FLE .......................£849 80 F2.8 CF ............................£479 140-280 F5.6 CF.................£799 150 F4 chrome...................£199 250 F5.6 CF .........................£399 Ext tube 21, 55 each ..........£39 Vivitar 2x conv .....................£49 Pro shade 6093....................£99 Lens hoods various ..... £20/50 LEICA SLR USED R7 body black ....................£349 R5 body black ....................£179 LEICA OPTICS USED Televid 77 scope + 20x60 ................................£649 Trinovid 10x42 ...................£699 Ultravid 8x32 HD ..............£899 LIGHTMETERS USED Minolta Flashmeter V ......£199 Polaris .....................................£99 Sekonic L308 ........................£99 Sekonic L478DR ................£279 MAMIYA 645 MF USED 645 Prol TL + 80 + prism + winder box ......................£399 Plain prism (645 Super) ....£39 Polariod Back HP401 .........£29 Polaroid back .......................£29 120 Insert...............................£20 HA401 120 RFH Box...........£49 120 Back.................................£39 Winder ....................................£79 45 F2.8 N ..............................£199 50 F4 shift ............................£299 55-110 F4.5 box.................£299 120 F4 macro .....................£269 150 F2.8 A............................£199 150 F3.5 N .............................£79 150 F3.8 NL leaf.................£299 210 F4 N M- ..........................£79 Ext Tube 1, 2, 3S each .......£29 Teleplus 2x converter ........£49 Vivitar 2x converter............£39 MAMIYA TLR 6x6 USED C330 F Body + WLF ..........£149 55 F4.5 ..................................£199 65 F3.5 box late .................£199 65 F3.5 serviced.................£149 80 F2.8 late serviced ........£139 180 F4.5 ................................£149 250 f4.5 late serviced.......£249 250 f4.5 early serviced .£179 Paramender ..........................£49 Porrofinder ............................£59 MAMIYA 7 RF 6x7 USED 50 F4.5 L + VF .....................£699 80 F4.5 L M- box................£699 150 F4.5 M- .........................£399 MAMIYA RB 6x7 USED Pro SD + 127 KL + WLF + back M-.............................£649 Pro S + 90 + WLF + back £449 Pro S body ...........................£149 Pro S body scruffy ..............£99 Plain prism late..................£199

Prism early.............................£99 WLF.........£79 Chimney......£99 120 645V back .....................£99 50 F4.5 ..................................£199 90 F3.5 KL ............................£299 127 F3.5 KL..........................£299 180 F4.5......................................£149 Pro SD ext tube 2 82mm..... £99 Pro SD ext tube 1 45mm..... £99 Ext tube 2.................................... £49 MAMIYA RZ 6x7 USED RZ ProII + 90 + WLF + 120 RFH ............................£499 RZ Pro body ........................£149 120 RFH Pro II.......................£99 120 RFH Pro I ........................£49 Polaroid back .......................£79 FE701 prism ........................£299 WLF.........£79 Winder II ......£69 50 F4.5 W .............................£249 65 F4 box M- ......................£399 90 F3.5 W M- box ..............£299 180 F4.5 W...........................£199 Pro shade...............................£49 MINOLTA/SONY DIGITAL USED Sony RX10 MKII box.............£949 Sony A7RII body box......£2399 Sony A6300 body .............. £799 Sony A77 II body................ £699 Sony A77 body ................... £399 Sony VGB30AM .....................£79 Sony VG-C1EM .................... £149 Sony VG-C70AM................. £139 Sony HV56AM ..................... £169 Sony F42AM......................... £129 SONY NEX USED A6000 body .............................£329 NEX 5 body ..............................£129 FE 16-35 F4 ZA OSS E..........£999 FE 16-50 F3.5/5.6 EZ ............£149 FE 90 F2.8 macro ...................£799 Samyang 12 F2 ......................£199 Samyang 100 F2.8 macro .£229 MINOLTA/SONY AF USED Dynax 9 body box ............£299 800Si body ............................£69 7xi body .................................£49 7000i body ............................£39 300Si body ............................£19 20 F2.8 ..................................£199 20-35 F3.5/4.5 M- box .....£249 24 F2.8 AF ............................£199 24-50 F4 .................................£99 24-85 F3.5/4.5 ....................£149 28 F2.....£299 28 F2.8 ........£99 28-80 F4/5.6..........................£39 28-85 F3.5/4.5 ......................£99 35-70 F4 .................................£39 35-70 F3.5/4.5 ........................... £25 35-80 f4/5.6 ................................ £25 35-105 F3.5/4.5 ........................ £99 50 F1.4 AF .................................£169 50 F1.7 AF ................................... £89 50 F2.8 macro .........................£149 75-300 F4.5/5.6 ........................ £99 85 F1.4 ........................................£549 100-300 F4.5/5.6 APO .........£149 VC700 grip.................................. £39 RC1000S/L cord ....................... £15 AW90............................................. £49 MD90 + BP90-M ...................... £79 Angle finder VN........................ £79 SONY LENSES USED 16-50 F2.8 DT SSM................£279 16-80 F3.5/4.5 ZA DT...........£449 18-55 F3.5/5.6 SAM ................ £59 18-200 F3.5/6.3 DT ...............£199 55-200 F4/5.6 DT SSM .......... £69 75-300 F4/5.6 ..........................£129 SIGMA MIN/SONY AF USED 10-20 F4/5.6 EX DC ........... £229 18-35 F1.8 Art...................... £449 28-135 F3.8/5.6 ......................£79 28-300 F3.5/6.3 macro..... £149 50 F1.4 .................................... £149 50 F2.8 EX DG macro ....... £149 55-200 F4/5.6 .........................£69 70-300 F4/5.6 DG OS ......£169 70-300 F4/5.6 APO DG ......£99 150-500 F5./6.3 DG ..........£499 170-500 F5/6.3...................£299 500 F4.5 APO ......................£799 1.4x EX conv .........................£99 TAM 10-24 F3.5/4.5 DiII ..£239 TAM 18-200 F3.5/6.3..........£99 TAM 70-300 F4.5/5.6 Di box......................................£79 TAM 90 F2.8 .............. £179/249 Teleplus 1.4x conv ..............£69 Teleplus 2x conv .................£79 Kenko 1.4x Pro 300DG ....£149 Min 5200i...............................£29 Min 5400HS ..........................£39 Min 5600HSD M-.................£99 NIKON DIGITAL AF USED D4 body box....................£2499 D3X body box .................£1999 D3s body box ..................£1799 D3 body box....................£1199 D2x body .............................£349 D800 body .......................£1299 D700 body box..................£699 D600 body box..................£799 D500 body box...............£1449 D300 body box..................£299 D200 body box..................£149 D7000 body .............. £299/349 D5500 body box ...............£479 D5000 body ........................£169 D3200 body ........................£199 D50 body ...............................£79 MBD-15 grip .......................£169 MBD-14 grip .......................£179 MBD-12 grip .......................£229 MBD-10 grip M- box ........£149 MBD-10 grip .........................£89 MBD-200 box .......................£69 MBD-100 ................................£39 Coolpix P900 compact ...£399 NIKON AF USED F4 body ................................£349 F4E body ..............................£299 F801 body ...................... £29/59 F601 body .............................£29

F55 body ................................£25 10.5 F2.8 AFS DX box ......£399 10-24 F3.5/4.5 AFS DX ....£549 14-24 F2.8 AFS M- box ..£1099 14-24 F2.8 AFS ................£999 16 F2.8 Fisheye AFD .....£499 16-35 F4 VR.......................£799 16-85 F3.5/5.6 AFS VR ...£399 17-55 F2.8 AFS ......................£499 18-35 F3.5/4.5 AFS ..............£479 18-35 F3.5/4.5 AFD .............£299 18-55 F3.5/5.6 AFS VR..........£99 18-70 F3.5/4.5 AFS ..............£119 18-105 F3.5/5.6 AFS VR .....£169 18-135 F3.5/5.6 DX..............£149 18-200 F3.5/5.6 AFS VRI ....£249 20 F2.8 AF................................£279 24 F2.8 AFD ............................£299 24-70 F2.8 AFS box .............£849 24-85 F3.5/4.5 VR ..................£329 24-120 f4 AFS VR ...................£699 24-120 F3.5/5.6 AFD ............£199 28 F1.8 AFS G ..........................£479 28-100 F3.5/5.6 AF G ............. £69 28-105 F3.5/4.5 AFD ............£149 35 F1.8 DX.................................£139 35 F2 AFD .................................£199 35-70 F3.3/4.5 AF .................... £59 50 F1.8 AFD...........................£99 50 F1.8 AF ..............................£79 55-200 F4/5.6 AFS VR ........£99 55-200 F4/5.6 AFS ..............£79 60 F2.8 AFS .........................£349 60 F2.8 AFD.........................£249 60 F2.8 AF ............................£199 70-200 F2.8 AFS VRII .....£1299 70-200 F2.8 AFS VRI .........£899 70-200 F4 VR.......................£899 70-300 F4/5.6 VR ...............£369 70-300 F4/5.6 AFD ...........£129 70-300 F4 G...........................£79 80-200 F2.8 AFD................£349 85 F1.4 AFD.........................£499 85 F1.4 AFS .........................£329 85 F1.8 AFD.........................£249 85 F3.5 DX M- box ............£269 105 F2 AFD..........................£649 105 F2.8 AFS VR.................£579 105 F2.8 AFD ......................£399 180 F2.8 AFD M- box .......£449 200-400 F4 AFS VRII ......£3799 300 F2.8 AFS VRII M- .....£3199 300 F2.8 AFS VRI ............£2699 300 F4 AFS M- box ...........£699 300 F4 AFS box..................£599 400 F2.8 AFS VR serviced £5899 600 F4 AFS VR serviced ....£5999 600 F4 AFS II non VR grey serviced ...................£3499 TC14EII. .................................£299 TC20EIII M- box .................£249 TC20EII....£199 TC20E.......£149 SIGMA NAF USED 10-20 F4/5.6 EX DC ..............£239 18-50 F2.8 EX DC Mac.........£149 18-200 F3.5/6.3 DC OS ......£199 18-250 F3.5/6.3 DC OS ......£149 24-70 F2.8 EX DG .................£249 28-300 F3.5/6.3 early..........£129 30 F1.4 EX DC ........................£199 35 F1.4 Art...............................£499 50 F1.4 Art M- box...............£499 50 F1.4 DG Mint ......... £199/239 50-500 F4/6.3 EX DG .......£499 50-500 F4/6.3 DG..............£399 70-300 F4/5.6 APO DG......£99 80-400 F4.5/5.6 DG OS ...£399 105 F2.8 EX DG OS ...........£269 105 F2.8 EX .........................£199 120-300 F2.8 DG OS .....£1199 120-400 F4/5.6 DG ...........£399 150-500 F5/6.3 DG OS ........£499 1.4x or 2x EX DG conv ea ..£149 1.4x or 2x EX conv each ....... £99 TAMRON NAF USED 10-24 F3.5/4.5 DiII .................£239 11-18 F4.5/5.6 .........................£219 18-250 F3.5/6.3 ......................£149 19-35 F3.5/4.5 ........................... £99 70-300 F4/5.6 ............................ £79 OTHER NAF USED TOK 10-17 F3.5/4.5 ATX ..£249 TOK 11-18 F2.8 ATX Pro..£329 TOK 12-28 F4 ATX DX ......£399 TOK 80-200 F2.8 ATX Pro £299 FLASH / ACCESSORIES USED SB-24.........£49 SB-25..............£49 SB-28.........£69 SB-80DX ...... £79 SB-500 box ...............................£149 SB-600....£169 SB-800.........£149 SB-900.........................................£269 SB-R1C1 kit...............................£499 SD-8 batt pack.......................... £49 SU-800 commander box...£199 DR-5 angle finder box.........£149 DR-3 angle finder.................... £59 GP-1A box.................................£149 MB-10 (fits F90) ........................ £29 MB-23 (fits F4)........................... £69 MC-36 remote .......................... £79 MC-30 remote .......................... £39 MF-23 (date back F4) ............ £79 NIKON MF USED F3 body ................................£199 FM2n body box .................£349 FM2n body chr ..................£249 F301 body .............................£99 15 F3.5 AIS Fisheye ..........£749 20 F3.5 AI .............................£199 24 F2.8 AI .............................£199 28 F2.8 AIS...........................£199 28 F3.5 AIS.............................£99 28 F2.8 E box ........................£69 28-85 F3.5/4.5 AIS.............£199 35-70 F3.3/4.5 AIS.............£129 35-70 F3.5 AIS ......................£99 35-105 F3.5/4.5 AIS ............£79 50 F1.4 AI .............................£199 50 F1.8 AIS pancake.........£139 50 F1.8 E.................................£59 55 F2.8 AIS...........................£199 85 F1.8 AI ...............................£99 105 F2.8 AIS macro ..........£199 180 F2.8 AIS ED scruffy ...£179

200 F4 AI ..............................£149 500 F4 AIS.........................£1499 500 F8 mirror early...........£279 TC200......£49 TC301 ........£149 SC-17 TTL lead .....................£25 DW-3 WLF find fit F3 .........£99 DW-4 6x mag find fit F3 ...£99 DW-21 fits F4 ......................£149 Nikon bellows II box ..........£89 OLYMPUS DIGITAL USED E10 MKII body ....................£349 E10 body..............................£279 12-60 F2.8/4 SWD .............£379 14-42 F3.5/5.6 ......................£49 14-45 F3.5/5.6 ......................£79 14-50 F3.8/5.6 ....................£199 14-54 F2.8/3.5 ....................£149 35 F3.5 ....................................£99 35-100 F2 M- box..............£999 40-150 F4/5.6 .......................£49 50 F2 macro ........................£279 25mm ext tube....................£79 FL-36 Flash ..........................£119 OLYMPUS PEN USED OMD-EM1 body M- box .£499 OMD E-M5 MKII b/o box £599 OMD E-M5 body box.......£299 OMD-EM10 MKII body ....£369 OMD-EM10 body ..............£299 12-40 F2.8 Pro ....................£599 12-50 F3.5/6.3 ....................£149 14-150 F4/5.6 .....................£399 45 F1.8 box .........................£199 40-150 F2.8 Pro .................£949 60 F2.8 ..................................£299 75-300 F4.8/6.7 MKII........£299 1.4x converter ....................£249 FL600R flash box...............£199 HLD-8 grip...........................£149 HLD-7 grip box ..................£109 VF-2 viewfinder .................£179 OLYMPUS OM USED OM-4T body .......................£249 OM-1n body chr................£169 OM-2SP body .....................£149 OM-2n body blk or chr ...£149 OM-1n body .......................£149 28 F3.5 ....................................£49 35-70 F3.5/4.5 ......................£79 35-105 F3.5/4.5....................£79 50 F3.5 macro ......................£79 200 F4 .....................................£79 14 or 25 auto ext tube ea £29 PANASONIC DIGITAL USED FZ330 Bridge camera ......£379 FZ200 Bridge camera ......£199 GH3 body ............................£399 G6 body black....................£299 G3 body box .......................£129 GX7 body.............................£399 GX1 body box ....................£149 GF7 body silver box .........£199 GF3 body black ...................£99 GF1 body ................................. £79 14 F2.5 ..................................£199 14-42 F3.5/5.6 ......................£79 14-45 F3.5/5.6 ....................£149 14-140 F3.5/5.6..................£399 20 F1.7 ..................................£199 25 F1.4 ..................................£329 35-100 F4/5.6 .....................£199 100-300 F4/5.6...................£349 LVF2 box ..............................£149 BG-GH3 grip .........................£99 PENTAX DIGITAL USED K3 body ................................£499 Km body ..............................£149 PENTAX 35mm AF USED MZ5N body ...........................£69 10-17 F3.5/4.5 ED .............£239 16-45 F4 ...............................£199 17-70 F4 SDM M- box .....£299 18-55 F3.5/5.6 ......................£29 28-80 F3.5/5.6 ......................£49 50-135 F2.8 SDM...............£379 55-300 F4/5.8 HD DA ED WR ...................................£249 55-300 F4/5.8 ED box......£229 70 F2.8 Limited ..................£349 70-300 F4/5.6 .......................£79 100-300 F4.5/5.6 .................£89 SIGMA PKAF USED 10-20 F4/5.6........................£229 18-250 F3.5/6.3..................£199 TAM 70-300 F4.5/5.6 Di ....£79 PENTAX 645AF USED 645N body ..........................£399 AF500FTZ flash ....................£79 PENTAX 645MF USED 645 + 75 F2.8 ......................£249 645 body + insert .............£199 45 F2.8 ..................................£249 55 F2.8 ..................................£249 150 F3.5 EX++ ....................£149 200 F4 ...................................£149 300 F4 ...................................£249 1.4x converter ....................£199 120 Insert M- box................£49 PENTAX 67 USED 67 II + AE prism box .........£999 45 F4 latest ..........................£399 105 F2.4 latest ....................£449 135 F4 macro late .............£249 165 F2.8 latest ....................£399 200 F4 latest .......................£169 200 F4 early .............................£99 300 F4 early scruffy ............. £99 Pentax rear conv 1.4x ........ £249 2x rear converter...............£179 Auto ext tubes .....................£49 Vivitar 2x conv .....................£49 TAMRON ADII USED 90 F2.5 SP ............................£149 VANGUARD SCOPES USED Endeavour HD65A............£269 Endeavour HD82A............£339 VOIGTLANDER USED 15 F4.5 + VF M- box .........£269 ZEISS USED Victory Diascope 85 T* FL + 20x60 box .....................£1499 MORE ON WEBSITE WWW.MIFSUDS.COM

Used Nikon

D4 body box

HOYA Filters NEW STOCK HOYA PRO 1D

£2499 Still an ideal, blisteringly fast camera for sports and action photographers

Used Nikon D3X body box

£1999

Used Nikon D3s body box

£1799

Used Nikon D3 body box

£1199

Used Nikon D800 body

Circ ular Polariser 52mm .... £49 67mm..£79 55mm .... £49 72mm..£89 58mm .... £69 77mm..£99 62mm .... £69 82mm£134 UV 37mm .... £30 62mm..£43 40.5mm . £30 67mm..£50 46mm .... £30 72mm..£52 52mm .... £30 77mm..£55 55mm .... £35 82mm..£69 58mm .... £38 Softener A 52mm .... £20 67mm..£39 55mm .... £20 72mm..£39 58mm .... £39 77mm..£49 62mm .... £39 82mm..£49 Star 4 52mm .... £29 67mm..£39 55mm .... £29 72mm..£39 58mm .... £39 77mm..£49 62mm .... £39 Protector 55mm .... £20 67mm..£30 58mm .... £20 72mm..£35 62mm .... £30 77mm..£49 Twin packs: UV + Circ Pol 40.5mm . £49 62mm..£69 49mm .... £49 67mm..£79 52mm .... £55 72mm..£89 55mm .... £59 77mm..£99 58mm .... £65

HOYA

£1299

Used Nikon 14-24mm f2.8 AFS M- box

£1099

Used Nikon 70-200mm f2.8 AFS VRII

£1299

Used Nikon

200-400mm f4 AFS VRII

£3799

Used Nikon

Close up +2, 3 or 4 (each) 52mm .... £18 67mm..£25 55mm .... £18 72mm..£27 58mm .... £20 77mm..£27 62mm .... £20 Softener A, Diffuser (each) 49mm .... £15 62mm..£29 52mm .... £20 67mm..£29 55mm .... £25 72mm..£29 58mm .... £29 77mm..£29 Infra Red 62mm .... £59 67mm..£59 77mm .... £69 Variable Neutral Density 67mm ..£119 72mm£129 77mm ..£129 Centre Spot 40.5mm . N/A 58mm..£17 46mm .... N/A 62mm..£17 49mm .... £15 67mm..£17 52mm .... £15 72mm..£20 55mm .... £15 Star 6, Star 8 (each) 52mm .... £20 67mm..£29 55mm .... £20 72mm..£29 58mm .... £29 77mm..£39 62mm .... £29

300mm f2.8 AFS VRI

SIGMA

£2699

UV WR 86mm .............................£99 95mm .......................... £119 105mm ........................ £149 Circular Polariser WR 86mm .......................... £129 95mm .......................... £159 105mm ........................ £199

Used Nikon 400mm f2.8 AFS VR serviced

COKIN £5899

Used Nikon 600mm f4 AFS VR serviced

£5999

P Series Nuance Kits ND1024 10 f stops ...£69.99 ND256 8 f stops ........£69.99 ND32 5 f stops ..........£69.99 P Series Grad ND Kit H270A .........................£54.99 Z Series Grad ND Kit U960................................£99 For full list of filters see WWW.MIFSUDS.COM

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960 | TIMES PAST |

Out in the cold William A Cadby’s Japan-inspired Snow Track

FROM THE RPS COLLECTION

‘A

nother Court, which did not love the Ring had, with specious cunning, wrought a wily plan which, if successful, would have given it an advantage … over the Ring.’ So wrote William Cadby – or the Wheeler as he was known in the Brotherhood of the Linked Ring – in response to the RPS’s invitation to Ring members to submit work for the Society’s annual exhibition in 1903. Despite this, the collection contains four of his works, including this gum bichromate print.

Cadby and his wife Carine who, along with Gertrude Käsebier, was one of the first women elected to the Brotherhood, were prolific image makers and writers, producing a travel guide to Switzerland and the intriguingly entitled Finding a Fairy – which was a children’s fantasy rather than a how-to manual.

Their visual work was light and airy, often graphic and high-key, with a strong emphasis on simple compositions. The influence of far eastern (especially Japanese) artistic styles is apparent.

The gum bichromate process was not easy to master. Robert Demachy wrote of it in 1904, ‘there is no process under the sun that can be responsible for a more complete series of abominable, inartistic effects than gumbichromate’. He adds, however, ‘for the initiated, or perhaps the insane, (this is a question of words), there is a most exquisite pleasure in the contemplation of fine shades of deep and translucent black, independently of form.’

The Snow Track demonstrates Cadby’s masterly ability to capture a sense of both place and atmosphere. In 1904 he wrote that trees ‘help us to express a feeling or a sentiment in a landscape’ and the ‘stillness that is essential to a wood’. This image seems to illustrate these ideas admirably.

FACT FILE

William A Cadby 1866-1937 ` Became a member of the Linked

Ring Brotherhood in 1895

` He was noted for his landscapes and

sympathetic portrayals of childhood

` He and his wife wrote extensively

in the photographic press

960 / THE RPS JOURNAL / DECEMBER 2016 / VOL 156

ROYAL PHOTOGRAPHIC SOCIETY COLLECTION

PETER HARVEY ARPS

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