The RPS Journal, February 2017

PRESS PHOTO SPECIAL Edited by

Harold Evans

FEBRUARY 2017 / VOLUME 157 / NUMBER 2 / WWW.RPS.ORG

Nathan Douglas. © Simon Derviller

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| FEBRUARY 2017 | 81

OPENING SHOT T

PHOTOGRAPHY IN THE AGE OF FAKE NEWS

Sir Harold Evans, editor at large at Reuters, was editor of The Sunday Times 1967-82 and The Times 1981-2. He is the author of Pictures on a Page; The American Century; and My Paper Chase. His latest book, Do I Make Myself Clear? Why Writing Well Matters, is published in April by Little, Brown

PRINCIPAL PATRONS

he gene that impels photo editors must be part of the DNA of the staffers at The Royal Photographic Society’s Journal.

Their 2016 decision to publish an edition on press photography was followed by two examples that were iconic within 1/8,000 of a second of our seeing them.

Ieshia Evans, a nurse and mother, stands vulnerably in a sun dress confronting armoured cops in Baton Rouge to protest against the shootings of unarmed black men.

In the nanosecond before Ieshia is arrested and led away, Reuters’ Jonathan Bachman photographs her in a position reminiscent of Jeff Widener’s picture of the man with two shopping bags defying a column of tanks in Tiananmen Square in 1989.

The second newly iconic image, again seen by untold millions, is the exultant assassin who has just shot the Russian ambassador in Istanbul. The Associated Press’s Burhan Ozbilici stands his ground taking pictures.

‘Even if I get hit and injured or killed, I’m a journalist. I have to do my work … I even thought about friends and colleagues who have died while taking photographs in conflict zones over the years.’

We’ve lost hundreds of photographers, and not surprisingly, since they have to be closer to danger than writing journalists.

Robert Capa said it – if your pictures aren’t good enough, you aren’t close enough – and the new year’s knighthood for Don McCullin HonFRPS, who survived decades of

MAJOR PARTNERS

combat photography, is recognition of the bravery of many.

These two images are both by professionals.

But we also owe important pictures and video in the press to the visual testimony of amateurs: the vile snappers of the tortures at Iraq’s Abu Ghraib, the appalled citizens in New York and North Charleston who videoed the shooting deaths of unarmed black men.

Most of the news photographs that ‘define a lead story’, as Guardian picture editor Roger Tooth tells the Journal, are professional images from Reuters, AP and Getty. It is fashionable to decry mainstream media, but in photography it has standards of verification and credibility unknown to the slap-happy social media behemoths.

Liars and fakers, mainly on the paranoid right, exploit the gullible masses by false captions on real photographs. In Austin, a photograph of buses lined up is published as proof that protesters at Trump rallies were bused in by Democrats. Not so. Hillary Clinton was presented as a supporter of the terrorist Omar Mateen based on a photograph of his father visiting her office in the State Department in April 2016, a few weeks before the Orlando massacre. The caption was a lie.

She had left the office and job three years earlier. Even the Daily Mail fell for that smear.

Can you believe your eyes?

SIR HAROLD EVANS Guest editor

SUPPORTING PARTNERS

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82 | FEBRUARY 2017

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

146 Gary Barlow, and fans, as pictured by James Hardisty of Yorkshire Post Newspapers

134

Regional daily newspaper photographer Sarah Caldecott captures anti-immigrant organisation Pegida's first UK rally

EDITORIAL ENQUIRIES Editor Andrew Cattanach andrew@thinkpublishing.co.uk 0141 375 0481 Contributing editors Fiona McKinlay, Jonathan McIntosh, Gavin Stoker, David Clark Design Matthew Ball, John Pender, Andrew Bell

PRESS PHOTO SPECIAL

Sub-editor Sam Bartlett

Edited by Sir Harold Evans

Advertising sales Molly Matthews molly.matthews@thinkpublishing. co.uk 020 3771 7233

108 | THE LONG VIEW Guest editor Sir Harold Evans shares his years of experience

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

© 2017 The Royal Photographic Society.

All rights reserved.

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

124 | FACE VALUES The media and the many faces of US president Donald Trump 128 | CHOSEN FEW A day in the life of Guardian picture editor Roger Tooth

Circulation 11,237 (Jan-Dec 2015) ABC

134 | FLASH MOB Seven photographers share what drives them in their work

ISSN: 1468-8670

Cover

by Jason Bell HonFRPS

98 A glimpse into the lives of people in China's Guizhou province by Greg Lambert ARPS

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GREG LAMBERT ARPS; JAMES HARDISTY; SARAH CALDECOTT

114 | DECISIVE MOMENTS A selection of photographs that shook up our view of the world

Group account director John Innes

THE CRAFT

EVERY MONTH

141 | MUST TRY/LATEST KIT Gavin Stoker runs the rule over Sony's a6500 and a range of other new gear, while we member test the Pentax K-1 145 | MASTERCLASS Mervyn McKeown LRPS goes low and wide in search of sport images

NASA

146 | IN DEPTH Read all about newspaper photography with Ian Day FRPS

114 Images of the first moon landing are among those that changed our world view

84 | BIG PICTURE Christian Walgram's award-winning press shot 87 | IN FOCUS Honours for Society members, plus news, views, competitions and the best exhibitions 97 | BOOKS Survivor … by Harry Borden HonFRPS, and more 98 | DISTINCTIONS Greg Lambert ARPS - travel, and Jacquie Powell LRPS 160 | TIMES PAST The Speed Graphic camera and its long role in capturing iconic press images

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© CHRISTIAN WALGRAM & FIS WORLD CHAMPIONSHIPS, SPORTS 1ST PRIZE SINGLES

84 | BIG PICTURE |

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Ondrej Bank

By Christian Walgram On 8 February 2015, Czech skier Ondrej Bank crashed during the downhill portion of the alpine combined contest at the FIS Alpine World Ski Championships. He stumbled and lost control just before the final jump. He was hospitalised with concussion and facial injuries.

Walgram’s impressive image won first prize in the sports singles category of last year’s World Press Photo Contest. Winners of the 2017 competition will be announced on 13 February.

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Gladiator © David Yarrow, from ‘Wild Encounters’

David Yarrow. The best selling wildlife photographer in the world.

See first-hand why the finest photographers work with Genesis Imaging

87

FIVE#YEAR PLAN Society strategy updates 88

IMAGES FOR SCIENCE International competition opens 90

WHAT NOT TO MISS Our pick of the best exhibitions 92

INFOCUS NEWS, VIEWS, EXHIBITIONS AND MEMBER INSIGHT

Sir Don McCullin CBE HonFRPS

HONOURS FOR MCCULLIN AND DAZELEY CHRISTOPHER JONES / ALAMY STOCK PHOTO; RANKIN

Two awards made in 2017 New Year honours list for services to photography Don McCullin CBE HonFRPS has been awarded a knighthood for ‘services to photography’ in the New Year honours list. The 81-year-old photojournalist said he was ‘inwardly warmed’ by the honour, adding: ‘I’ve made

BOOK NOW!

this huge journey from the beginning of my life where it was very poor. I’ve managed to get away from that and educate myself by travelling with great journalists. So in a way, I’ve been duly rewarded even before I got this knighthood.’

In December, McCullin travelled to Iraq to photograph people escaping the battle for

ENVIRONMENTAL PORTRAITURE

Mosul. Although he said he would no longer cover wars, he would continue taking pictures as long as he could.

Also honoured was Peter Dazeley FRPS, who was awarded the British Empire Medal for services to photography and charity.

Dazeley, 68, became a Fellow of the Society in 2013.

Peter Dazeley FRPS: British Empire Medal

Why not sign up for this day-long workshop in Derbyshire on Saturday 22 April? It costs £95 for Society members. For more details turn to page 151 VOL 157 / FEBRUARY 2017 / THE RPS JOURNAL / 87

88 | IN FOCUS | FROM WALTER BENZIE HonFRPS

BACKING TO THE FUTURE Council approves five-year strategy

T

Promote the highest

standards in photography, uphold the standards of

SOCIETY MEMBERS RECEIVE ACCOLADES our world-renowned Distinctions and ensure they remain relevant.

Enhance our online experience and assist groups, regions and chapters to preserve the Society’s quality standards Act as an advocate for

photography, respond to issues affecting photographers at every level, and those using images. Initiate campaigns to enhance the status of photographers and provide expert opinion on photographic history

David Bird ARPS and Sue O’Connell ARPS lauded David Bird ARPS has been announced the overall winner of the 2016 British Ecological Society Photographic Competition for his image of a humming bird.

Bird, who also won in two of the competition’s other categories, had previously

used the humming bird image in his Associate panel.

Meanwhile, Sue O’Connell ARPS received a special mention in the 2016 Travel Photographer of the Year competition.

For the BES winners’ gallery, go to bit.ly/BESComp See the TPOTY gallery at bit.ly/TPOTYgallery

CONSULTATION

Enrich our membership

experience. Broaden our membership base to include authors, curators, printers and art directors.

Improve membership benefits. Engage with professional and student communities.

The Society is vibrant and full of ideas. An operational plan will underpin the strategy and set out how our staff and volunteers will achieve these aims. The trustees will monitor and report back over the coming years.

WALTER BENZIE HonFRPS President of The Royal Photographic Society

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WHAT’S YOUR VIEW OF DRONES?

If you are a photographer or filmmaker who uses, or is thinking of using, a drone to help you capture images, the Society would like to hear your views about a number of aspects to help formulate its

response to a government consultation on the safe use of drones in the UK.

You can assist by completing the short survey by 15 February.

Visit bit.ly/DroneSurvey

SHUTTERSTOCK; DAVID BIRD ARPS, SUE O’CONNELL ARPS

he Society has updated its five-year strategic plan to ensure it remains relevant in a changing world. After much consultation, Council has approved the Society’s 2017-2022 strategic plan.

This will ensure we remain a respected and learned Society, underpinned by a robust educational platform. We have also updated our mission statement.

In 1853 the Society’s objective was ‘to promote the art and science of photography’. In the early days, a knowledge of science was critical to capture and fix an image.

With digital technology, this is less necessary, so our mission statement has been modified as follows: ‘To promote and encourage the highest standards of photography through exhibitions, publications and activities; and to support individual achievement through education, and recognition through a community of like-minded photographers’.

We are not turning our back on science; we do more now than was the case in years past, only we now emphasise how imaging supports science, and this is promoted through exhibitions and our specialist groups.

The full strategy document is available on the website (rps.org/ strategy), but some main objectives are as follows:

| IN FOCUS | 89 David Bird’s Cuban emerald hummingbird and, left, sadhus attending the Kumbh Mela, India

by Sue O’Connell

SPRINGBOARD TO SUCCESS 2017

MATILDA TEMPERLEY

Travel Group looks to inspire with its annual event

Images by speaker Matilda Temperley, 2015 Vic Odden Award winner

Acclaimed landscape photographer Joe Cornish HonFRPS will be the main speaker at this year’s Springboard to Success, a one-day event organised by the Travel Group that aims to inspire those wanting to improve their photography.

The event on 25 March, at the Runnymede-on-Thames Hotel in Surrey, will also feature talks by the 2015 Vic Odden Award winner Matilda Temperley and Society president Walter Benzie HonFRPS. Tickets cost £35 for Travel Group members (£45 for nonTravel Group attendees) until 12 February, after which

Hear from Joe Cornish HonFRPS

prices increase by £10 per person. The event is from 9.30am-5pm and prices include a lunchtime buffet and hot drinks through the day.

Book online at bit.ly/ TravelSpringboard

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90 | IN FOCUS | NEWS IN BRIEF

CELINE MARCHBANK WORKSHOP

HONORARY FELLOW CAPTURES EXCLUSIVE EVANS PORTRAITS

Images of this issue’s guest editor, Sir Harold Evans, are taken especially for the Journal by Jason Bell HonFRPS at Evans’ home in Manhattan Society Honorary Fellow Jason Bell has taken this issue’s cover shot of guest editor Sir Harold Evans at his home in the USA. Bell, who was awarded his Honorary Fellowship in 2011, and whose work has

GROUP SPOTLIGHT

DOCUMENTARY

A closer look at the group that examines the world about us

WHAT IT DOES The Documentary Group comprises a diverse range of

previously appeared in Vanity Fair and Vogue, kindly took the photographs, which appear on this issue’s cover and in the interview feature with Evans starting on page 108, in December last year.

photographers in the UK and beyond. They focus on photography that chronicles everyday life, as well as events and images that document the present for posterity.

WHAT IT OFFERS The group looks to support, encourage and welcome Society members wherever

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‘Sir Harold is a legend whose career I have followed for years,’ said Bell.

‘He spends a lot of time in his office, so I tried not to organise the space and instead photographed him as I found him.’

they live, offering events and exhibitions. It also produces the impressive quarterly e-journal Decisive Moment, which showcases members’ work and articles, as well as information about exhibitions and books.

To find out more visit bit.ly/ RPSDocGroup

SCIENCE IMAGES COMPETITION OPEN

The RPS International Images for Science competition is now open for entries. Images covering all aspects of science are eligible, including medicine, forensic science, zoology and astronomy. The competition is free to enter and open to all.

The closing date is Sunday 30 April. See bit.ly/IntScience2017

Surveying the Stock by Gerry Walden

JASON BELL HonFRPS; GERRY WALDEN

Guest editor Sir Harold Evans

Documentary photographer Celine Marchbank will be hosting a Leica Akademie workshop at Fenton House on 18 February, titled Looking at the Details.

Marchbank’s acclaimed book Tulip was published last year, and participants are invited to borrow a Leica camera for the duration of the workshop (email akademie.uk@leicacamera.com). For more details visit rps.org/events

| IN FOCUS | 91

365

DROPLETS

By Nicola Fearnley ARPS The image was photographed barely six feet from my front door.

The tiny cobweb strands must have always been there, but they only became visible in the extremely fine rain, when the droplets started settling. They

seemed to defy gravity.

I used a Canon EOS 5D MkIII with a 100mm macro lens, handheld while crouching under an umbrella.

The image was cropped in Lightroom.

I tinted it blue to use as a Christmas card and was really pleased with the effect.

DECEMBER’S ONLINE COMPETITION WINNERS

REVIEW OF 2016

GET INVOLVED

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

THE CORNISH WAVE

By Paul Nash I am a full-time photographer living in Cornwall and am part of Truro Camera Club.

In 2016 I took part in their

Cornish-themed competition, which got me thinking about how I could best represent this stunning county.

The area is famous for its fabulous surf and so combining the

ROUNDS WHIZZ ABOVE HER HEAD

By Edward Low Embedded with a battalion of soldiers from the British army while they undertook specialist training in Cyprus, on this occasion we sat in the butts of a long-distance range in the east of the Island.

In a moment of apparent chaos as bullets flew over our heads striking the targets above, one soldier appears

calm and collected in what could easily be mistaken at face value as a peaceful and reflective moment.

The challenges when embedded are complex, from staying safe and battling the elements to addressing political issues. I always attempt to find scenes that translate to a civilian audience.

This was shot on a Nikon D4 with a 24-70mm lens.

various images I had captured from all over the area in the form of a wave with a surfer seemed the perfect solution.

Each image was individually processed in

Adobe Lightroom and Silver Efex before being contorted into the final image in Photoshop. More of my images can be viewed at paulbnash photography.com

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92 | IN FOCUS |

WHAT NOT TO MISS WILDLIFE PHOTOGRAPHER OF THE YEAR National Museum of Scotland, Edinburgh UNTIL 19 FEBRUARY

This touring exhibition showcases 100 of the best images from the 42,000 entries submitted in 2016. It features everything from stunning shots of animal behaviour to breathtaking wild landscapes; year after year, the entrants’ images never fail to delight and amaze. nms.ac.uk

WOLFGANG TILLMANS Tate Modern, London 15 FEBRUARY % 11 JUNE

This major exhibition focuses on the work of the innovative German photographer in the years since 2003, when he believes

the world changed following the Iraq War and the anti-war demonstrations it provoked.

Tillmans, awarded the Society’s Centenary Medal and an HonFRPS in 2015, remains one of today’s most innovative visual artists.

This exhibition will feature a range of his increasingly abstract recent work – including photographs, video and digital slide projections – that looks at how the media interprets world events. tate.org.uk

GODS OF SPORT: 50 YEARS OF SPORTING PHOTOGRAPHY

BY CHRIS SMITH National Heritage Centre, Newmarket, Suffolk UNTIL 18 JUNE

A treat for any sports fan: images from five decades of pictures by The Sunday Times’ long-time principal sports photographer Chris Smith. The display includes memorable shots of Muhammad Ali, George Best, and Severiano Ballesteros. palacehousenewmarket.co.uk

JOEL STERNFELD: COLOUR PHOTOGRAPHS 1977&1988 Beetles & Huxley, London UNTIL 18 FEBRUARY

Sternfeld’s pioneering work helped to establish colour photography as a fine art form in the 1970s.

This exhibition features 30 of his early dye-transfer and chromogenic prints, and includes well-known and previously unseen images. beetlesandhuxley.com

THE COLLECTION SERIES Stills Gallery, Edinburgh 18 FEBRUARY % 9 APRIL

One part of this display features 150 images of Scotland’s contemporary arts scene by Glasgow-based photographer Alan Dimmick.

The other shows a selection of work from the private collection of David Eustace and includes work by Eve Arnold, Paul Strand and others. stills.org

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SWANS, GLOVES, ROSES AND PANCAKES Tower Bridge, London UNTIL 31 MARCH

The venue’s first major photography exhibition is a collection of wryly humorous images by Martin Parr HonFRPS, studying life behind the scenes at public occasions in the City of London.

Admission is included in the entry price for the exhibition. towerbridge.org.uk

The Radical Eye: Modernist Photography Tate Modern, London Until 7 May Rock Against Racism Street Level Photoworks, Glasgow 11 February – 9 April Malick Sidibé Somerset House, London Until 26 February The Queen, The Chairman and I Impressions Gallery, Bradford Until 18 March

WOLFGANG TILLMANS HonFRPS; AUDUN RIKARDSEN; CHRIS SMITH; MARTIN PARR HonFRPS; ALAN DIMMICK; JOEL STERNFELD

ALSO SHOWING

94 | IN FOCUS |

HOW TO IMPROVE YOUR GARDEN PHOTOGRAPHY Philip Smith’s workshop offers the key to enhancing your images: look to the masters In a Society workshop this April, the founder of International Garden Photographer of the Year Philip Smith – a professional photographer in his own right – will offer participants a fresh way of approaching their plant and flower images.

The workshop will centre on the idea that photographers should look further afield for inspiration and Smith will present examples from art history to help develop new ideas about perspective and composition, including Renaissance paintings.

‘As the founder of IGPOTY

Aylott’s portfolio featured teenage runaways and homeless people

I saw tens of thousands of flower and plant images,’ said Smith. ‘But I saw the same things being produced and I often longed for people to take a different view. I want people to go away from the workshop with a sense of “I can do that, and I’ll have fun trying out different things”.’

Learning from History – Photographing Plants and Gardens will take place on 22 April at the Society’s HQ. For more, see bit.ly/ LearningFromHistory

CALL FOR ENTRIES

The main International Garden Photographer of the Year competition will open for entries on 20 February. For more details visit igpoty.com

This negative retouching desk is among the items being transferred

SOCIETY MEMBER’S TAYLOR WESSING SUCCESS David Cantor LRPS entered an image for the Taylor Wessing Photographic Portrait Prize 2016 – which was then chosen for the exhibition’s poster campaign. Here, he tells us about the experience and what it means to him.

Philip Smith encourages the search for new perspectives

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The 2016 Taylor Wessing poster

How did you feel when told your portrait was being used in the poster campaign?

Elated. When the news

PHILIP SMITH; BOB AYLOTT FRPS

Licentiate talks of his delight at competition honour

A cut above: Lord Snowdon by Roger George Clark

NICKY ROCHUSSEN

| INSIGHT | 95

PORTFOLIO PHOTOS FOUND Bob Aylott FRPS rediscovers Fellowship images in his loft A collection of vintage prints by award-winning press photographer Bob Aylott has been rediscovered in his loft.

The prints, which were submitted as his Fellowship portfolio in 1976, were taken four years earlier when he spent a year documenting the seedier side of life in Covent Garden’s last squat.

Aylott spent 12 months living in the Victorian tenement among homeless men and women, drug addicts and teenage Bob Aylott FRPS and friend runaways, producing a record of what is an often-overlooked aspect of central London history.

‘I had completely forgotten about the prints and was amazed to find them,’ he says.

To see more of the images, visit fingerprint.gallery

LORD SNOWDON HonFRPS Renowned photographer and filmmaker Lord Snowdon has died aged 86. Snowdon, who was Princess Margaret’s former husband, began his career as a society photographer for Tatler magazine in the 1950s and went on to work at Vogue and The Sunday Times.

He took celebrated images of subjects such as David Bowie, Elizabeth Taylor, Diana, Princess of Wales and Jack Nicholson, and was made a Society Honorary Fellow in 1968.

David Cantor and his portrait

CREDIT ROGER SITS GEORGE IN BOX 4MM CLARK DEEP

Xxxxxxxxxx

arrived I was with my wife, visiting my son and his family, so I was able to share it immediately.

In your opinion, what makes a Taylor Wessingworthy image?

For me, the best images are those that depict human interest rather than being heavily stage-managed or studio portraits. There’s a place for both, photographers just need to be true to their principles.

Have you got any tips for those who want to enter the competition?

Allow the subject to ‘speak’ rather than trying to show what a good photographer you are.

Visit the exhibition, and have a good background story as the organisers need something to say about an image if it has reached the final selection stage.

Just do it.

The Taylor Wessing Photographic Portrait Prize exhibition is on show at the National Portrait Gallery in London until 26 February

‘I photographed Snowdon in his London studio on 4 October 1979,’ says broadcaster, journalist and photographer Roger George Clark.

‘One of the portraits is now in the permanent collection of the National Portrait Gallery.

‘At the end of the session Snowdon messed around and encouraged me to take some jokey photos.

These were not, he said, to be published while he was alive. So I’d like to publish one here in the Journal.’

DISTINCTIONS SUCCESSES 10/16 LRPS Walter Bulmer, Tyne and Wear 11/16 LRPS David Keep, Derbyshire 07/16 LRPS Roschelle Don, Switzerland 01/17 LRPS Exemption Tony Crossland, Lancashire Karen Wortley, Norfolk 10/17 ARPS Exemption William Barrington-Binns, Wakefield Edward Low, Bristol Elizabeth Nightingale, Lancashire

VOL 157 / FEBRUARY 2017 / THE RPS JOURNAL / 95

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.

For more details, please visit: www.studiolavalette.com

studio lavalette www.studiolavalette.com

holiday. focus. france

BOOK REVIEWS

| IN FOCUS | 97

GREAT BRITONS OF PHOTOGRAPHY VOL. 1: THE DENCH DOZEN Peter Dench Hungry Eye (first edition of 500 copies, £50) In 2011, Dench began to seek out his fellow photographers, to ‘take an interest in what they do, what they have done and the way in which they did it’. Interviewees include Honorary Fellows Martin Parr and Tom Stoddart, and (naturally, as he says) Dench himself. As witty with words as he is in pictures, the result is an eclectic, entertaining book with an insider’s insight.

‘Each portrait is accompanied with a hand-written note by the sitter containing personal reflections’

LEST WE FORGET

HARRY BORDEN HONFRPS

‘Something with meaning’ is Honorary Fellow’s personal project SURVIVOR: A PORTRAIT OF THE SURVIVORS OF THE HOLOCAUST Harry Borden Cassell (£30) Harry Borden HonFRPS has been a professional portrait photographer since the late 1980s. His pictures of the great and good have been published in prestigious magazines and newspapers, he has won two World Press Photo Awards and has more than 100 images in the National Portrait Gallery collection. However, in 2008, as he says in the introduction to this book, ‘having spent half my life photographing famous people, I wanted to do something with meaning’.

This book is a personal project and an exploration of Borden’s own cultural identity. His father is Jewish and, as a child, Borden was disturbed when told that, in Nazi Germany, simply being a Jew was punishable by death. In recent years, his desire to explore his family’s Jewish links have motivated him to photograph Holocaust survivors.

Survivor features portraits of 100 survivors, ranging from people who were interned in concentration camps

to children who escaped Nazi Germany via the series of Kindertransport rescue operations. They are, as Howard Jacobson says in his foreword, people who ‘have experienced the worst and seem now not to be afraid of anything more the world can say or do to them’.

Borden worked on the project in the UK, USA, Israel and Australia, and photographed his subjects in or around their homes. Each portrait in the book is accompanied with a hand-written note by the sitter containing personal reflections on their past, present or future. The latter part of the book is devoted to detailed biographies of each survivor.

As ever, Borden’s portrait style is thoughtful and understated. He avoids any stylised technique that gets between him and the subject, and shoots using only natural light. As a result, these perceptive portraits have a quiet dignity and power. The book serves as both a reminder of the horrors of a past which must not be forgotten and a testament to the indomitability of the human spirit.

DAVID CLARK

PASSPORT Alexander Chekmenev Dewi Lewis (£35) After the Soviet Union’s break-up, its former citizens were required to have new passports. Chekmenev was employed by Ukrainian social services to take passport photos of elderly or infirm people in their homes.

Passport shows both the cropped portraits and the full scenes he encountered.

His compassionate but troubling pictures reveal the extreme poverty of his subjects, while highlighting the absurdity of forcing them to be photographed for passports they would never use.

VOLTE"FACE Oliver Curtis Dewi Lewis (£30) For the past four years, Oliver Curtis has been visiting the world’s greatest monuments and turning his back on them. Instead of photographing the familiar views of the Taj Mahal or Statue of Liberty, he has focused on the ‘counter-view’ we overlook. It’s an amusing idea, beautifully executed, and demonstrates that even the most celebrated structures are surrounded by everyday detritus, urban sprawl or tourists posing for photographs.

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98 | FEBRUARY WHAT ARE DISTINCTIONS?

Distinctions are standards of achievement recognised throughout the world

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

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

LEFT

Welcome to my world – a metaphoric opening image for my panel RIGHT

Ring around a rose: fully costumed girls enjoying an impromptu chance to have some fun

Greg Lambert ARPS ! travel

'I felt the images gave a more intimate glimpse of what I chose to photograph' My portfolio offers a glimpse into the lives of the people of Guizhou province in rural China.

Travelling to different areas of the province it is interesting to see how the cultural heritage of the various tribes is kept alive.

Their ‘costumes’ have historical meaning and identify and differentiate the tribes.

More people are wearing western dress and using mobile phones, and the younger generations wear the latest trainers. I wanted to capture the traditional costumes and the more traditional dress worn by the men.

These images express the feeling of a time and place, portraying a land, its people and culture.

I also felt the images were not simply a set of ‘tourist’ shots and gave a more intimate glimpse of

the people or scenes I chose to photograph. Panelling 15 images to explore a particular theme was a bigger challenge than I realised at the start. The images all had to be technically superior, properly exposed and sharply focused, with none of the common flaws such as blown highlights, blocked shadows, poor crops, digital artefacts or oversharpening.

Even with a good selection of images, producing a panel where they all worked together in terms of flow, tonality, subject matter, position in the hanging plan and orientation proved to be a learning experience.

After the trip to China it took me about 1½ years to do successive edits, process, select a number of potential images and work through panelling options. I used the online help provided by the Society and attended an advisory day for further advice.

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

TRAVEL DISTINCTION GUIDE A new guide to achieving your Associate in travel photography, full of practical advice, hints and tips, is now available from the Society’s online shop costing £10 + p&p rps.org/shop

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100 | DISTINCTIONS |

RIGHT

Old friends: men taking a welcome break in the market while their wives were shopping

FACTFILE

My photographic journey started in my teens. After a long hiatus my interest was reawakened with the birthday gift of a digital camera.

The digital platform provides an almost unlimited opportunity to create, manipulate and enhance images, and I find the challenge stimulating 100 / THE RPS JOURNAL / FEBRUARY 2017 / VOL 157

ABOVE LEFT

Last smile: this pig was the main course being prepared for an upcoming village wedding feast ABOVE

Elder: this gentleman kindly posed for a portrait on his way to the market LEFT

Welcome tea ceremony: a traditional costumed welcome tea ceremony, with their western washing spread out to dry overhead

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102 | DISTINCTIONS |

ASSESSOR’S VIEW

LEO PALMER FRPS Chair of the travel panel With any Associate portfolio submission, the statement of intent plays a vital role in its success.

It’s an opportunity for the candidate to state in their own words exactly what it is they are going to submit.

With a travel portfolio, the important factors to define are ‘where’ and ‘what’. Gregory’s location was the Guizhou province of China and his objective to provide a glimpse into the world of the tribal people who inhabit the region. He used his statement of intent to paint a picture of the area, and the all-important ‘what’ was included in the final sentence.

All the images were well photographed, with a high level of personal selection and vision that supported the statement. They were presented 102 / THE RPS JOURNAL / FEBRUARY 2017 / VOL 157

in three rows of five images with careful consideration given to colour balance.

He used a fly-on-the-wall approach along with some subject engagement. Engagement simply means that the subjects were aware that their photos were being taken.

The degree of engagement can vary considerably.

It does not matter which approach is used but it is very important the people don’t look posed or as if they are playing up for the camera. The classic grinning face and V for victory hand sign has no place in a serious travel portfolio.

Gregory’s portfolio showed life being lived, without repetition, through a set of very different images. They were all well designed, photographed, postprocessed and printed. He clearly demonstrated the vision and technique essential for the Associate Distinction.

FACING PAGE, TOP

Riverside living: lifestyle along the river FACING PAGE, BOTTOM

Traditional method: the water buffalo remains the main method for working the rice terraces FAR LEFT

Performance break: street opera actor relaxing during intermission NEAR LEFT

Close shave: this looked painful BELOW LEFT

Contemplation: I liked this candid portrait of a man enjoying his pipe and lost in thought

HANGING PLAN

'All the images were well photographed, with a high level of personal selection and vision, and presented in three rows with careful consideration given to colour balance'

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104 | DISTINCTIONS |

Jacquie Powell LRPS

‘I reprinted my images myself, until they were just as I wanted’ Choosing 10 images for my panel was easy. However, finding 10 technically correct images that worked together to create a balanced hanging plan, showing a variety of techniques and skills, was a different matter altogether.

I was given a useful piece of advice to help select images – check every square inch at 100 per cent magnification. I began seeing problems I’d missed. I took more notice of the tones and composition, and came to prefer less cluttered images. The more I looked, the more I saw.

I chose images with similar tonal values, took photos that would act as bookends, added central portrait-orientation images to provide variety, photographed in various lighting conditions, and used different lenses, as well as mixing graphic and more abstract images.

I also needed to include a few images that weren’t of buildings. I was still taking photographs and making changes to my panel right up to the last few days.

I printed and reprinted my images myself, until they were just as I wanted. I recut a mount at the last minute, which had snagged slightly when cutting, as I didn’t want the assessors to be distracted by shoddy workmanship.

I’d no idea how challenging it would be to complete a panel of the necessary standard, but hearing I had been recommended for the Distinction made every moment of the journey worthwhile.

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CLOCKWORK FROM ABOVE IMAGE TITLE

This building reflected in the river in Bruges is one of my favourites.

ISO 12,800, 50mm, f/2.5, 1/125sec THE QUEEN’S HOUSE, GREENWICH

To get this – in relatively poor light, where I wanted good depth of field and no noise – I took several bursts of three images, hoping for at least one sharp shot. ISO 200, 24mm, f/16, 1/15sec BOY IN ARLES

This was taken in Arles. I happened to turn around and see the look on this boy’s face. I grabbed my camera and fired a few shots. No matter how many times I look at this I wonder what he was dreaming about. ISO 400, 28-300mm @300mm, f/5.6, 1/160sec VOL 157 / FEBRUARY 2017 / THE RPS JOURNAL / 105

106 | DISTINCTIONS |

ST DAVID’S CATHEDRAL

I’m often drawn to buildings, and St David’s Cathedral is one of the best. I can spend hours here finding new and interesting compositions. This one is very straightforward, taken over the heads of other visitors but as a result showing the beautiful craftsmanship and warm tones. I used Lightroom to reduce the noise that was a consequence of the high ISO. ISO 3,200, 50mm, f/5.6, 1/90

ASSESSOR’S VIEW

Rosemary Wilman HonFRPS chair of the Licentiate panel Jacqueline Powell chose several landscapes to show a variety of techniques and approaches, and with her remaining images showed different genres.

She also revealed an eye for good composition and personal input.

The image quality was excellent and really enhanced the portfolio. Jacqueline paid attention to the detail and the presentation, which made this a very strong submission.

The strongest elements in the panel were the two central images flanked by the orange images either side of the church interior.

The two portrait-orientation images are very different but,

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placed centrally, strengthen the portfolio.

The church interior focuses on the ceiling with the light catching the cross. The quality was excellent, which Jacqueline achieved by taking great care with symmetry and appropriate sharpness. The much lighter staircase is well positioned directly above.

The four landscapes along the top row demonstrate good

appreciation and use of light.

Jacqueline also showed a personal approach in the composition of the remaining shots. The two orange-toned images show creative seeing and movement respectively.

The wheelbarrow shot is also well composed and the portrait makes excellent use of space, capturing a lovely moment of the child’s obvious affection for their toy.

FACT FILE

SELSEY LIFEBOAT STATION

To keep me busy in retirement my husband bought me a digital camera. I took a couple of short photography courses, but had difficulty ‘seeing’ and composing. I found my confidence badly knocked, but continued reading, photographing and experimenting

It was a matter of trying several angles until I had a pleasing composition and then waiting for the sun to hit Selsey lifeboat station as it set. The fishing boat was pure luck, and adds interest to the image. It was shot on a tripod using the mirror lock-up function, a shutter-release cable and a variable neutral-density filter. ISO 200, 50mm, f/16, 1/30sec

HANGING PLAN

‘An eye for good composition and personal input’

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108 | INTERVIEW |

The truth is under attack.

Sir Harold Evans

talks to Journal editor-in-chief Clare Harris about the front page, ‘news by algorithm’ and why photojournalism still matters PORTRAIT BY JASON BELL HonFRPS

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110 | INTERVIEW | A Turkish woman learns her husband has been killed by Greek militia.

Taken in 1964 by Don McCullin HonFRPS

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P

ost-truth. Fake news.

The seismic political events of 2016 cemented the shift in how we consume, and believe, the news.

We no longer look to the printed page as our guide to making sense of the world – the newspaper is just one of many voices in constant orbit around us. One might think this new world is anathema to the likes of Sir Harold Evans, leading light of a time when newspapers were great, when photojournalism was at its most powerful. Far from it.

When I speak to Sir Harold late in 2016 he’s as fired up as ever by the news, and the politics that feed it. He shares the disquiet of media critics over the way television gave billions of dollars of free publicity to Trump and short shrift to the others. And he’s adamant that social media and digital manipulation is in the process of destroying what we know as great photojournalism. The truth is under attack.

Rewind, for a moment, to Sir Harold’s early days at the sharp end of news and images. Starting out as a reporter at the age of 16, Evans went on to become an assistant editor at the Manchester Evening News and, after time spent in the USA, rose to the helm of the Northern Echo between 1961 and 1966.

‘At the Echo I was very concerned about making campaigning use of photography,’ he says. ‘There was a fatal crash in Darlington at a spot which was notoriously dangerous, and the subject of a campaign over road safety.

One of our photographers, who was spectacularly good, brought in a photo of a wrecked car with a white coffin in front of it. I put it on the front page and all hell broke loose. People

‘BEING ASSAILED FOR PHOTOGRAPHING SOMETHING REMINDED ME ONCE AGAIN OF THE POWER OF THE IMAGE’ VOL 157 / FEBRUARY 2017/ THE RPS JOURNAL / 111

1

1 An Iraqi prisoner is abused by US soldier Lynndie England in Abu Ghraib prison, Baghdad, 2003. After this and other images emerged, England served half of a three-year sentence for maltreating prisoners.

‘Proof, again, of the vitality of the still image,’ says Evans. Charles Graner, accused of being the abuse ringleader but who

said he had been following orders, served more than six and a half years of a 10-year sentence

2

2, 3 A Vietcong captive about to be shot dead by police chief Nguyen Ngoc Loan. Taken in 1968 by Eddie Adams 4 Sir Harold Evans at the Northern Echo. Taken in 1962 by Ian Wright

‘SOCIAL MEDIA ALGORITHMS AND IMAGE MANIPULATION ARE THE MECHANICS BY WHICH LIES AND UNTRUTHS ARE BELIEVED’ 4

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3

said it was appalling, that I’d intruded on a family’s grief, but for me it was a campaigning thing.’

Evans is famed for his tireless fight for justice for victims of Thalidomide, but when he first published images of children affected by the drug in the Northern Echo readers weren’t ready for this particular truth. ‘No-one wanted to see deformed children. This was the first time as an editor I’d been assailed for photographing something and it reminded me again of the power of the image.’

Later, when he ran the Thalidomide campaign during the 1970s in the Sunday Times (which he edited from 1967-1981), it made a huge, positive impact. ‘Something had changed.

Whatever it was there was no outcry.

My experience is that the outcry about images has tended to diminish.’

Images can still shock, however – if we are allowed to see them. Evans cites the example (the first of many – this man can pluck photographs from his memory like no-one else I’ve encountered) of Ken Jarecke’s image of a charred body during the Gulf War in Iraq. Deemed too disturbing, the shot was taken off the wires. ‘Finally The American Photo and The Observer published it and I wrote a piece defending the publication,’ says Evans.

‘Jarecke said he’d been on the battlefield and he’d seen parts of dismembered bodies, but he didn’t photograph any of those. He photographed this charred skull because it was still representative of a human being.’

Generally, images from the Gulf War had reinforced the gung-ho, video-game version of events where western soldiers fired smart bombs into an anonymous desert. Jarecke’s shot clearly demonstrated the human cost of this. ‘We’d willed the war,’ adds Evans, ‘but we didn’t want to see the consequences.’

The right image, coupled with the right words, does not lie. But it can tell a particular version of the truth. Those familiar with Pictures on a Page, the seminal volume on photojournalism edited by Evans in association with Edwin Taylor, will recall the analysis of news images that gain power through particular composition, cropping or placement. Evans cites one of the most famous pictures ever, Eddie Adams’ picture of a Saigon police chief executing

PREVIOUS SPREAD: DON MCCULLIN HonFRPS, COURTESY OF CONTACT PRESS IMAGES IAN WRIGHT; EDDIE ADAMS/AP/REX/SHUTTERSTOCK

112 | INTERVIEW |

| PRESS SPECIAL | 113

Facebook vs the truth

NICK UT/AP/REX/SHUTTERSTOCK; JACQUES!HENRI LARTIGUE

Controversy raged in September last year when Facebook censored Nick Ut’s image of a burned girl running from a napalm attack during the Vietnam war. The social network suppressed the image because the girl was naked, giving no account of context.

Facebook’s CEO Mark Zuckerberg was accused of abusing his power. ‘That photograph represented the truth,’ says Evans. ‘Her terror was a larger truth than her nudity.’

‘On my wall’

Asked to name his favourite photographers, Sir Harold Evans understandably demurs. However, he confesses a love for the work of Dorothea Lange, Bert Hardy and Jacques Henri Lartigue. ‘One of my favourite photos, I have it on my wall, is by Lartigue. It shows two women with parasols raised against the heat and a man in the foreground, thinking. It just captures one of those summer moments that is gone in a flash. I still love that photograph after 40 years, since I picked it up in a junkshop.’

a Vietcong man during the opening stages of the Tet Offensive in 1968.

‘There’s a preceding photograph taken at a different angle which makes no impact on you at all,’ says Evans, ‘because you don’t get the force of it.

You get a more vague sense of an atrocity committed.’ The event still took place, but it does not enter our collective consciousness.

In a similar vein, he mentions the 1964 image by Sir Don McCullin of a Turkish woman learning that her husband has been killed by the Greek militia. To capture it, the Honorary Fellow had crouched to take a light reading first. The image has immediate impact – but is well worked out. It could never have achieved the same effect, argues Evans, if it had been snapped on a camera phone.

So the power of great, professional photojournalism endures. Interestingly, however, an image that Evans believes is among the most important of the past 30 years was not taken by a professional, but by an amateur – who never expected his work to hit the front page. But hit the front page it did.

The image in question is from Abu Ghraib, of an Iraqi prisoner held up for ridicule by bored US troops. ‘It was, to me, proof again of the vitality of the still image,’ says Evans.

What about the future of photojournalism? As we try to decipher the real from the fake in the great online mass of what we now consume, can we ever return to the more certain days of McCullin, Adams and Nick Ut? ‘Social media algorithms and digital image manipulation are the mechanics by which lies and untruths are believed,’ rails Evans. ‘But it’s not just about that.

Social media sites take away the revenue that enabled newspapers to send photographers into far away places to get a good record of what’s happening. Sending a photographer to cover chemical bombing in Syria – that’s expensive. Facebook has deprived that media of the means to do this. We are much worse off.

‘There are many, many advantages to the digital revolution. But when Marshall McLuhan said the medium is the message, what we didn’t know was how the medium would change our social interactions. Are we more free? No.’

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114 | PRESS SPECIAL

Images that shook the We explore the fascinating stories behind some of the most influential photographs ever taken, and ask ‘what makes a great press shot?’

world 114 / THE RPS JOURNAL / FEBRUARY 2017 / VOL 157

W

| PRESS SPECIAL | 115

hat makes an exceptional press image? Is it a matter of being in the right place at the right time; hanging around long enough for things to kick off, while you stand ready with your camera in hand?

There might be a lot to be said for serendipity, but as sports photographer Neil Leifer once said: ‘I was obviously in the right seat, but what matters is I didn’t miss’. And although Tiananmen Square photographer Jeff Widener couldn’t believe his luck as he watched the lone man facing down a line of tanks, he still had to make quick decisions that very nearly lost him the image that would come to define his career.

Some photos are celebrated for being the first of their kind, such as the Apollo 11 Moon landing images, while others reveal first hand evidence of atrocities that might otherwise have gone undocumented.

What links the following photographs is their ability to impart truth. And as the ‘post-truth’ age evolves, photography will more and more be the medium we turn to tell us how things really are. Here is our selection of some of the most important images that have been published in the world’s media, documents that tell us who we really are, even when the truth hurts.

APOLLO 11 MOON LANDING Neil Armstrong 1969 Astronaut Buzz Aldrin walks on the surface of the moon near the

lunar module Eagle during the Apollo 11 mission. Mission commander Neil Armstrong took these photographs with a 70mm lunar surface camera, a

modified version of one of three Hasselblad 500EL cameras taken on the journey.

While astronauts Armstrong and Aldrin explored the

Sea of Tranquillity region of the moon, astronaut Michael Collins remained with the command-andservice modules in lunar orbit.

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BATON ROUGE Jonathan Bachman 2016 Iesha L Evans protests about the shooting death of Alton Sterling by police in Baton Rouge, Louisiana.

The image shows her standing still, about to be detained by police officers in riot gear.

‘I looked over my right shoulder and saw the woman step on to the road,’ said photographer Jonathan Bachman.

‘She was making her stand. She said nothing and was not moving. It was clear that the police were going to have to detain her.’

The image was shared widely on social media.

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DROWNED SYRIAN BOY Nilufer Demir 2015 Three-year-old Syrian Aylan Kurdi lies dead on the shore at Bodrum, southern Turkey, on 2 September 2015 after a boat carrying refugees sank while travelling to the Greek island of Kos. On that same day, thousands of refugees and migrants arrived on mainland Greece and Greek ministers held talks on the crisis, while Europe struggled to cope with the huge influx of people fleeing war and repression in the Middle East and Africa.

PREVIOUS SPREAD: NASA JONATHAN BACHMAN / REUTERS; NILUFER DEMIR / STRINGER

116 | PRESS SPECIAL

SPENCER PLATT / STAFF

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WORLD TRADE CENTER ATTACKED Spencer Platt 2001 Hijacked United Airlines Flight 175

from Boston crashes into the south tower of the World Trade Center and explodes at 9:03am on 11 September 2001 in

New York City. Two airliners hijacked by terrorists loyal to al-Qaeda leader Osama bin Laden were flown into the twin towers,

causing them to collapse, killing some 2,800 people.

Photographer Spencer Platt took the shot from the other side of

Brooklyn Bridge. ‘I didn’t hear the second plane and I certainly didn’t see it,’ Platt said. ‘I had put my camera up to take some more

frames, then it just hit. I got the whole fireball. I probably have 10 frames of that fireball, but it felt like it went on for minutes.’

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118 | PRESS SPECIAL

FAMINE IN SUDAN Kevin Carter 1993 A young, starving girl collapses on her way to a United Nations feeding centre in faminestricken Sudan while a vulture eyes her from nearby.

Celebrated photographer Kevin Carter took the Pulitzer Prizewinning image, which documented famine in south Sudan in March

1993. He later said that after taking the image he scared away the vulture, but otherwise did not intervene, as photographers were briefed not to.

Two months later Carter, 33, killed himself, leaving a note that said: ‘I am haunted by the vivid memories of killings and corpses and anger and pain ... of starving or wounded children … ’

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OZBILICI / AP / REX / SHUTTERSTOCK; MEGAN CARTER / CONTRIBUTOR

ASSASSINATION OF ANDREI KARLOV Burhan Ozbilici 2016 Photographer Burhan Ozbilici was attending an exhibition in Ankara, Turkey, when he saw policeman Mevlüt Mert Altıntas shoot and kill Russian ambassador Andrei Karlov, who was making a speech.

Instead of running away as the killer, gun still in hand, shouted about Syria and Aleppo, Ozbilici took cover behind a wall and continued photographing the events before him.

‘The gunshots, at least eight of them, were loud in the pristine art gallery,’ said Ozbilici.

‘Pandemonium erupted. People screamed, hid behind columns and under tables and lay on the floor. I was afraid and confused, but found partial cover behind a wall and did my job: taking photographs.’

SIPA PRESS / REX / SHUTTERSTOCK; JOHN DOMINIS / CONTRIBUTOR

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BLACK POWER SALUTE AT THE OLYMPIC GAMES John Dominis 1968 American athletes Tommie Smith (centre) and John Carlos (right), 200m gold and bronze medallists, raise the Black Power salute at the Mexico City Olympics on 19 October 1968.

Australian Peter Norman, the silver medallist, wears an Olympic Project for Human Rights badge in support.

Subsequently suspended from the US team, Smith and Carlos faced a mixed reception on returning home, including death threats. They were honoured 30 years later for their part in the civil rights cause.

PROTESTER BLOCKING TANKS APPROACHING TIANANMEN SQUARE Jeff Widener 1989 A Beijing demonstrator carrying shopping bags blocks the path of a tank convoy along the Avenue of Eternal Peace near Tiananmen Square.

The man, calling for an end to the recent violence and bloodshed against pro-democracy demonstrators, moved in front of the tank every time it manoeuvred to

pass him, but he was eventually pulled away by bystanders, and the tanks continued on their way.

In what is now known as the Tiananmen Square massacre, the Chinese government crushed a studentled demonstration for democratic reform and against government corruption, killing hundreds, or perhaps thousands, of demonstrators in the strongest anti-government protest since the 1949 revolution.

DO YOU AGREE? Have we got it right? Get in touch with rpsjournal@thinkpublishing.co.uk

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LIBRARY OF CONGRESS

| PRESS SPECIAL | 121 ABU GHRAIB PRISONER ABUSE Sabrina Harman 2003 In April 2004, the American television network CBS revealed images of soldiers torturing and abusing prisoners held at the US-run military detention facility Abu Ghraib in Iraq.

This image, one of hundreds taken

by US soldier Sabrina Harman, shows detainee Ali Shallal al-Qaisi standing on a box with a hood on his head and wires attached to his fingers. The set-up, which involved no electricity, was designed to coerce al-Qaisi to ‘talk’.

Many of Harman’s photographs show abject scenes of physical and mental torture, including beatings and forcibly arranging detainees in sexually explicit positions. Harman served four months of a six-month prison sentence for her actions.

VALLEY OF THE SHADOW OF DEATH Roger Fenton 1855 Perhaps Fenton’s most famous

image, Valley of the Shadow of Death is also one of the earliest ever war photographs.

Fenton was commissioned by

Manchester publisher Thomas Agnew & Sons to document the war in Crimea where England, France and Turkey were

fighting Russia.

The Valley of Death, as it was named by British soldiers, was a ravine that came under constant

shelling. Fenton visited the area twice but had to retreat both times due to the extreme danger. It was here in the safer

‘shadow’ of the Valley of Death that he created this image, surrounded by cannonballs that seem so innocuous at first glance.

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122 | PRESS SPECIAL questions,’ said Lange. ‘There she sat in that lean-to tent with her children huddled around her, and seemed to know that my pictures might help her, and so she helped me. There was a sort of equality about it.’

THE MAGNIFICENT ELEVEN Robert Capa 1944 Capa joined the first wave of US troops to land on Omaha Beach during the D-Day campaign of 6 June 1944 – the only photographer among them.

His series of photographs, The Magnificent Eleven, later published in Life magazine, capture the brutal environment of battle – you can almost feel the shake of mortars exploding nearby.

‘I was in a flat-bottom barge that hit the earth of France,’ said Capa.

‘When the barge front was lowered there, between the grotesque designs of steel obstacles sticking out of the water, was a thin line of land covered with smoke, our Europe, the “Easy Red Beach”.’

DIGITAL IMAGE COURTESY OF THE GETTY’S OPEN CONTENT PROGRAM; © ROBERT CAPA © INTERNATIONAL CENTER OF PHOTOGRAPHY/MAGNUM PHOTOS

MIGRANT MOTHER Dorothea Lange 1936 From 1935-39 Lange documented the poverty of sharecroppers and migrant labourers in western USA who were fleeing drought in the Midwest during the Great Depression.

This image is of 32-year-old mother of seven Florence Owens Thompson and her children, taken in February 1936 in Nipomo, California.

‘I do not remember how I explained my presence or my camera to her, but she asked me no

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124 | PRESS SPECIAL |

The many faces

BEFORE (The joker in the pack)

T

o photograph Donald Trump for a magazine cover is to risk being a mere artisan in the propaganda machine of one of the modern world’s most effective self-publicists.

Since May 1984, when Trump appeared on the front of GQ magazine, smirking to camera with his chin resting on his right thumb, he has understood the value to his public profile of such coverage. This divisive president has sat for countless

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cover shoots and is often content to pose with the photographer’s chosen props, confident that he can resist any implied criticism by staring at the camera with what photographer Martin Schoeller described as his ‘blue steel look’. It’s all publicity.

Days after his election victory, Time magazine named him its ‘Person of the Year’ and assigned Nadav Kander HonFRPS to do the cover shot. Trump quibbled over the magazine’s use of the expression ‘divided states’ in the cover line, but considered the overall treatment ‘a great honour’.

The 2016 presidential election was a humbling episode for much of the American media, as it was suckered by flawed polling data and the chatter in its metropolitan bubble into thinking that a Trump win was impossible.

Since the shock result, publications that previously portrayed him as the stuff of nightmares have offered a more benign presentation of the president-elect, as if to show deference to the democratic process.

In March last year, Time readers encountered a less enigmatic cover portrayal of Mr Trump, his eyes staring

| PRESS SPECIAL | 125

of Trump

Media commentator Ian Burrell gives his view on how the public image of Donald Trump has switched sides

AFTER (The top trump)

from the page with the predatory look of a jungle cat, and an accompanying graphic that denounced him as a ‘bully’, ‘showman’, ‘party crasher’ and ‘demagogue’.

After the election, Newsweek produced a ‘Trumpnado’ cover with a portrait of the property magnate looking every inch the savvy strategist. It could have come from a publicity shoot from his days hosting The Apprentice.

During the campaign, the magazine published a series of covers showing a shouting, pointing Trump, illustrating

its detailed investigations of his business dealings. Such serious journalism should not be diminished by a sudden pictorial volte-face just because America voted the reality television presenter into the White House.

We see now that Trump was able to shrug off the investigative reporting, just as he was undamaged by all those disparaging cover shots in the American quality press. From New York magazine’s pre-election cover shot by Barbara Kruger, showing Trump snarling as if at the end of

a strained tether, to Bloomberg Businessweek picturing him yelling like Tarzan with the curt cover line ‘Seriously?’, it was all evidence for his theory of a media conspiracy against him. His supporters bought into that.

And now that he is in the White House, he even berates NBC News for using photographs showing his double chin. He demands ‘nicer’ shots. The US media must avoid this. To give pictures of Trump a new flattering filter, like a teenager using Instagram, would be a disservice not only to its audiences but to American democracy itself.

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126 | PRESS SPECIAL | ‘THE CHAIR WE USED CAME FROM THE PRESIDENT!ELECT’S LIVING ROOM AND WE TRIED SEVERAL SET!UPS, BUT THIS WAS THE STRONGEST PICTURE’

sensibility, like Nadav, the direction is to tap into Nadav’s own specific style to make an historic portrait.

Were the elements in the staging of the picture, such as the backdrop and props, agreed in advance of the shoot or left to the discretion of the photographer?

We had the opportunity to photograph the president-elect in his private residence, which allowed us to incorporate a detail from his environment into the portrait. The chair we used came from the president-elect’s living room and we tried several set-ups, but this was the strongest picture for the cover.

Behind the cover Kira Pollack, Time director of photography and visual enterprise, discusses Nadav Kander HonFRPS’s much-debated Trump cover

What was the objective behind the Person of the Year cover?

Our intention was to make a serious portrait that captures a moment in a historic crossroad. We were inspired by iconic portrait sittings throughout history.

Why was Nadav Kander chosen for the job and did you give him any directions?

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Nadav Kander is a photographer with an exceptional signature to his work. His pictures have a quiet, thoughtful power and are often iconic. We have commissioned many portraits from him, including President Obama in 2012, Prince Charles, Mohamed Morsi and David Cameron. When you assign a photographer with a strong

It has been suggested that the Kodachrome colour of the shot is intended to convey a vintage effect, or even a sense of regression. Was this intended?

No, not at all.

The choice of antique chair has also been said to suggest gaudiness and decay – is that an accurate interpretation?

Everyone will have their own interpretation of the portrait. As I mentioned, we used an actual chair from his own environment.

Your images, printed.

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128 | PRESS SPECIAL | Roger Tooth, left, and his picture desk colleagues discuss their image selections

A day in the life of a picture editor

I

We follow Roger Tooth as he prepares an edition of The Guardian, and quietly changes the way we see the world. By Jude Rogers

t’s 9.30am, long before his first morning meeting, and already Roger Tooth is worrying about photographs. ‘Oh God, I look so old, about 90!’ Weeks away from leaving his job to look for new challenges in the world of photography, The Guardian’s head of photography has just had his portrait taken, for the Journal; usually, he’s the one behind the images, scouring the thousands that arrive at his

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desk every day, making sure his newspaper is visually on point, telling the stories that need to be told.

We’re spending a day with Tooth at The Guardian’s King’s Cross HQ, a 20-minute stroll from his Islington home. He began his career in 1975, hulking around a camera for the Hackney Gazette, then freelanced for nationals before moving to desk work here in 1988 (he became head of department in 2001).

No longer is his work about film rolls and darkrooms, filing cabinets and box files, but digital technology in all its speedy, spectacular forms.

Tooth still insists on a face-to-face meeting with section heads of the paper first thing, though. Every day at 10.15am they go through lead news stories so far and track where the paper’s photographers are (a Zaha Hadid exhibition; in Westminster photographing the widower of a murder

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Pictures on the page THE FRONT PAGE RIGHT

We could have used a picture of Boris [Johnson] with the lead, but he is really overexposed – and a middle-aged man in a 24

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The Guardian | Thursday 8 December 2016

Eyewitness

go with a story on an inside page. It gave us something rather beautiful for the front, and an additional, cultured element in contrast to the three rather heavy stories.

suit, so he was out.

We considered a shot of the ship that was on the centre spread, but were already using three of those.

Someone mooted a terracotta warrior to The Guardian | Thursday 8 December 2016

Galleries A world of photography online theguardian.com/inpictures

Portsmouth harbour

The ultimate Christmas food test

By Ruby Tandoh Yotam Ottolenghi Gizzi Erskine Tamal Ray

g2 A Anthony Seldon S No 10’s hidden N power brokers p

Johnson hits out at Saudis on proxy wars

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Inquiry lifts lid on scale of sex abuse by police

They are coming back...

Jamie Grierson Hundreds of police officers are being accused of sexually abusing victims and suspects in what a senior police watchdog has called “the most serious corruption issue facing the service”.

Forces across England and Wales received 436 allegations of abuse of power for sexual gain against 306 police officers, 20 police community support officers and eight staff in the two years to March but inspectors believe the problem is even more prevalent than the numbers suggest.

Despite the large numbers, there is evidence that only 40 officers or staff have been dismissed for abusing authority for sexual gain in a similar period.

Vulnerable individuals, including domestic abuse victims, alcohol and drug addicts, sex workers and arrested suspects were among those targeted by officers and staff, Her Majesty’s Inspectorate of Constabulary (HMIC) said.

Victim groups have said the findings are “deeply concerning” and involved some of the most vulnerable people in society.

Mike Cunningham, the inspector of constabulary and former chief constable of Staffordshire police, said: “This is the most serious corruption issue facing the service. What can be worse than a guardian abusing the trust and confidence of an abused person? There can be no greater violation of public trust.

“It is probably more likely the problem is more serious than the numbers reported back to us,” he added.

“In many cases the victims are vulnerable people. They are victims of domestic abuse, they’re victims who might have been arrested and have drug or alcohol dependency. It is an exploitation of power where the guardian becomes the abuser.”

One of the most high-profile cases of police officers abusing their power in recent history was that of Stephen Mitchell, who was jailed for life in 2011 for raping and sexually assaulting vulnerable women he had arrested.

Mitchell, who was aged 42 at the time and a constable with Northumbria police, abused heroin addicts, shoplifters and a disabled teenager by offering them help while in custody, then demanding sexual favours afterwards.

Earlier this year, DS Robert Dawson, a Metropolitan Police officer who had sex with a vulnerable alleged rape victim, was formally dismissed from the force. A tribu-

Foreign secretary bucks convention with stark criticism of Gulf states Patrick Wintour and Rowena Mason

The former Royal Navy aircraft carrier HMS Illustrious, known to its crews down the years as Lusty, left Portsmouth naval base for the last time yesterday, bound for a Turkish scrapyard.

Former crew members and their families were joined by onlookers on the harbour walls to give three cheers and wave goodbye as the vessel set off.

The Illustrious, launched on the Tyne

by Swan Hunter in 1978, was still being fitted out when the Falklands war began in 1982. The carrier was rushed into service, but by the time it arrived in the South Atlantic the hostilities had ended.

The ship took part in combat operations in the Balkans, Iraq and Sierra Leone, and latterly in humanitarian work such as helping to deliver aid after Typhoon Haiyan in the Philippines in 2013.

A six-part documentary, Warship,

CENTRE SPREAD PHOTO SPECIAL ABOVE

This was the daily Eyewitness image, which we use the centre pages for. I was keen on using the battleship because of 8

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Clockwise from above: HMS Illustrious is towed out of Portsmouth harbour; ‘Lusty’ being launched on 4 December 1978 in Newcastle; Illustrious (left) beside HMS Queen Elizabeth at Rosyth Main photograph: Ben Mitchell/PA

broadcast on Channel 5 in 2011 followed the Illustrious during deployments in the Mediterranean, Africa, the Middle East and south-east Asia.

Although efforts were made to retain Illustrious as a museum piece or a hotel, the Ministry of Defence decided none of the bids were viable and instead decided to sell it to the scrapyard for £2.1m.

David Stares, 51, from Fareham, who served as an able seaman aboard Illustrious between 1982 and 1985, told the Press Association: “She was a lovely ship. She was cutting-edge technology. Now she’s gone despite a lot of people wanting to save her. She was a brilliant ship, great crew, she was a large family.”

The carrier had to be moved from Portsmouth so that work could begin on harbour and dockyard renovations in preparation for the arrival next year of the first of two new carriers, HMS Queen Elizabeth.

The second carrier, HMS Prince of Wales, is scheduled to arrive about a year later.

Chief Petty Officer Richard Byers, from Portsmouth, served on Illustrious for more than five years but is now working on HMS Queen Elizabeth. He said that while he had “fond memories” of the ship, the new ship represents a “massive step forward” for the Navy.

He said: “I was lucky enough to serve in Illustrious twice, once in 2007 and again in 2011, and I have fond memories of my time on board. But it makes me even more aware that there are massive differences in the systems that I worked on then compared to what I work on now.”

Illustrious is the last of the Invincible class of aircraft carriers which included the Ark Royal and Invincible. It was launched by Princess Margaret in December 1978 and its deployment was so rushed that its commissioning ceremony took place en route to the Falklands.

Captain Jerry Kyd, former commanding officer of HMS Illustrious and present commanding officer of HMS Queen

the size of the subject: something that big is bound to scale up well – it has lots of detail to arrest the reader’s attention.

It had something of Turner’s The Fighting Temeraire: shot into

Elizabeth, said: “Lusty provided a worldclass service to the Royal Navy and we bid her goodbye with fond memories. As she leaves Portsmouth, I’m looking forward to the arrival of HMS Queen Elizabeth, which will ensure that we remain a global maritime power.”

Michael Fallon, the defence secretary, said: “Over three decades, Illustrious set the highest standards for service that the Royal Navy will continue with HMS Queen Elizabeth when she arrives into Portsmouth next year.”

The navy’s surface fleet has been dwindling, with the number of frigates and destroyers at a level that a Commons defence select committee report this month described as “woefully low”.

Some navy analysts have argued that instead of two big-budget carriers – potentially vulnerable to airstrikes – the money would have been better spent on increasing the number of frigates and destroyers in the fleet.

the milky sun, the once mighty ship on its way to a scrapyard.

Normally we use one image, but the editor felt we could use more pictures and words to tell the story in more depth.

The Guardian | Thursday 8 December 2016

ministers working alongside the Gulf states in Syria do not describe the Syrian opposition as “puppets”.

The British defence industry is also h eavily dependent on arms contracts with the Gulf states, and the Royal Navy has established a major naval base in Manama, the capital of Bahrain.

Johnson is due to visit the region this weekend when he will have to explain why he thinks the Gulf states are abusing Islam for political ends.

Speaking at the Med 2 conference in Rome last week, Johnson rounded on the quality of political leadership in the Middle East, saying: “There are not enough big characters, big people, men or women, who are willing to reach out beyond their Sunni or Shia or whatever group to the other side and bring people together and to develop a national story again. That is what’s lacking. And that’s the tragedy.”

Johnson’s tenure at the Foreign Office got off to uneasy start, when he was repeatedly pressed by foreign reporters to explain his past “outright lies” and insults about world leaders, including describing the US president as part-Kenyan and hypocritical. More recently, his approach to Brexit was ridiculed by European ministers after he said Italy would have to offer tariff-free trade to sell prosecco in the UK. However, he has been trying to present a more professional image than the jovial public persona he has adopted for so long and his allies have recently called for senior Conservatives to stop undermining him with public jokes at his expense.

The Foreign Office said yesterday Johnson had expressed his strong support for Saudi Arabia on the BBC’s Andrew Marr Show at the weekend, and said his criticism of the lack of leaders was a reference to the lack of such leaders inside conflict zones – such as Yemen and Syria.

A spokesman for the foreign secretary said: “As the foreign secretary made very clear on Sunday, we are allies with Saudi Arabia and support them in their efforts to secure their borders and protect their Continued on page 4 !

Heather Stewart Keir Starmer, the shadow Brexit secretary, has set out how the Labour party will seek to exert “grip” over the government’s negotiating plans for taking Britain out of the European Union, as MPs voted overwhelmingly to back government plans to trigger article 50 by the end of March.

In a lively debate in the House of Commons yesterday lasting more than six hours, Starmer challenged his opposite number, David Davis, to produce a detailed picture of his aims before article 50 is formally triggered – but a series of interventions from MPs underlined the divisions in both parties over Brexit.

The Commons overwhelmingly passed Labour’s motion calling for “the prime

Shadow Brexit secretary Keir Starmer addressing the Commons yesterday

isters – Daniel Zeichner, Catherine West and Tulip Siddiq.

The SNP, Green party MP Caroline Lucas, and the Liberal Democrats voted against the motion, with Lib Dem leader Tim Farron suggesting Labour had allowed itself to be “muzzled”. He tweeted: “Labour and Tories holding hands towards a hard Brexit, refusing to seek the will of the people on the deal. I want democracy not a stitch up.”

However, Starmer sought to show that Labour will use the motion to exert pressure on the government. The shadow Brexit secretary said that a “late, vague plan” would not be good enough, and that he would measure any published negotiating strategy against five tests: • Does it answer key questions such as whether the UK will seek to remain within the customs union and the EU single market?

• Does it give enough detail for MPs, including those on the Brexit select committee chaired by Hilary Benn, to scrutinise the government’s approach?

• Does it provide enough information for the independent Office for Budget Responsibility to make detailed economic forecasts?

• Will it address concerns of the devolved administrations in Scotland and Wales?

• Does it “have enough detail to build genuine consensus”?

Starmer, the MP for Holborn and St Pancras in central London, stressed the need for the government to act for voters who backed remain in June’s referendum, as well as those who wanted to leave.

“That is an important point, because the future of this country is bound up with the negotiations, and it is wrong in principle for the government to act solely for the 52% – to base its approach on the 52% or a group within the 52%,” he said.

If Labour was not satisfied that the tests had been met, he said, the party would seek to amend the bill the government is expected to bring to parliament to trigger article 50 if it loses the current supreme court appeal.

Davis insisted the government had made no new concessions by agreeing to support the Labour motion, and had always been clear it would keep parliament informed. He said by supporting the amended motion, Labour was “signing up” to triggering article 50.

“Dance on a pin as the shadow spokesman may, that’s what they’re signing up to – the government will invoke article 50 by 31 March 2017,” he said. He added that it had always been his approach to outline

‘Dance on a pin as the shadow spokesman may, that’s what [Labour] are signing up to’ David Davis on article 50

minister to commit to publishing the government’s plan for leaving the EU before article 50 is invoked”, by 448 votes to 75 – a majority of 373 – after it was amended by Downing Street to “call on the government to invoke article 50 by 31 March 2017”.

Pro-Brexit MPs seized on the symbolism of a parliamentary vote backing the end-of-March timetable. Douglas Carswell, Ukip’s only MP, said it was the end of a “long road”.

The vote is non-binding, but it was a significant moment as it marked the first time MPs had endorsed the government’s Brexit timetable announced by May at Conservative party conference.

More than 20 Labour MPs voted against their own party line to oppose the amendment, amid disquiet about Starmer’s tac-

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The Guardian | Thursday 8 December 2016

Politics

‘It is wrong in principle for government to act solely for the 52%’ ! continued from page 1

Members of the terracotta army will go on display in Liverpool in 2018 in an agreement sealed with China this week Photograph: Keren Su/Corbis

the government’s strategy to MPs, so long as it did not undermine the government’s negotiating strategy.

He said the government’s amendment had “laid down an important challenge” to opposition MPs who said they supported the verdict in the referendum but were seeking to “thwart” Brexit.

“We will see today if they’re willing to back the government in getting on with implementing the decision made by the voters of the United Kingdom,” Davis said.

He stressed that the government would need to maintain some secrecy around its aims in the two-year negotiating process, in order to “retain room for manoeuvre, including the ability to give and take, to trade off different interests, to maximise the value of concessions, and to do so without always giving the other side advance notice”. He added: “We must retain the ability to negotiate with a high degree of agility and speed; the more complex the negotiation, the more parties to it, and the more time-pressured it is, the more important that is.”

Tory backbenchers from both sides of the Brexit divide intervened. Brexiter John Redwood said: “As we bring the country together it is important that people do not look for possible or imaginary

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Owen Bowcott Legal affairs correspondent The consent of the Stormont assembly would be required before Brexit because the process would drive a wedge between Northern Ireland and the Irish Republic, the supreme court has been told.

On the third day of the politically sensitive hearing yesterday, legal consensus over the UK’s unwritten constitution began to fray as lawyers from Belfast and Edinburgh argued that even the Westminster parliament cannot on its own trigger article 50 of the treaty on European Union.

Submissions by Northern Ireland QCs and Scotland’s lord advocate introduced an extra dimension of political and legal complexity into Theresa May’s attempt to take the UK out of the EU. If successful, they would force the government to obtain the support not only of MPs and peers at Westminster but also the formal approval of the devolved legislatures.

So far most of the dispute inside the packed neo-Tudor courtroom has focused on whether the government or parliament has legitimate authority to trigger Brexit by giving formal notice to Brussels under article 50 of the UK’s intention to depart.

Because of the urgency and significance of the constitutional issues, for the first time 11 justices are sitting together on the supreme court bench to hear the case.

There was passing reference in court to the House of Commons debate on Brexit yesterday, but Lord Pannick QC, who represents the lead claimant, Gina Miller, told the justices: “Only an act of parliament can lawfully confer power on the [government] to give notification under article 50.” David Scoffield QC, who represents politicians and civil rights groups across Northern Ireland, told the court that leaving the EU would involve driving a wedge between the Irish Republic and Northern Ireland.

He agreed with arguments presented by other claimants that ministers could not trigger Brexit on the basis of residual prerogative powers and that parliamentary authority would be required.

Scoffield went on to argue that the Good Friday agreement and the 1998 legislative settlement of the Troubles had created additional rights for people in Northern Ireland, many aspects of which, like the North South Ministerial Council, stipulated close cooperation within the EU between governments in Belfast and Dublin. Even control over international relationships with the Irish Republic has been transferred to the Northern

Clockwise from above: EU supporters outside the supreme court yesterday; Emily Thornberry speaking in the House of Commons; Lord Keen, left, and Jeremy Wright arriving for yesterday’s hearing Photographs: Daniel LealOlivas/AFP; BBC; Dan Kitwood/Getty

Leader comment, page 38 !

Charles Grant, page 38 !

No more Jams Ditch acronyms, PM tells civil servants Peter Walker Political correspondent

Business law hitlist

Theresa May has criticised her civil servants for not speaking their minds and has revealed she dislikes officials’ fondness for acronyms such as “Jams”, used to describe families who are “just about managing”.

In an interview with the Spectator, the prime minister said she was frustrated to learn that Whitehall staff had assigned an annual income span of £18,000 to £21,000 to the group, which was not her intention.

“Honestly, I get a bit frustrated when the system wants to box everything in and produce an acronym that they can use,” May said. “I’m talking about ordinary working people, for whom life is a bit of a struggle. They may be holding down two or three jobs in order to make ends meet.

In a job, but worried about job security.

Owning a home, but worried about paying the mortgage … you can’t just box them into a simple descriptor category, which is why I get frustrated when Whitehall tries to do that.”

She said civil servants should aim to speak openly and not succumb to the “tendency in the system to try to interpret what they think you want, and to deliver that”. She added: “From the officials’ point of view, what they owe to the minister, and what the minister expects, is the best possible advice.”

Offering advice to her own officials, May said: “Don’t try to tell me what you think I want to hear. I want your advice, I want the options. Then politicians make the decisions.”

In an interview that covered areas as

Senior Tory MPs are pushing for a list of regulations affecting companies to tear up after Brexit, despite the prime minister, Theresa May, promising to carry over all EU law into British law.

The former cabinet ministers John Whittingdale and Michael Gove suggested to the CBI yesterday ay that companies should draw up a list of rules they want abolished or reformed. eformed.

The leave campaignerss raised the prospect of EU laws being eing scrapped after the passage ge of May’s great repeal bill, which hich will carry over existing leggislation, at a session of the e Commons committee on exiting the EU. Gove highlighted a govvernment-commissioned report listing EU employment protections it would d like to see withdrawn or changed, including the pregregnant workers directive and nd the working time directive. ve.

John Longworth, the former chief of the British h Chambers of Commerce, said: “There is a lot of regulation that is nothing g to do with employment rights hts that causes cost to business ess.”

He said the UK could “easily” easily” remove 10% of EU regulations tions without harming workers’ s’ rights. Rowena Mason

diverse as May’s preferences over ministerial meetings to her tips for cooking Christmas dinner, she reiterated her surprise as ending the year as prime minister.

“I hadn’t expected the vote to go the way it did,” she said of the Brexit referendum, which prompted David Cameron to resign. “And I was then surprised when David went as quickly as he did.”

While she was “a bit shocked at what happened”, May said she always had just hap had an idea of how she might approach minister. “It’s not about the job of prime pr thinking what wh I wanted to do in a differposition. It’s about a set of values that ent position what I’ve always done in poliunderpin w I was doing in the Home ttics, tic s, what w Office. ce Then putting those values on a wider wid stage.”

On O international commerce, May said the world was seeing “some protectionist instincts “som starting to creep in”, which offered startin chance for the UK to champion free a chanc trade. “I think there genuinely is a opportunity for us,” she said. real o “We sshould be around the world, promoting that message of free prom trade. Seeing what we can do outtrade side [the EU].”

May stresse d her link to her M Maidenhead constituency, saying Maidenh she planned to spend Christmas Day n in i n church before joining a churchorganised lunch for older people who would otherwise be on their own. She ot also rev revealed she prefer red Christmas shopping in person rather than sho online, online noting that this year the process was “going to be more difficult than it has been previously”.

John Crace’s sketch Poor Lidington, dead and Thornberried

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ith Theresa May off in Bahrain painting her Turner prize-losing Brexit red, white and blue, the short straw of standing in for her at prime minister’s questions fell to the leader of the house. It was David Lidington’s bad luck to have found himself up against a forensic Emily Thornberry rather than the haphazard Jeremy Corbyn; it was his misjudgment to come to the house almost totally unprepared.

The shadow foreign secretary doesn’t normally cover herself in glory at the dispatch box, often managing to antagonise as many in her own party as she does on the government benches.

But for her promotion to PMQs, she had come unusually well primed. Her plan was nothing less than Lidington’s assassination.

Could the leader of the house ouse give

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tics. Some of those refusing to back the amendment included three shadow ministers – Daniel Zeichner, Catherine West and Tulip Siddiq.

Some disgruntled backbenchers suggested scores of Labour MPs had abstained.

The SNP, the Green MP, Caroline Lucas, and the Liberal Democrats voted against the motion, with the Lib Dem leader, Tim Farron, suggesting Labour had allowed itself to be “muzzled”.

However, Starmer sought to show that Labour will use the motion to exert pressure on the government. The shadow Brexit secretary said that a “late, vague plan” would not be good enough, and that

a simple answer to a simple question?

Was Britain planning to stay in the customs union? Yes or no? Lidington appeared startled. Whatever instructions the prime minister had left him on her Post-it note, it hadn’t included this.

He waved his arms around theatrically, as if hoping to drag up an answer with a little method thinking. Nothing. Nada.

Customs union was well above his pay grade but he was sure the government had a great plan.

Thornberry pressed him a little harder. Did he remember saying back in February that leaving the customs union would be a total disaster? “Does the minister still agree with himself ?” she enquired, twisting the stiletto. The look of panic that crossed Lidington’s face suggested he remembered it only too well. “Um, er,” he mumbled. “Things have changed a lot since then.”

Certainly they had for Lidington, who was now entering a possible careerending parallel universe. u Someone passed him a note Some which he h eagerly opened. “The customs custom union is not a binary issue. There’s at least four posT sible ou outcomes.” He had no idea whether this was true, no idea of what it meant but bu it was all he had to offer. The next time Theresa res went away she could get ge someone else to do her he dirty work; up in the gallery, the prime minisgal ter’s ter advisers were having much mu the same thought.

Customs union was also on the agenda as part of the opposition day Brexit debate. Faced with the certainty of being defeated, the government had quickly tabled an amendment promising to publish some kind of plan before triggering article 50 in March next year, prompting shadow Brexit secretary Keir Starmer to try to pin down the parameters of what might be in the plan. Could the government offer any clue about what sort of Brexit it had in mind?

“No plan survives engagement with the enemy,” Crispin Blunt snapped.

Branding the EU as the enemy before negotiations have even started may not be the best way of securing the best possible deal. David Davis, the Brexit secretary, tried to be a little more accommodating. He had been falling over himself in the past few months to let parliament know what the government plans. It was just that no one had been listening to him. His plan was to get the best possible deal for the country, once someone had got round to working out what the best possible deal was.

What he didn’t say was what the plan to be presented to the government would look like. Would it be a few gentle hints written on the back of an envelope? He couldn’t say for certain.

Though probably it would be nothing that detailed.

“Would anyone in this house sign up to an agreement without knowing the details?” Starmer asked. “If so, please put your hand in the air.”

Jacob Rees-Mogg put his hand in the air. There’s always one.

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Funny, filthy and worth five stars Phoebe WallerBridge’s Fleabag returns in n triumph Page 7 !

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Supreme court Stormont and Edinburgh claim a say on article 50

The number of MPs who voted in favour and against, respectively, of the government invoking article 50 by 31 March 2017 problems, because we want the strongest possible position to negotiate the best possible answer for the country, and we need to unite to do so.”

Anna Soubry, the pro-remain MP who has led the Tory rebels, said she would back the motion but remained “nervous and concerned”. “The debates we now need to have are about the value of the single market ... Let us talk about the customs union and the peril of tariffs. Let us talk about immigration – the positive benefits of it, and some of the downsides – but let us have these debates and, most importantly, let us take part in that: parliament.

We speak for our constituents. We speak for the people.”

The former Tory chancellor Ken Clarke, pointing to the divisions on his own side, cautioned that the government could not comply with the motion by simply providing “hints” about its intentions. “This word ‘plan’ is being used in an extremely vague way, and could cover some of the vague assertions that ministers have been making for the last few weeks. Will the secretary of state accept that the house requires a description – published in a white paper, preferably – of the strategic objectives that the government will pursue?” he asked. Clarke was the only Tory MP to vote against the motion.

Several Labour MPs intervened to say that they could not support the amended motion, with the Tottenham MP, David Lammy, saying his remain-supporting north London constituents would not want him to support triggering article 50.

Ben Bradshaw said he could not support the motion as amended, as it gave the government “a blank cheque to invoke article 50 without any of us being any the wiser about the government’s intentions”.

Nine Labour MPs voted against the amended motion, with 149 in favour. The party has 231 members in the house.

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MPs back government timetable to trigger article 50

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Ewen MacAskill Defence correspondent

Boris Johnson has accused Saudi Arabia of abusing Islam and acting as a puppeteer in proxy wars throughout the Middle East, in remarks that flout a longstanding Foreign Office convention not to criticise the UK’s allies in public.

The foreign secretary told a conference in Rome last week the behaviour of Saudi Arabia, and also Iran, was a tragedy, adding that there was an absence of visionary leadership in the region that was willing to reach out across the Sunni-Shia divide.

At the event, Johnson said: “There are politicians who are twisting and abusing religion and different strains of the same religion in order to further their own political objectives. That’s one of the biggest political problems in the whole region. And the tragedy for me – and that’s why you have these proxy wars being fought the whole time in that area – is that there is not strong enough leadership in the countries themselves.”

The foreign secretary then identified Saudi Arabia and Iran specifically, saying: “That’s why you’ve got the Saudis, Iran, everybody, moving in, and puppeteering and playing proxy wars.”

Johnson’s criticism of Saudi Arabia came as Theresa May returned from a twoday visit to the Gulf in which she praised the Saudi royal family for its visionary leadership and lauded the value of the 100-year-old alliance with the UK. Foreign Office ministers, aware of Saudi sensitivity to criticism and the strategic importance of the Gulf relationship, usually soft-pedal and focus on their path to reform. However, since becoming foreign secretary, Johnson has repeatedly landed himself in trouble. He has been accused of committing a string of gaffes and some people argue his tendency to speak frankly loses the UK allies.

Members of the Saudi royal family, along with Qatar and Turkey, have frequently been accused of regarding the civil war in Syria as a contest between a largely Sunni-led opposition and an Iranian Shia-led militia. But government

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‘She was a lovely ship.

She was cutting-edge technology’

Pankaj P ankaj Mishra Our age of rage

£2.00 (IR €2.50) y 08.12.16 Thursday Published in London and Manchester hester theguardian.com an.com

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Ireland assembly, he said. Ronan Lavery QC – who represents Raymond McCord, a campaigner for victims’ rights in Northern Ireland whose son was killed by loyalist paramilitaries – went further, telling the supreme court that the Good Friday agreement transferred sovereignty out of parliament’s hands.

“It would be unconstitutional for the UK to withdraw from the EU without the consent of the people of Northern Ireland,” Lavery said. “ The notion that parliament is supreme or has primacy has gone.”

James Wolffe QC, Scotland’s lord advocate, who represents the views of the SNP government in Holyrood, referred to the Sewel convention, which says that if Westminster is introducing legislation on issues that have been devolved it “normally” has to seek the consent of the devolved assemblies in Edinburgh, Belfast and Cardiff. The hearing continues.

Arrest after threats A man has been arrested on suspicion of making racially aggravated communications against Gina Miller, the campaigner at the centre of the supreme court hearing over the government’s plan to trigger Britain’s exit from the EU without parliamentary approval.

Officers from the Met’s anti-cybercrime Falcon unit arrested a 55-yearold man in Swindon. The Met did not name Miller but in a statement said the arrest came after an investigation into threats made online against a 51-yearold woman from 3 November onward.

On that day, Miller was subjected to a tirade of online abuse after winning her case in which the high court ruled that parliament would need to trigger article 50 to start the exit from the EU. The man was arrested Monday and taken into custody at a Wiltshire police station. He was later released on bail pending consideration by the Crown Prosecution Service. Matthew Weaver

NEWS PAGE SELECTION LEFT

The designer who laid out this spread wanted it to look busy and newsy. So he was looking for a group of pictures, along with cut-outs and smaller pictures of the various protagonists of the political day. I liked the crop on the main photograph, a letterbox shape works well. I was slightly nervous about cropping off the top of Big Ben, but the picture was all about the line of faces so we lived with a stumpier, but still iconic, clock tower.

VOL 157 / FEBRUARY 2017 / THE RPS JOURNAL / 129

130 | PRESS SPECIAL | victim; in an in-house studio capturing images of a cook surrounded by pies for a food special).

Squashed in among his colleagues, Tooth is quiet and serious, offering the occasional stern ‘should we?’ when celebrity content is suggested. His dry humour shines through, however – he is ‘Roj’ to practically everybody.

It’s not an especially busy news day today, and that’s the way Tooth likes it.

‘It’s nice to get an image that defines a lead story, but I like making something out of nothing, trying to be creative with whatever we’ve got’.

We head back to his Mac, and he explains how his days play to a regular rhythm: wake at seven, listen to Radio 4’s Today programme to clock what’s in the news, office at nine, go through ‘the grid’ of pictures from newswires, agencies and staff photographers before the 12.30pm editorial meeting, sandwich at the desk, make up pages with designers all afternoon. He usually leaves at around 8pm, the paper printing soon after (unless there’s a big football game on; then the first edition goes at 10pm).

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‘THE CITIZEN PICTURE BOOM HASN’T HAPPENED AS MUCH AS PEOPLE THOUGHT’ On the grid

By 11am, it’s grid time. Eleven thousand pictures are already in. Tooth scrolls through as many as possible to find pictures that ‘are visually interesting – I’m not so worried about stories’. He relies on big agencies such as Getty, Reuters and the Associated Press for

The Guardian | Thursday 8 December 2016

The Guardian | Thursday 8 December 2016

journal

But we cannot understand this crisis because our dominant intellectual concepts and categories seem unable to process an explosion of uncontrolled forces.

In the hopeful years that followed the fall of the Berlin Wall in 1989, the universal triumph of liberal capitalism and democracy seemed assured; free markets and human rights would spread around the world and lift billions from poverty and oppression. In many ways, this dream has come true: we live in a vast, homogenous global market, which is more literate, interconnected and prosperous than at any other time in history.

And yet we find ourselves in an age of anger, with authoritarian leaders manipulating the cynicism and discontent of furious majorities. What used to be called “Muslim rage”, and identified with mobs of brown-skinned men with bushy beards, is suddenly manifest globally, among saffron-robed Buddhist ethnic-cleansers in Myanmar, as well as blond white nationalists in Germany. Violent hate crimes have blighted even the oldest of parliamentary democracies, with the murder of the MP Jo Cox by a British neo-Nazi during the venomous campaign for Brexit. Suddenly, as the liberal thinker Michael Ignatieff recently wrote: “Enlightenment humanism and rationalism” can no longer adequately “explain the world we’re living in.”

The largely Anglo-American intellectual assumptions forged by the cold war and its jubilant aftermath are an unreliable guide to today’s chaos – and so we must turn to the ideas of an earlier era of volatility. It is a moment for thinkers such as Sigmund Freud, who warned in 1915 that the “primitive, savage and evil impulses of mankind have not vanished in any individual”, but are simply waiting for the opportunity to show themselves again. Certainly, the current conflagration has brought to the surface what Friedrich Nietzsche called “ressentiment” – “a whole tremulous realm of subterranean revenge, inexhaustible and insatiable in outbursts.”

By contrast, the fundamental premise of our existing intellectual frameworks is the assumption that humans are essentially rational and motivated by the pursuit of their own interests; that they principally act to maximise personal happiness, rather than on the basis of fear, envy or resentment.

The bestseller Freakonomics is a perfect text of our time in its belief that “incentives are the cornerstone of modern life,” and “the key to solving just about any riddle”. From this view, the current crisis is an irruption of the irrational – and confusion and bewilderment are widespread among political, business and media elites. The ordinarily stolid Economist has lately lurched from dubious indignation over “post-Truth politics” to the Rip Van Winkle-ish declaration of “The New Nationalism”. Many other mainstream periodicals now read like parodies of New Left Review, as they attend belatedly to the failings of global capitalism – most egregiously, its failure to fulfil its own promise of general prosperity.

We can now see, all too clearly, a widening abyss of race, class and education in Britain and the US. But as explanations proliferate, how it might be bridged is more unclear than ever. Well-worn pairs of rhetorical opposites, often corresponding to the bitter divisions in our societies, have once again been put to work: progressive v reactionary, open v closed, fascism v liberalism, rational v irrational. But as a polarised intellectual industry plays catch-up with fastmoving events that it completely failed to anticipate, it is hard to avoid the suspicion that our search for rational political explanations for the current disorder is doomed. All of the opponents of the new “irrationalism” – whether left, centre, or right – are united by the presumption that individuals are rational actors, motivated by material self-interest, enraged when their desires are thwarted, and, therefore, likely to be appeased by their fulfilment.

This notion of human motivation deepened during the Enlightenment, whose leading thinkers, despising tradition and religion, sought to replace them with the human capacity to rationally identify individual and collective interests.

The dream of the late 18th century, to rebuild the world along secular and rational lines, was further elaborated in the 19th century by the utilitarian theorists of the greatest happiness for the greatest number of people – and this notion of progress was embraced by socialists and capitalists alike.

After the collapse of the socialist alternative in 1989, this utopian vision took the form of a global market economy dedicated to endless growth and consumption – to which there would be no alternative. According to this worldview, the dominance of which is now nearly absolute, the human norm is Homo economicus, a calculating subject whose natural desires and instincts are shaped by their ultimate motivation: to pursue happiness and avoid pain.

This simple view always neglected many factors everpresent in human lives: the fear, for instance, of losing honour, dignity and status, the distrust of change, the appeal of stability and familiarity. There was no place in it for more complex drives: vanity, fear of appearing vulnerable, the need to save face. Obsessed with material progress, the hyperrationalists ignored the lure of resentment for the left-behind, and the tenacious pleasures of victimhood.

And yet modern history provides enormous evidence for the persistent power of unreason. It was not so long ago – in the early 19th century – that French pretensions to a rational, universal, and cosmopolitan civilisation first provoked resentful Germans into the militant expression of what we now call “cultural nationalism”: the assertion of authentic culture rooted in national or regional character and history.

One revolution after another since then has demonstrated that feelings and moods change the world by turning into potent political forces. Fear, anxiety and a sense of humiliation were the principal motive of Germany’s expansionist policy in the early 20th century – and it is impossible to understand the current upsurge of anti-western sentiment in China, Russia and India without acknowledging the role played by humiliation.

Yet a mechanistic and materialist way of conceiving human actions has become entrenched, in part because econom-

image veracity. ‘The citizen picture boom hasn’t happened as much as people thought,’ he explains, eyes still glued to the screen. ‘Papers generally don’t want pictures of car crashes taken on mobiles – they still want professionally taken pictures.’

Social media has radically changed the idea of the iconic front-page image, however. ‘The best pictures from an event have usually been tweeted or Instagrammed already– it’s slightly aggravating, really. But I suppose it often pushes us to do new things.’

Take The Guardian’s front page after the death of David Bowie last January: Tooth decided to find the most beautiful, rarely seen image of the singer that would compete with the relentless coverage online. It worked brilliantly.

Pictures leaping out from the grid today include one of North Korea’s World Cup-winning under-20s women’s football team: it’s a striking shot, the players posed with their medals like war heroes, unsmiling.

Tooth’s also desperate to do something with pictures of aircraft carrier HMS Illustrious, leaving

the long read

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journal

As a pollarrissed intelllecttuaal indusstry y pllay ys catcch-up with h events itt failed to o anticip pate, it is hard d to av void th he suspiicio on th hatt ou ur seearcch fo or rational political explanattions is doomed

ics has become the predominant means of understanding the world. A view that took shape in the 19th century – that there is “no other nexus between man and man than naked self-interest” – has become orthodoxy once again in an intellectual climate that views the market as the ideal form of human interaction and venerates technological progress and the growth of GDP. All of this is part of the rigid contemporary belief that what counts is only what can be counted and that what cannot be counted – subjective emotions – therefore does not.

Our current disregard of non-economic motivations is even more surprising when we learn that less than a century ago, the Enlightenment’s “narrow rational programme” for individual happiness had already become “the butt of ridicule and contempt” – as the Austrian modernist writer Robert Musil observed in 1922. Indeed, the pioneering works of sociology and psychology as well as modernist art and literature of the early 20th century were defined in part by their insistence that there is more to human beings than rational egoism, competition and acquisition, more to society than a contract between logically calculating and autonomous individuals, and more to politics than impersonal technocrats devising hyper-rational schemes of progress with the help of polls, surveys, statistics, mathematical models and technology.

Writing in the 1860s, during the high noon of 19th-century liberalism, Fyodor Dostoevsky was one of the first modern thinkers to air the suspicion, now troubling us again, that rational thinking does not decisively influence human behaviour. He pitted his Underground Man – the quintessential loser dreaming of revenge against society’s winners – against the idea, of rational egoism, or material self-interest, then popular in Russia among eager readers of John Stuart Mill and Jeremy Bentham. Dostoevsky’s protagonist obsessively assaults the shared rationalist assumptions of both capitalists and socialists: that human beings are logically calculating animals, driven by perceived incentives: Oh, tell me who was it first announced, who was it first proclaimed, that man only does nasty things because he does not know his own interests; and that if he were enlightened, if his eyes were opened to his real normal interests, man would at once cease to do nasty things, would at once become good and noble because, being enlightened and understanding his real advantage, he would see his own advantage in the good and nothing else?

Dostoevsky defined a style of thought that was later elaborated by Nietzsche, Freud, Max Weber and others – who mounted a full-blown intellectual revolt against the oppressive certainties of rationalist ideologies, whether left, right or centre. This is an intellectual revolution that is barely remembered today – but it erupted at an emotional and political moment that would seem eerily familiar to us: a period of uneven and disruptive economic growth, distrust of politicians, fear of change, and anxiety about rootless cosmopolitans, aliens and immigrants.

This was an era when the disaffected masses – recoiling from the 19th century’s prolonged experiment in laissez-faire economic rationalism – had begun to fall for radical alternatives, in the form of blood-and-soil nationalism and anarchist terrorism. This anti-liberal political uprising forced many of those we now regard as central figures of 20th-century intellectual life to question their fundamental notions of human behaviour, and to discard the positivist nostrums that had taken root in the previous century.

By the late 1850s, Charles Darwin had already shattered the notion that human beings could control how they develop – let alone build a rational society. Novelists, sociologists and psychologists examining the turbulent mass societies of the late 19th century concluded that human actions could not be

reduced to single causes, whether religious and ideological faith, or the rationality of self-interest.

Freud, who lived in turn-of-the-century Vienna while demagogues were scapegoating Jews and liberals for the mass suffering inflicted by industrial capitalism, came to see the rational intellect as “a feeble and dependent thing, a plaything and tool of our impulses and emotions”. “One gets the impression,” Freud wrote in The Future of an Illusion (1927) “that culture is something imposed on a reluctant majority by a minority that managed to gain possession of the instruments of power and coercion.” Long before the 20th century’s explosions of demagoguery, Max Weber, as he observed Germany’s hectic industrialisation, presciently speculated that individuals, unmoored by socioeconomic turmoil and alienated by bureaucratic rationalisation, could become vulnerable to a despotic leader.

The problem for these critics of Enlightenment rationalism, as Robert Musil defined it, was not that we “have too much intellect and too little soul”, but that we have “too little intellect in matters of the soul”. We suffer even more from this problem today as we struggle to make sense of the outbreaks of political irrationalism. Committed to seeing the individual self as a rational actor, we fail to see that it is a deeply unstable entity, constantly shaped and reshaped in its interplay with shifting social and cultural conditions. In our own time, amid what Hannah Arendt described as a “tremendous increase in mutual hatred and a somewhat universal irritability of everybody against everybody else”, this fragile self has become particularly vulnerable to ressentiment.

Ressentiment – caused by an intense mix of envy, humiliation and powerlessness – is not simply the French word for resentment. Its meaning was shaped in a particular cultural and social context: the rise of a secular and meritocratic society in the 18th century. Even though he never used the word, the first thinker to identify how ressentiment would emerge from modern ideals of an egalitarian and commercial society was Jean-Jacques Rousseau. An outsider to the Parisian elite of his time, who struggled with envy, fascination, revulsion and rejection, Rousseau saw how people in a society driven by individual self-interest come to live for the satisfaction of their vanity – the desire and need to secure recognition from others, to be esteemed by them as much as one esteems oneself.

But this vanity, luridly exemplified today by Donald Trump’s Twitter account, often ends up nourishing in the soul a dislike of one’s own self while stoking impotent hatred of others; and it can quickly degenerate into an aggressive drive, whereby individuals feel acknowledged only by being preferred over others, and by rejoicing in their abjection. (As Gore Vidal pithily put it: “It is not enough to succeed. Others must fail.”)

Such ressentiment breeds in proportion to the spread of the principles of equality and individualism. In the early 20th century, the German sociologist Max Scheler developed a systematic theory of ressentiment as a distinctly modern phenomenon – ingrained in all societies where formal social equality between individuals coexists with massive differences in power, education, status, and property ownership.

In an era of globalised commerce, these disparities now exist everywhere, along with enlarged notions of individual aspiration and equality. Accordingly, ressentiment, an existential resentment of others, is poisoning civil society and undermining political liberty everywhere.

But what makes ressentiment particularly malign today is a growing contradiction. The ideals of modern democracy – the equality of social conditions and individual empowerment – have never been more popular. But they have become more and more difficult, if not impossible, to actually realise in the grotesquely unequal societies created by our brand of globalised capitalism.

The past two decades of hectic globalisation have brought

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▲ A Brexit supporter, and a Vote Remain campaigner exchange views in Market Square, Northampton in May 2016 Christopher Furlong/Getty Images ▼ A Trump supporter in Ambridge, Pennsylvania during the presidential election campaign AP Photo/Evan Vucci

us closer than ever before to the liberal Enlightenment ideal of a universal commercial society of self-interested, rational and autonomous individuals – one that was originally advocated in the 18th century by such thinkers as Montesquieu, Voltaire, Adam Smith, and Kant. In the 19th century, it was still possible for Marx to sneer at Jeremy Bentham for assuming “the modern shopkeeper, especially the English shopkeeper, as the normal man”. In our own time, however, the ideology of neoliberalism – a market-centric hybrid of Enlightenment rationalism and 19th-century utilitarianism – has achieved near total domination in the economic and political realm alike.

The success of this universal creed can be attested by many innovations of recent decades that now look perfectly natural.

The rational market is expected to ensure the supply of valuable products and services, while the task of governments is to ensure fair competition, which produces “winners” and “losers”. The broad intellectual revolution in which an all-knowing market judges failure and success has even more forcefully insisted on the rationality of the individual.

Issues of social justice and equality have receded along with conceptions of society or community – to be replaced by the freely choosing individual in the marketplace. According to the prevailing view today, the injustices entrenched by history or social circumstances cease to matter: the slumdog, too, can be a millionaire, and the individual’s failure to escape the underclass is self-evident proof of his poor choices.

But this abstract conception has no room for the emotional situation of real, flesh-and-blood people – and how they might act within concrete social and historical settings.

One of the first people to notice the disturbing complex of emotions we now see among self-seeking individuals around the world was Alexis de Tocqueville – who was already worried in the 1830s, that the American promise of meritocracy, its uniformity of culture and manners, and “equality of conditions” would make for immoderate ambition, corrosive envy and chronic dissatisfaction. The passion for equality, he warned, could swell “to the height of fury” and lead many to acquiesce in a curtailment of their liberties, and to long for the rule of a strongman.

As De Tocqueville pointed out, people liberated from old hierarchies “want equality in freedom, and, if they cannot get it, they still want it in slavery.”

We witness a universal frenzy of fear and loathing today, because the democratic revolution De Tocqueville witnessed has spread from its American centre to the remotest corners of the world. The rage for equality is conjoined with the pursuit of prosperity mandated by the global consumer economy, aggravating tensions and contradictions in inner lives that are then played out in the public sphere.

“To live in freedom,” De Tocqueville warned, “one must grow used to a life full of agitation, change and danger.” This kind of life is barren of stability, security, identity and honour, even when it overflows with material goods. Nevertheless, it is now commonplace among people around the world that rational considerations of utility and profit – the needs of supply chains and the imperatives of quarterly shareholder returns – uproot, humiliate and render obsolete.

The widespread experience of the maelstrom of modernity has only heightened the lure of ressentiment. Many new individuals now “live in freedom”, in De Tocqueville’s words, even as they are enslaved by finely integrated political, economic and cultural powers: the opaque workings of finance capital, the harsh machinery of social security, juridical and penal systems, and the unrelenting ideological influence of the media and the internet.

Never have so many free individuals felt so helpless – so

desperate to take back control from anyone they can blame for their feeling of having lost it. It should not be surprising that we have seen an exponential rise in hatred of minorities, the main pathology induced by political and economic shocks.

These apparent racists and misogynists have clearly suffered silently for a long time from what Albert Camus called “an autointoxication – the evil secretion, in a sealed vessel, of prolonged impotence”. It was this gangrenous ressentiment, festering for so long in places such as the Daily Mail and Fox News, that erupted volcanically with Trump’s victory.

Rich and poor alike voting for a serial liar and tax dodger have confirmed yet again that human desires operate independently of the logic of self-interest – and may even be destructive of it. Our political and intellectual elites midwifed the new “irrationalism” through a studied indifference to the emotional dislocation and economic suffering induced by modern capitalism. Not surprisingly, they are now unable to explain its rise. Indeed, their universal assumption, hardened since 1989, that there are no alternatives to western-style democracy and capitalism – the famous “end of history” – is precisely what has made us incapable of grasping the political phenomena shaking the world today.

It is clear now that the exaltation of individual will as something free of social and historical pressures, and as flexible as markets, concealed a breathtaking innocence about structural inequality and the psychic damage it causes. The contemporary obsession with individual choice and human agency disregarded even the basic discoveries of late-19th-century sociology: that in any mass society life chances are unevenly distributed, there are permanent winners and losers, a minority dominates the majority, and the elites are prone to manipulate and deceive.

Even the terrorist attacks of 9/11 left undisturbed the vision in which a global economy built around free markets, competition and rational individual choices would alleviate ethnic and religious differences and usher in worldwide prosperity and peace. In this utopia, any irrational obstacles to the spread of liberal modernity – such as Islamic fundamentalism – would be eventually eradicated. Fantasies of a classless and postracial society of empowered rational-choice actors bloomed as late as 2008, the year of the most devastating economic crisis since the Great Depression.

Today, however, the basic assumptions of cold war liberalism lie in ruins – after decades of intellectual exertion to construct flimsy oppositions between the rational west and the irrational east. The political big bang of our time does not merely threaten the vanity projects of an intellectual elite, but the health of democracy itself – the defining project of the modern world. Since the late 18th century, tradition and religion have been steadily discarded, in the hope that rational, self-interested individuals can form a liberal political community that defines its shared laws, ensuring dignity and equal rights for each citizen, irrespective of ethnicity, race, religion and gender. This basic premise of secular modernity, which earlier only seemed menaced by religious fundamentalists, is now endangered by elected demagogues in its very heartlands, Europe and the US. Where do we go from here? We can of course continue to define the crisis of democracy through reassuring dualisms: liberalism v authoritarianism, Islam v modernity, and that sort of thing. It may be more fruitful to think of democracy as a profoundly fraught emotional and social condition – one which, aggravated by turbo-capitalism, has now become unstable. This might allow us to examine the workings of ressentiment across varied countries and classes, and to under-

stand why ethno-nationalist supremacy has grown alongside economic stagnation in America and Britain, even as it flourishes alongside economic expansion in India and Turkey. Or, why Donald Trump, the flashy plutocrat tormented by his lowly status among Manhattan’s cultivated liberals, obsessively baits the New York Times and calls for a boycott of the Broadway show Hamilton.

Pankaj Mishra’s forthcoming book, Age of Anger: A History of the Present, will be published on 26 January.

His previous books include Temptations of the West and From the Ruins of Empire: The Revolt Against the West and the Remaking of Asia

That a rancorous Twitter troll will soon become the world’s most powerful man is the latest of many reminders that the idealised claims of western elites about democracy and liberalism never actually conformed to the political and economic reality at home. A rowdy public culture of disparagement and admonition does not hide the fact that the chasm of sensibility between a technocratic elite and the masses has grown.

Everywhere, a majority that was promised growing equality sees social power monopolised by people with money, property, connections and talent; they feel shut out from both higher culture and decision-making.

Many people find it easy to aim their rage against an allegedly cosmopolitan and rootless cultural elite. Objects of hatred are needed more than ever during times of crisis, and rich “citizens of nowhere” – as Theresa May dubbed them – conveniently embody the vices of a desperately sought-after but infuriatingly unattainable modernity. And so globalisation, which promotes integration among shrewd elites, helps incite ressentiment everywhere else, especially among people forced against their will into universal competition.

In search of a balm for these wounds, many intellectuals have embraced nostalgic fantasies of vanished unity. Earlier this year, the New York Times columnist David Brooks returned from communist Cuba gushing about Cubans’ “fierce love of country, a sense of national solidarity and a confident patriotic spirit that is today lacking in the United States.” More recently, Simon Jenkins, in this newspaper, and the intellectual historian Mark Lilla – in a widely circulated New York Times opinion piece – have urged the rejection of “identity liberalism” and the necessity of embracing national unity and common identity. As Trump’s victory was declared, Simon Schama tweeted that we need a new Churchill to save democracy in Europe and America.

Such breast-beating amounts to a truly irrational demand: that the present abolish itself, making way for a return to the past. Ideally, to the time when paternalistic white liberals occupied the vital centre, little disturbed by the needs and desires of history’s forgotten, humiliated and silenced people.

These lamentations for simpler times – that all we lack is the right sort of spine-stiffening democratic leader, or rational culture, or cultural unity, or patriotic spirit – ignore the fragmented nature of our politics. Social and technological developments are not liberal or conservative, democratic or authoritarian; they are as prone to enshrine LGBT rights as to reinstate torture and disseminate fake news. Nor does the longing for the good old days adequately respond to the massive crisis of legitimacy facing democratic institutions today.

Political antidotes to the sinister pathologies unleashed by Putin, Erdoğan, Modi, Brexit and Trump require a reckoning with the bad new days – something a lot more forward-looking than models of solidarity inspired by Cuba or Churchill, nationalist pedagogies for the oppressed, or dauntless faith in globalisation eventually delivering the promised goods.

This work is necessary – but it can only proceed with a more sophisticated analysis of how today’s landscape of hyperrational power has coerced a new and increasingly potent irrationalism into existence. And such analyses would require, above all, a richer and more varied picture of human experience and needs than the prevailing image of Homo economicus. This intellectual effort – which was first undertaken more than a century ago by the thinkers cited here – would necessarily take us beyond liberalism and its faith in the curative power of economic growth.

What Robert Musil called the “liberal scraps of an unfounded faith in reason and progress” have yet again failed modern human beings in their all-important task of understanding their experience. We once more confront the possibility, outlined in Musil’s great novel about the collapse of liberal values, The Man Without Qualities, that the characteristic desolation of the modern human being – his “immense loneliness in a desert of detail, his restlessness, malice, incomparable callousness, his greed for money, his coldness and violence’ – is “the result of the losses that logically precise thinking has inflicted on the soul”.

For nearly three decades, the religion of technology and GDP and the crude 19th-century calculus of self-interest have dominated politics and intellectual life. Today, the society of entrepreneurial individuals competing in the rational market reveals unplumbed depths of misery and despair; it spawns a nihilistic rebellion against order itself.

With so many of our landmarks in ruins, we can barely see where we are headed, let alone chart a path. But even to get our basic bearings we need, above all, greater precision in matters of the soul. The stunning events of our age of anger, and our perplexity before them, make it imperative that we anchor thought in the sphere of emotions; these upheavals demand nothing less than a radically enlarged understanding of what it means for human beings to pursue the contradictory ideals of freedom, equality and prosperity.

Otherwise, in our sterile infatuation with rational motivations and outcomes, we risk resembling those helpless navigators who, De Tocqueville wrote, “stare obstinately at some ruins that can still be seen on the shore we have left, even as the current pulls us along and drags us backward toward the abyss”. •

THE LONG READ LEFT

Long Read articles are very often quite complex think pieces and the use of stock photography is not always the best visual route. Illustrations are often commissioned, or very abstract photographs. Or we might shoot a portrait for the first page then research images for the other pages. The articles appear on The Guardian website too, so we must ensure there are adequate visual elements to cover an extremely large number of words.

| PRESS SPECIAL | 131 Five pictures of my career

BROWN AND OUT Martin Argles worked hard to get embedded with the Gordon Brown team during the 2010 general election campaign. His efforts were really rewarded the day Brown left No.10: you see Gordon the father loving his son, almost relieved in a way.

Tooth’s pick of the pics

TWIN TOWERS 11 September happened in my first month as department head. It affects you, having to look at all those pictures. For me, this was the best one, if you can call it that.

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THE EXTRA MILE Dan Chung’s pictures for The Guardian show what brilliant staff photographers can do.

He trekked for miles to get this, after an earthquake in northern Pakistan in 2005.

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Pfizer fined £84m over epilepsy drug price rise Record penalty imposed by competition watchdog US company and its British distributor plan to appeal Angela Monaghan Pfizer has been fined a record £84.2m by the UK’s competition regulator after the price charged to the NHS for the pharmaceutical company’s anti-epilepsy drug was increased by up to 2,600%.

The cost of 100mg packs of the drug rose from £2.83 to £67.50 before being reduced to £54 from May 2014. As a result, the amount the NHS spent on phenytoin sodium capsules rocketed from about £2m in 2012 to £50m in 2013.

The Competition and Markets Authority (CMA) said the “extraordinary price rises” had cost the taxpayer tens of millions of pounds. It also fined the drugs distributor Flynn Pharma £5.2m for charging excessive and unfair prices in the

UK for phenytoin sodium capsules, which are used by an estimated 48,000 epilepsy patients in the UK to prevent and control seizures. The watchdog has ordered both companies to drop their prices.

The US-based Pfizer rejected the CMA’s findings. Both companies said they would appeal against the decision.

The CMA has four other continuing investigations into the pharmaceutical industry, with at least one of those focused on excessive pricing.

The fines came after an overnight price increase for the drug when it was deliberately debranded, the CMA said. Pfizer makes the drug and sells it to Flynn, which in turn sells it to the NHS. Before September 2012, Pfizer manufactured and sold phenytoin sodium capsules under the brand name Epanutin, and the price was regulated. In September 2012, Pfizer sold the UK distribution rights to Flynn Pharma, debranding the drug and making it generic.

The drug was then no longer subject to price regulation, leaving Pfizer free to sharply increase the price it charged

Flynn, which in turn further raised the price it charged the NHS. Generic drugs are generally available to customers at cheaper prices than branded products because they can be manufactured by any company, not only the developer of the original drug.

However, the CMA said that because epilepsy patients who were already taking phenytoin sodium capsules would not usually be switched to other products, including another manufacturer’s version of the drug, the NHS had no alternative but to pay the increased prices.

The CMA also found that Pfizer, best known for its mass-market drugs such as Viagra, was charging a far higher price for the anti-epilepsy drug in the UK than in any other European country.

The watchdog said the Pfizer fine was the highest imposed under UK competition law, reflecting the seriousness of the case.

Philip Marsden, who led the investigation for the CMA, said there was no justification for such price rises. There had been no recent innovation or significant

investment. “The companies deliberately exploited the opportunity offered by debranding to hike up the price for a drug which is relied upon by many thousands of patients,” he said.

“These extraordinary price rises have cost the NHS and the taxpayer tens of millions of pounds.

“This is the highest fine the CMA has imposed and it sends out a clear message to the sector that we are determined to crack down on such behaviour and to protect customers.”

Pfizer defended its actions, saying the drugs were lossmaking before they were debranded and distributed through Flynn Pharma. It also argued that the price was less than that of the equivalent medicine from another supplier to the NHS.

50m

£

The amount the NHS spent on phenytoin sodium capsules in 2013, compared with £2m in 2012. The price of a 100mg pack rose from £2.83 to £67.50

The CMA said Pfizer had recouped its losses on the medication within two months, adding that the price of other drugs did not permit the companies fined to charge “excessive and unfair prices”.

Pfizer said: “We approached this divestment with integrity, and believe it fully complies with established competition law. Phenytoin capsules were a lossmaking product for Pfizer, and the Flynn transaction represented an opportunity to secure ongoing supply of an important medicine for patients with epilepsy, while maintaining continuity of manufacture.”

It added: “Pfizer believes the CMA’s findings are wrong in fact and law and will be appealing all aspects of the decision.”

David Fakes, Flynn Pharma’s chief executive, said: “We believe that, left unchallenged, the CMA’s decision today would stunt investment in generics.”

Duncan Liddell, from the law firm Ashurst, said the CMA was making a point by handing out a record fine: “ There’s a clear message here that boards should be including competition law compliance in their priorities for 2017.”

MARTIN ARGLES; TOM JENKINS; SEAN SMITH; DAN CHUNG; SPENCER PLATT / GETTY

Vats all, folks: historic brewery sells equipment A 500-year-old brewery is selling off its vats, pumps and bottling lines at auction as its billionaire Singaporean owner prepares to turn the historic site into luxury flats.

The Mortlake Brewery site in southwest London is believed to have begun brewing beer for the local monastery in 1487 and is among the oldest continuously operating businesses in Britain.

The site, including millions of pounds of brewing equipment, was sold for £158m last year by the global drinks firm AB InBev to the developer Reselton, part of the property empire of a Singaporean tycoon, Kwek Leng Beng.

It is due to be turned into a luxury riverside residential development stretching along 200 metres of the Thames riverbank at Richmond.

The auctioneer Eddisons said it expected global brewing firms to compete for the 2,000-litre brewing vats, malt blowers and bottling lines. Until last year the equipment was used to produce brands such as Budweiser and Michelob. The Mortlake Brewery boasted a long and colourful history at the heart of British brewing. The site grew rapidly in the 18th century and brewed beer for British troops in India and the Crimea, before being bought at the end of the 19th century by the Watney family. The brewery that grew out of this acquisition produced Red Barrel, one of the best known beers of the 1960s and 70s, with the site renamed the Stag Brewery.

Eddisons said it was accepting bids for individual equipment or for all of the assets. The auction will be January.

POINT AND SHOOT So many pictures from the London Olympics give me good memories. I loved this: the women’s javelin final, shot through the flames – unusual but very powerful.

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The Guardian | Thursday 8 December 2016 Business editor: Julia Finch

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SMALL WONDER Sean Smith’s shot of ‘Little Saddam’ in Iraq in 2003 is the kind of picture I like. It’s relatable, unexpected and says a lot about how much Saddam Hussein was revered.

financial@theguardian.com

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Manufacturing faces spectre of recession Surprise plunge in output ends post-Brexit vote high Lower value of pound fails to deliver expected boost Phillip Inman Angela Monaghan Britain’s economic resilience was given a jolt yesterday as the fortunes of the manufacturing sector during October reversed at a rate that could see it in recession by the end of the year.

Manufacturing output fell 0.9% in October to end a run of expansion since the Brexit vote that had appeared to show the sector heading towards Christmas in buoyant form.

The shock fall forced analysts to tear up their forecasts and consider that, without a dramatic turnaround in November and December, output in the fourth quarter would contract. When added to a decline in the third quarter, that would push the sector into recession.

A surprise 1.3% tumble in the broader measure of industrial production, which includes the energy sector, was the biggest monthly fall since 2012 and the height of the Greek debt crisis.

Theresa May, the prime minister, has made it a central plank of her administration to support industry and rebalance the economy away from a reliance on debtfuelled consumer spending.

A fall in the pound after the Brexit vote was expected to support exports and boost manufacturing output, but higher

import costs appeared to have eroded profits and limited the benefit to output.

Liz Martins, a UK economist at HSBC, said industrial production must turn around sharply in the next couple of months to end the year on a positive note.

“By our calculations, it will need to grow by well over 1% month-on-month in both November and December to even register positive quarterly growth in Q4, let alone make a positive contribution to overall GDP expansion,” she said.

The economy was stronger than expected in the months immediately after the Brexit vote in June, growing by 0.5% in the third quarter. Recent surveys have suggested the same pace of GDP growth was likely to continue.

But a decline in consumer and business confidence over the past two months and the drop in industrial production appeared to show a slowdown was underway.

Howard Archer, chief UK economist at IHS Markit, said the figures were “an appreciable blow” to prospects for the UK economy in the fourth quarter.

“We had believed that there was a good chance that UK GDP growth in the fourth quarter could match the resilient 0.5% growth in the third quarter. October’s drop in industrial production puts a significant dent in prospects,” he said.

Manufacturing output, which makes up about 70% of industrial production, was hit in October by a contraction in pharmaceuticals, textiles and leather products, the Office for National Statistics said. Industrial production suffered after a 10.8% decline in oil and gas extraction resulting from a temporary shutdown in the Buzzard oilfield in the North Sea.

Russia’s president, Vladimir Putin, with Rosneft chief, Igor Sechin, at the Kremlin yesterday Picture: Alexei Druzhinin/TASS

Glencore shares €10.5bn stake in Russian oil firm Rob Davies The commodities trading company Glencore is among investors to have paid €10.5bn (£8.9bn) for an almost 20% stake in the Russian state oil firm Rosneft.

The London-listed metals trader will invest alongside Qatar as part of a Kremlin strategy of selling assets to raise funds needed to fill a hole punched in its budget by low oil prices.

The Kremlin spokesman Dmitry Peskov described the deal as the largest in the global energy industry this year.

He added that the president, Vladimir Putin, had congratulated his close ally Igor Sechin, the Rosneft chief executive, but also told him to work with the ministry of finance and central bank to prevent the deal disrupting Russian currency markets.

Glencore and Qatar’s investment means they will join BP on the Rosneft share register, after the oil company’s landmark tieup in 2011 handed it an 18.5% stake.

It is unclear how much of the deal will be funded by Glencore. It has wrestled with debt that reached $30bn (£24bn) at one stage amid low commodity prices.

But the Switzerland-based company indicated this month that it had dealt with the debt problem, as it announced plans to resume dividend payments next year after suspending them in September 2015. The dividend freeze was part of a $10bn debt reduction plan that included asset sales.

Despite Glencore’s chief executive, Ivan Glasenberg, saying this month that the cost-cutting drive was complete, the investment in Rosneft came as a surprise to markets. The deal was yet to be officially announced by the time stock markets closed last night.

FINANCIAL PAGES LEFT

The financial pages are always a challenge; we try whenever possible to avoid pictures of businessmen in suits. This story was a gift: a well-known brewery in west London being sold for redevelopment.

It took just a few minutes’ research online to find some gems such as this picture.

Rob Davies

HSBC among three banks fined £409m

by EU over rate rigging

Jill Treanor A five-year investigation by competition authorities in Brussels into interest rate rigging drew to a close yesterday when three large banks – including HSBC – were fined €485m (£409m) for colluding to manipulate a crucial benchmark rate.

The three banks, which also include JP Morgan Chase and Crédit Agricole, did not agree to an earlier settlement involving a seven-bank cartel over the setting of the interest rate known as Euribor. All three deny wrongdoing.

JP Morgan was fined €337m, HSBC €33m and Crédit Agricole €114m. The levels were based on the length of time they had participated in the cartel and the value of the products involved.

The EU’s competition commissioner, Margrethe Vestager, said: “A sound and competitive financial sector is essential for investment and growth. Banks have to respect [the] rules just like any other company operating in the single market.”

Four other banks – Royal Bank of Scotland, Barclays, Deutsche Bank and Société Générale – settled with the commission in 2013 for €820m. Those penalties came at a time when the industry was reeling from the bank rate-rigging scandal, and the announcement yesterday served as a reminder of the misconduct matters that continue to plague the industry.

The three banks fined yesterday had not participated in the 2013 settlement and JP Morgan said it was considering an appeal to the European court. Crédit Agricole said it would appeal. HSBC said it was considering its legal options.

Vestager said the commission had found “chats” between traders congratulating themselves on setting the rate to levels that suited their purposes in a cartel that operated between September 2005 and May 2008.

She described it as “a closed community with a very free language”. Financial regulators have previously published electronic correspondence among trad-

ers showing them employing colourful terms as they encouraged each other to move interest rates.

Euribor is the eurozone’s version of Libor (the London interbank offered rate), which is ultimately used to value a range of financial products from interest rate swaps between companies to mortgage products for households.

“The traders’ aim was to distort the normal course of pricing components for euro interest rate derivatives,” the commission said. “They did this by telling each other their desired or intended Euribor submissions and by exchanging sensitive information on their trading positions or on their trading or pricing strategies.”

Margrethe Vestager, EU competition commissioner, said a sound financial sector was essential and that banks had to respect the rules

It added: “This means that the seven banks colluded instead of competing with each other on the euro derivatives market.

This market is very important not only to banks but also to many companies in the single market, which use euro interest rate derivatives to hedge their financing risk.”

The rate-rigging scandal erupted in June 2012 when Barclays was fined £290m by regulators on both sides of the Atlantic.

The way the benchmarks are set has now been overhauled, and criminal investigations have been launched.

JP Morgan said: “We did not engage in any wrongdoing with respect to the Euribor benchmark. We will continue to vigorously defend our position against these allegations, including through possible appeals to the European courts.”

HSB C said : “We believe we did not participate in an anti-competitive cartel.

We are reviewing the European commission’s decision and considering our legal options.” Crédit Agricole “firmly believes it did not infringe competition law”.

VOL 157 / FEBRUARY 2017 / THE RPS JOURNAL / 131

132 | PRESS SPECIAL | Portsmouth this morning to be sold for scrap. His deputy, Fiona Shields, leans over, rolling her eyes affectionately. ‘Oh Roj. He’s always trying to get ships in.’

At the 12.30pm meeting, these images are projected on a huge screen, as are other eye-catching shots that Tooth says ‘brighten up’ the paper: fish drying in the sun in Shandong, China, glowing a brilliant orange; one of Barack Obama, pictured from behind, being cheered by black army officers.

Both get included in an online picture gallery; it’s telling, Tooth says, how important the web is for pictures now. It even has its own picture team, which is doing innovative things such as using drone photography to do aerial projects.

‘The web also means the day is much busier. Basically, we never stop.’ Two hours later, his sandwich is sitting next to him, pointedly half-eaten.

Hold the front page

As the news section designers hit action mode, Tooth hovers around giving

guidance. It becomes clear by 5pm that there’s no obvious front-page image, so Tooth’s ‘being creative with what we’ve got’ mantra will be required. Yesterday, Tooth had to use his Photoshop skills to crop and brighten a picture of Theresa May on PM duty in Bahrain: ‘the dark arts,’ he laughs.

Today, he tries his ship, but even he has to admit it doesn’t work. Instead, he grabs an image of one of China’s terracotta warriors, being exhibited at Liverpool’s World Museum next year, that’s just been released to the press. He smiles: it holds the page in a charming, unusual way. He likes that there are ‘no rules’ with his paper, apart from using paparazzi pictures, or pictures of

‘GETTING PICTURES FOR THE WEB TOO MEANS THE DAY IS MUCH BUSIER. WE NEVER STOP’

children without consent. He also defends using controversial front-page images, such as that of the bloodyhanded killer of soldier Lee Rigby in 2014: ‘We had to use it as it was such an incredible shot … but I do think about some pictures that must be difficult for the family.’

On this less controversial day, the first edition’s pages are being quickly approved, with a deadline of 7pm: the North Korean women are there on page 29, while a recently arrived image of first minister Nicola Sturgeon with her Christmas card fills a gap on page four.

The ships have been snuck in too, holding the centre spread powerfully.

By 7.45pm, Tooth is ready for home, another day in 28 years done. ‘Will I miss this? I don’t know.’ A wistfulness breaks through the seriousness, a smile playing on his face. ‘I could write a book about what’s changed, but it’s never not been absorbing, you know.’

And neither has his work, quietly shaping the way we see the world.

What’s next?

For Roger Tooth

Police removing protesters from outside Greenham Common airbase, 13.12.82

‘I want to do some more photography, but not straight away. I don’t do much now – just little things on Instagram, taken locally.

‘To be a good photographer you don’t necessarily have to study lighting and composition, but you do need a good grounding in art. I had a fantastic teacher who taught me that – how to properly look at people and places. So I tell photographers to study art, and go to galleries, and look at pictures, and look at things, constantly.’

132 / THE RPS JOURNAL / FEBRUARY 2017 / VOL 157

PORTRAITS OF ROGER TOOTH BY PAUL STUART; ROGER TOOTH

After finishing at The Guardian, Tooth will focus on his photography

Revea l th e n ext step in yo ur pho to graphy j o urne y L at e s t from kit over 200 exhib itors

S e s s io n s to spark your c r e a t iv it y

BO OK TI CK ET S TO DA Y

Suppor ted bY

Q uo t e RP STP S 1 7 f o r a s pe c i a l di s c o u n t Discount is valid until 15/03/2017 and applies to standard adult entry tickets only. Members of trade and pro photographers may apply for free trade passes subject to validation criteria.

pho t o gra p h ys h ow.c om

134 | PRESS SPECIAL |

Why I love the game Seven press photographers share what they admire about the industry, and how it is changing

Sport Marc Aspland HonFRPS My job entails covering the back-page sporting events of the day and can include anything from a Champions League fixture to an exclusive interview with a world champion boxer.

Most are ‘for edition’, ie needed for print the following day, while some are to be held for future editions of The Times.

What I love most about the job is the variety of having to produce the very best pictures for The Times every single day from a variety of assignments.

England fly-half George Ford celebrates his try against South Africa, 12.11.16

134 / THE RPS JOURNAL / FEBRUARY 2017 / VOL 157

One of the most interesting stories I’ve covered was a

The Times

project we did last year, our Sporting Body series, where we photographed athletes and sports stars naked, showing how they have honed their sporting bodies.

The job has evolved over the last few years, and it is a case of being able to adapt and move with the changes, using twitter and Instagram to showcase our work.

Apart from my camera, my essential bit of kit has to be my imagination. I could not get by without my cameras, but they are just the tools which capture what I have already seen in my mind’s eye.

| PRESS SPECIAL | 135 An England fan emerges from tear gas during a clash in Marseille ahead of the opening game of the UEFA Euro 2016

Photo agency Carl Court I am staff photographer with Getty.

An Iraqi boy in front of oil wells set on fire by Islamic State ahead of the battle for Mosul

For me, the variety in my job is the best part. I’ve tried to do nine-to-five work in the past but I just can’t.

The most interesting story

Getty Images

I’ve covered to date was in Iraq. I was there in October covering the Mosul offensive.

The industry has changed over recent years. Websites are illustrating stories in greater depth. You’re

shooting for those as much as you are for newspapers these days.

I wouldn’t be without my waterproof jacket. Good clothing often goes unmentioned, but you need to get it right.

Paparazzo Max Butterworth Splash News

Muhammad Ali’s memorial procession in Kentucky

My job entails working on news and celebrity news stories in and around London.

Best Images of 2016, exhibited at the Truman Brewery.

You get a lot of freedom to do what you want. If you’re lucky, like I have been, you can travel to a lot of fantastic places.

The internet has definitely kept the celebrity business alive.

Usage fees have gone down, newspapers are paying smaller day rates and there is generally more supply than demand, but, for the right picture, people will still pay big money.

For me, the most interesting story has to be when I was in Kentucky for Muhammad Ali’s memorial service and went up in a helicopter to shoot pictures of the procession. I got lucky with a shot from directly above the hearse, which made it into the British Press Photographers’ Association’s

In terms of essentials, to do this job you need a decent long lens, up to 300mm at least, and a solid camera with a fast shutter if you’re going to do anything in news in general.

VOL 157 / FEBRUARY 2017 / THE RPS JOURNAL / 135

136 | PRESS SPECIAL | Regional daily Sarah Caldecott As a photographic coordinator at The Northern Echo, a lot of my time is spent in the office liaising with the news desk, creating online galleries and videos, and making sure that freelance photographers know what they are doing.

A Teesside Cat Club show entrant

In this job, I love the fact that every day is different. You often have limited time to get the job done and need to think on your feet to get an image which tells a story.

The Northern Echo

Recently I photographed twins that were born prematurely and spent a lot of time in hospital. Last year was going to be their first Christmas at home and I knew when I took the image it would make a great Christmas Eve front page.

and more user-generated images from social media are being used. Although phones are great for capturing incidents as they happen, I still think there is a huge need for good quality images online and in newspapers.

The industry has changed over recent years. A lot of photographers have been made redundant and now work on a freelance basis,

In terms of essentials, I couldn’t work without my two main lenses, which are my Canon 24-70mm and Canon 70-200mm.

Syria was the most recent conflict I covered and was also the most difficult. It was an incredibly dangerous place to work, and we nearly came unstuck several times.

Assignments into Syria were always harrowing and many images and experiences will stay with me.

It has perhaps become more difficult for news photographers to make a living, but things are stable at The Times.

‘We were invited into a home where a woman, her son and other family members were comforting one another over the bodies of her two dead sons’

News Jack Hill

The Times

Since joining The Times in 2002 I’ve covered fashion, news and a number of conflicts, mainly in the Middle East.

Until 2014, conflicts were the mainstay of my work. I was away for three weeks at a time, often at short notice. I work closely with the picture desk and journalists.

The aspects of the job that I like the most are foreign news and conflict reporting, which I find the most challenging and rewarding.

You get to photograph some amazing things, not always pleasant but always interesting. I enjoy being part of a skilled team.

136 / THE RPS JOURNAL / FEBRUARY 2017 / VOL 157

Alongside my camera, I always take a good pair of shoes and a good jacket with decent-sized pockets.

| PRESS SPECIAL | 137

The Lemon Twigs, a pop/rock band from Long Island

Music Jenn Five The basic meat and potatoes of my job is shooting talent, which can include portraits, gigs or tour photography.

I honestly love everything about my job, particularly working with inspiring and incredible artists that I genuinely admire and respect –

Freelance

I’m truly blessed that I get to do what I do.

Probably one of the most interesting jobs I’ve done is when I photographed the Russian protest band Pussy Riot. I didn’t really know what I was going to get, but I was given an address,

which was for the Ecuadorian embassy in London, where inside the band were meeting WikiLeaks founder Julian Assange.

In the past few years, things have changed. The turnaround online is now

super quick and allows online sites to cover more content than ever before.

I like to keep a really basic and portable kit with me.

I always carry a flash, a reflector, and an extra lens.

I always have my 24-70mm and 16-35mm on me.

VOL 157 / FEBRUARY 2017 / THE RPS JOURNAL / 137

PROMOTION 138 | FUJIFILM | ADVERTISING

SUN shines more brightly than ever ‘Shot Up North’ has evolved into an unmissable calendar event, and CC Imaging has been printing this popular annual exhibition on Fujifilm paper for the past 11 years

N

ow in its 28th year, the SUN Awards is one of the most popular and prestigious competitions for professional photographers in the country – a true celebration of outstanding northern photo talent.

Originally set up as an exhibition by the Association of Photographers (AoP) in its AFAEP days, it was taken over as an independent event in 2005 by two northern photographers: Doug Currie based in Leeds and Ed Horwich working out of Manchester.

“When the AoP could no longer support the event we felt passionately that this powerful showcase should not be lost,” says Doug.

“It has always been hugely popular. So when we took it over we opened it up to all professional photographers, not just Association members.”

“That was 11 years ago,” adds Ed, “and it’s still going strong because photographers really believe in it. It serves as a showcase so that clients can discover new work and it’s a reminder of the considerable talent that can be found outside London.”

Photographers can enter work that could be very commercial in nature or an off-

By Andy Hook (Best Image)

the-wall personal project.

In this respect it’s a golden opportunity to show images that might never be seen anywhere else, and there are regularly 250 or so entries, which then have to be whittled down to the 50 prints that will ultimately make it on to the walls.

Previously, the selection has been decided by a panel of judges but last year the move was made to have a single selector – acclaimed photographer Brian Griffin.

This year that role was performed by international portfolio reviewer

Louise Clements.

Categories include Best Image, Best Use of an Image and Best Promotion of a Photographer, but the main prize for all of those selected is the chance to showcase their work to a highly influential audience.

The loyalty of those who have got behind SUN has been an outstanding feature of this event. Pro lab CC Imaging, also based in Leeds, has printed up every exhibition for the past 20 years, while Fujifilm has supplied the media for all of that time.

Doug notes: “We couldn’t

have done it without this vital corporate support.

SUN is a not-for-profit event that just about breaks even each year.

The money from entry fees is used to produce a catalogue that’s given away to creatives who are looking to book photographers outside the London area. Without the help we get to put the pictures on the walls we couldn’t continue doing this.”

More information: shotupnorth.co.uk www.fujifilm.eu/uk www.ccimaging.co.uk

THE SUN PROGRAMME GETS A FACELIFT John Weldon, joint owner of CC Imaging (left), is proud of his lab’s association with the awards and is a huge supporter of SUN’s ambitions

“There are some brilliant photographers in this part of the world,” he says, “and as a proud Yorkshireman I’m delighted that the lab is helping to spread the word.

“Having used their media for the past 35 years, we have a very strong relationship with

Fujifilm, and their strong and unwavering support for the SUN event has been key. Currently we’re printing up all of the exhibition prints on Fujifilm Velvet paper which, thanks to its exceptional fine-art qualities, has proved itself very well suited to the job. It’s been really well received by photographers, and the work on the walls looks truly stunning.”

The look of the SUN exhibition

panels, website and awards book is crucial to promoting the ethos of the show, and the latest event has benefitted from a complete redesign on all these fronts by the Leeds-based Brass Agency.

One of those closely involved was designer Scott Oxley: “We first started to look at refreshing the identity of the event around 18 months ago,” he says, “and our brief was to ensure that it was appealing to

a modern audience, in particular creatives who would be more susceptible to a strong design.

“The awards book, in particular, has been given a new look, and the use of different page sizes has created a clear distinction between the different elements of the show. It’s helped to bring everything bang up to date and to ensure that it’s more relevant than ever to its audience.”

Top left by Ed Horwich; top right, Glyn Davies. Second row: left, Sean Knott; right, Phil Greenwood.

Third row: left, Jon Shard; right David Short. Bottom: Greg Morris.

“FUJIFILM VELVET PAPER, THANKS TO ITS EXCEPTIONAL FINE!ART QUALITIES, HAS PROVED ITSELF VERY WELL SUITED TO THE JOB. IT’S BEEN REALLY WELL RECEIVED BY PHOTOGRAPHERS, AND THE WORK ON THE WALLS LOOKS TRULY STUNNING” – John Weldon, CC Imaging

Focal length: 35mm Exposure: F/1.8 1/15sec

Year Warranty

Introducing two new F/1.8 fast-aperture fixed focal length lenses with superior optical performance and unprecedented close-focusing capability integrated with VC (Vibration Compensation). www.tamron.co.uk www.facebook.com/TamronUK

MUST TRY

FEBRUARY

THE LATEST TECHNOLOGY, TECHNIQUES AND SKILLS

Sony a6500

S

Gavin Stoker discovers how the latest high-level Alpha compact stacks up

ony’s latest interchangeable lens E-mount Alpha model is the solid looking and solid feeling – due in part to its DSLR-like magnesium alloy build – 24.2 effective megapixel-resolution a6500.

While sharing some features with the a6300 – including a 2.4 million dot-resolution electronic viewfinder for eyelevel shooting, which we found so clear we quickly forgot it wasn’t an optical version, ‘4D Focus’ system and 425 phasedetection points – the boast here is of the world’s fastest autofocus speed, with Sony

claiming 0.05 seconds. With a DSLR-sized APS-C sensor, it can shoot at 11fps with continuous autofocus and up to 8fps in live view shooting mode; its buffer allowing for up to 307 images to be captured.

It also features five-axis in-body image stabilisation, the ability to shoot 4K video in super 35mm format and a touchscreen LCD, which allows focus on a subject to be determined with a point or swipe of the finger.

A capable rival to the Olympus OM-D E-M1 MkII and Fuji X-Pro2, the a6500 further

Price £1,499 Sensor 25MP APS-C CMOS sensor Lens Optional, via E-mount Display 3 inch, 921,600 dots Weight/size 453g with battery/card, 120x66.9x53.3mm More sony.co.uk Summary Arriving very soon after the still current a6300, the a6500 adds the latest must haves, such as 4K video capture and improvements to how many sequential files can be shot in a sustained burst

suggests its semi-pro credentials by being dust and moisture resistant thanks to protective seals around the buttons.

If you are happy with an APS-C sensor rather than full frame, and haven’t already bought into competing CSCs from Fuji, or smaller-sensor models from Olympus or Panasonic, then the a6500 may be just what the doctor ordered.

Images are razor sharp and response times will have you forgetting about the camera’s functioning and instead concentrating on subject; which is exactly what we want.

VOL 157 / FEBRUARY 2017 / THE RPS JOURNAL / 141

142 | THE CRAFT | LATEST KIT 3

1

2

Lomography Achromat 2.9/64 Art Lens £399

Fujifilm X-A10 £499

Lomography may be best known for its weird and wonderful analogue cameras, but here it has gone the extra mile, reviving an optical design from 1839 by Daguerre and Chevalier after a successful Kickstarter crowdfunding campaign.

Available for Canon EF, Nikon F or Pentax K mounts in black or suitably retro brass finish – and of use with Sony Alpha, Micro Four Thirds and Fuji X series cameras via an adapter – the aim is that this is a versatile tool for modern digital cameras.

With a Waterhouse aperture plate system it will produce silkily smooth ‘bokeh’ effects at f/2.9 for atmospheric portraiture, or more detailed images onwards of f/5.6, with a focal length of 64mm. The closest focusing distance is 0.5 metre.

Despite its higher-end releases, Fuji hasn’t forgotten about less expensive X options, with the X-A10 announced in December, and most obviously aimed at tempting smartphone users to upgrade. On the 16.3-megapixel APS-C sensor X-A10, the rear LCD can be flipped up to face the subject for those selfies, while built-in eye-detection autofocus makes sure the subject’s eyes are automatically sharp.

Retro styled but minus the bells and whistles of X models at twice the price, this nevertheless shares many features with its brethren, including film simulation modes and full HD video, making this an option for those who want interchangeable lenses and a largeish sensor, yet not a big price tag.

An old classic reborn via the modern medium of social media lomography.com 1

GEAR SPY

Lightweight mirrorless model offers an ‘X’ series entry point fujifilm.co.uk

Soft, flattering light for stills or video without breaking the bank kenro.co.uk

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142 / THE RPS JOURNAL / FEBRUARY 2017 / VOL 157

NanGuang CNR480C LED ring light £227.94

This ring light boasts 480 LEDs to create a soft, flattering shadow-free look suitable for portraiture and more. It can be mounted on a stand, or fixed to your camera and tripod via the camera bracket (the NGZB1), sold separately, and allows the camera to be physically mounted in the middle of the ring light. Such flexibility makes it suitable for a variety of applications, as does the fact that it offers stepless adjustment of colour temperature between 3,200 and 5,600K. Supplied with a smartphone cradle and make-up mirror, the same UK distributor for the NanGuang – Kenro – has also issued the larger NanGuang CN-R640 LED ring light, a 640-LED model for £263.94.

3

Headed your way this spring are a tranche of new Panasonics, including the much-anticipated GH5 (above), which now gets a March on-sale date, plus the GX800 compact system camera (replacing the GF line-up), along with the FZ82 60x optical zoom all-in-one.

Need more light?

Nissin has previously won awards for its thirdparty flashguns for Canon, Nikon and Sony cameras. Now a version for Fuji and Four Thirds system cameras from Olympus and Panasonic is on the way in the Nissin Di700 Air, which should be available by the time you read this.

| THE | INSIGHT CRAFT | 941 143

NICKY ROCHUSSEN

MEMBER TEST

5

4

Pentax K-1

T Fotospeed Square Leica TL inkjet paper From £19.99 £1,450 Choose from three finishes in 8x8 or 12x12-inch paper sizes www.fotospeed.com

Premium system model takes on recent Fuji and Olympus flagships leica-camera.com

Medium-format fans, as well as Instagram and social media users who want a simpler route to print, will want to consider Fotospeed’s new square fine-art inkjet paper packs, available in 8x8-inch and 12x12-inch sizes – with 10x10 inch coming soon.

Three finishes are available: the pigment-ink friendly PF Lustre 275, along with Platinum Etching and Platinum Baryta, which are acid-free and offer a natural white base.

The pitch here is not only the format, but also the high quality of the paper and the value for money – packs start at £19.99 for 25 8x8-inch sheets at 285gsm thickness. The new papers also avoid the trimming wastage associated with printing square images on rectangular sheets.

Leica, as a brand, is perhaps as much about the image portrayed by owning one of its cameras as the actual images captured. A case in point is the Leica TL compact, with a 16.3 million-pixel APS-C CMOS sensor, a 3.7-inch touchscreen and body-integral wi-fi, plus a built-in 32GB memory.

Fashioned from a single block of aluminium, the TL’s sleekly minimalist look and feel are thanks in part to controls recessed into its top plate. The titanium-finish version is our pick; with bevelled-edge detail to the top and bottom plates.

Building on the T camera system, it’s compatible with three prime and three zoom ‘TL’ lenses, plus ‘SL’ optics thanks to a shared L bayonet mount, and, via adapter, Leica M or R lenses.

4

5

he camera felt robust and comfortable in my hands. I expected a similar build quality to the Pentax 67 medium format, and the pentaprism design and general look of the new outing certainly reminded me of this classic camera, until I opened the rear LCD screen.

One of the K-1’s main features is its innovative flexible-hinged LCD display that you can pull out and move around in an array of positions – much more flexible than the simple tilt that competitors can manage.

This new hinge design is great for viewing and would come in handy for low-level macro work.

The complementary Pentax K-mount lenses, the 24-70mm f/2.8ED and hefty 70-200mm f/2.8ED, both offered superb build quality and confident barrel controls. I particularly liked the well-laid out camera controls and the intuitive LCD menu.

Unfortunately, the metering and autofocus didn’t fare as well. In bright contrasting light the multi-segment

‘Overall I was pleased with how the camera fared’

metering often led to underexposure, meaning I had to switch to spot metering from a flat mid-grey area. While the autofocus seemed responsive, it struggled with continuous focus of moving subjects when using the 70-200mm f/2.8 lens.

Overall I was pleased with how the camera fared. I think it is best suited to the likes of landscape photography, macro work or studio portraits. If you enjoy sport or wildlife photography stick with the more reliable Canon or Nikon autofocus systems.

However, the K-1 was a refreshing change and I look forward to seeing what else Pentax has to offer in future.

AUTHOR PROFILE PAUL GILMOUR LRPS A keen landscape and macro photographer based in Sussex, Gilmour is a past regional organiser for the Southern Region. Visit paulgilmourphotography.com

VOL 157 / FEBRUARY 2017 / THE RPS JOURNAL / 143

PRESS SPECIAL

Take better sports photos

| THE CRAFT | 145 MASTER CLASS

Relying on a telephoto isn’t the only way to get great sports shots, Mervyn McKeown LRPS finds

S

ports photography in general conjures up thoughts of 400, 500 and even 600mm lenses, but have you ever considered going wide? Sure, there’s not much point turning up to cover a football or rugby match with your 24-70mm lens, but with the right sport, when you can get in close to the athletes – running and cycling are ideal – some great images can be created.

ON YOUR MARKS, GET SET …

GET IN POSITION Getting low and pointing the camera up gives some great backdrops with the right sky.

Manually pre-focus the lens at a point you think the action will be, tape the focus ring to stop it moving and shoot with the camera on or close to the ground.

THINK FAST While waiting for your athletes to arrive check your settings and check again.

Remember: things look further away in the viewfinder than they really are

Whether you’re photographing a cycle race, marathon or any number of other sports, once the first person arrives you will have little time to adjust your settings.

KNOW YOUR EQUIPMENT You’ve got to be fully Double check your settings before the action starts so you’re ready for it

conversant with the information displayed in your viewfinder. With my Nikon, I set to shutter priority and when the f number starts flashing that means the shutter speed is too high for the conditions.

HAZARDS You really do need to get close to the action – athletes and equipment might only be inches away. Participants are, of course, concentrating on their event and not looking for the photographer who has foolishly stepped in their way. Remember that things look further away in the viewfinder than they really are.

CHALLENGES During the likes of a 10k race, after the first 30 or 40 people have passed you get the people running for the fun of it. They might not be

the headline grabbers, but they’re more likely to play up to the camera. However, they often won’t realise you are shooting wide angle and will stop their performance by the time they get close.

MY KIT I have a Nikon D4 and D800, and use four lenses: 24-70mm f/2.8, 70-200mm f/2.8, 300mm f/2.8 and 50mm f/1.4. My wish list has a 14-24mm lens and possibly a fisheye to go wider still.

ABOUT THE AUTHOR MERVYN McKEOWN LRPS Working in portraiture, fashion, fine art and sports photography, McKeown often shoots running and cycling events. mysportsphoto.uk

VOL 157 / FEBRUARY 2017 / THE RPS JOURNAL / 145

IN DEPTH

How to get your work in print Ian Day FRPS, the assistant editor of Yorkshire Post Newspapers, shares advice from 25 years in the field

P

ress photographers are a creative, highly talented breed who have the skills to cover many photographic disciplines.

They have to think quickly on their feet and be able to plan for each assignment to help produce first-rate images.

They must work in ever changing environments, locations and weather conditions; if you

don’t like getting cold and wet, this isn’t the career for you.

Press photography is, to me, the best job in the world, simply because every day is exciting and different.

Competition is fierce, with so many experienced and talented staff and freelance photographers already producing high-quality work. You will need to stand out from the crowd if you want to break into this arena.

146 / THE RPS JOURNAL / FEBRUARY 2017 / VOL 157

GOOD SHOUT Actor Brian Blessed pictured at Sheffield University, on 3 April 2006.

Picture: Simon Hulme/Yorkshire Post Newspapers

PRESS SPECIAL

| THE CRAFT | 147

WHAT NEWSPAPER PICTURE EDITORS ARE LOOKING FOR AUTHOR PROFILE IAN DAY FRPS Having started his career as a NCTJ trainee photographer at the Halifax Evening Courier, Day has held roles including head of sports photos at The Press Association

GLORIOUS TECHNICOLOR %RIGHT& The West Indian Carnival, Chapeltown, Leeds, 29 August 2016. Picture by Simon Hulme/Yorkshire Post Newspapers PHOTO FINISH Marcel Kittel wins the first stage of the 2014 Tour de France in Harrogate from Peter Sagan, after Mark Cavendish had crashed at the bottom of Parliament Street, 5 July 2014. Picture Bruce Rollinson/Yorkshire Post Newspapers

ARE YOU TRAINED? If you are serious about becoming a photojournalist, then good-quality training is essential to help you develop the correct skills; not just technical ability, but skills in media law and practice.

The National Council for the Training of Journalists (NCTJ) is a good source of training information.

HAVE YOU DONE YOUR HOMEWORK? Research the names of the editor, picture editor and news editor before you approach a newspaper.

Also, know and understand the patch the newspaper covers. You are more likely to get the attention of the picture editor if you ask for them by name and have a good understanding of the title – it shows that you are serious.

HAVE YOU GOT IDEAS? Understand the style of the newspaper you are pitching to – only submit interesting picture story ideas that you know the readers of that title will enjoy.

SIGN OF THE TIME Charlie Hebdo vigil organised by French journalist Mireille Mason-Beguin, held in Millennium Square, Leeds, on 11 January 2015. Pictured is Sophie Gautrais, 19, a French exchange student showing her emotion during the two-minute silence.

Picture: James Hardisty/Yorkshire Post Newspapers

ARE YOU CREATIVE? You will need to demonstrate your photographic skills to the maximum; there’s no point in presenting a lacklustre set of images to a very busy picture editor. They

don’t want to see family snaps, they want to see creative, imaginative images that are able to stop the readers in their tracks.

You will only get one chance to demonstrate your talent, so make sure your portfolio is very good. You should be able to show off your talent in 10 to 15 great photographs across varying subjects. Don’t forget to demonstrate your video skills for online products.

DO YOU CAPTION? Always provide a full, descriptive caption with all your images. Remember the five ‘Ws’ which are vital in quality caption writing – who, what, where, when and why. For example, there is nothing worse than looking at a cracking weather photograph supplied without a caption. A good caption should read: John Smith jogs through Roundhay Park, Leeds, today, Monday 2 January 2017, after overnight temperatures plummeted to -8 across the region.

Picture: Joe Bloggs.

ARE YOU READY TO KEEP LEARNING? The challenges of press photography can be unexpected. Never assume anything and always be willing to learn new skills and ideas.

VOL 157 / FEBRUARY 2017 / THE RPS JOURNAL / 147

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Photoguard is a trading style of Thistle Insurance Services Limited. Lloyds Broker. Authorised and regulated by the Financial Conduct Authority. A JLT Group company. Registered office: The St Botolph Building, 138 Houndsditch, London EC3A 7AW. Registered in England No 00338645, VAT No. 244 2321 96.

MEMBER The art of storytelling Prepare to share your tales with the world

T

his workshop is ideal for anyone seeking to learn how to develop a personal project, including how to publicise it.

On 16 March at Amersham Studios in Buckinghamshire, zoologist and environmental photojournalist Ben Cherry will give an insight into his projects before taking participants out on location, giving them the chance to interpret the environment around them and gain experience in developing a story first hand.

The workshop will explore how important the focus of a

project is to the story, and how individual shots can be tied together.

A Fujifilm ambassador, Cherry has a particular interest in photo stories. He has worked on a range of projects, including the Flight of the Swans, in which a WWT team flew 7,000km by paramotor following Bewick’s swans from their arctic breeding grounds to the UK, to highlight the dramatic decline in the birds’ population.

For more details, including prices and how to book, go to rps.org/learning/workshops

| GUIDE | 149

GUIDE

YOUR RPS EVENTS ! COURSES PROGRAMME

FEB!MAR!APR

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

Ben Cherry, left, captured the journey of Sacha Dench (above), who flew 7,000km with Bewick’s swans (below)

VOL 157 / FEBRUARY 2017 / THE RPS JOURNAL / 149

150 | GUIDE |

WORKSHOPS

Hear from the experts and hone your skills

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

`` £115/£90 Society

Sunday 26 February / 10:00-16:30

`` £95/£71 Society members `` Bath HQ

`` The purpose of this course is to inspire the participant to recognise that each month in the year offers wonderful opportunities for taking great photographs `` Bath HQ

Photoshop essentials for creative photographers

members `` Amersham

Movement photography Saturday 4 March / 10:00-16:30

Thursday 9 March / 10:00-16:30

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

`` £95/£71 Society members `` In this new workshop

`` £115/£90 Society

Friday 17 February / 10:00-16:30

`` £95/£71 Society members `` Techniques that can be used 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 Friday 24 February / 10:00-16:30

`` £115/£90 Society members `` Amersham

Architecture photography: Holme Pierrepont Hall Friday 24 February / 10:00-16:30

`` £99/£75 Society members

`` Nottingham

you’ll first learn how to use different sorts of deliberate camera movement, with and without flash, to produce interesting, more creative images `` Bath HQ

Child portrait photography Sunday 5 March / 10:00-17:00

`` £120/£95 Society

members `` This workshop is ideal if you want the skills to take beautiful and natural images of children. Your tutor will be award-winning portrait and social documentary photographer Saraya Cortaville `` Amersham

The landscape photographers’ calendar workshop Sunday 5 March / 10:30-16:30

`` £55/£41 Society members

members `` Amersham

Night shoot Saturday 11 March / 18:00-22:00

`` £35/£26 Society members

`` Explore the wonders of

night-time photography at this hands-on workshop `` Bath Abbey

`` Shooting for stock

Monday 13 March / 10:30-16:30

`` £65/£48 Society members `` Bath HQ

Developing personal projects and storytelling with Ben Cherry Thursday 16 March / 10:00-17:00

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

Art figure painting with light Saturday 18 March / 10:00-17:00

`` £120/£95 Society members `` Leigh, Surrey

Introduction to your digital camera Saturday 25 March / 10:00-17:00

`` £85/£63 Society members

`` Bath HQ Studio portraiture members `` A workshop for beginners that covers all you need to know about taking great images in a studio environment `` Lacock, Wiltshire -

Introduction to Photoshop

Sunday 26 March / 10:00-17:00

`` £95/£71 Society

members

`` For delegates who have

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

Shooting modern architecture Friday 7 April / 10:00-16:30

`` £99/£75 Society members

`` Newton Arkwright

Building, Nottingham Trent University, Goldsmith Street, Nottingham

Coastal landscapes – Lyme Regis Saturday 8 April / 10:00-17:00

members `` Bath HQ

`` £95/£71 Society

Professional Photoshop retouching with Tim Daly

on the Cobb, Lyme Regis, Dorset

members

`` Harbourmaster’s Office,

`` £95/£71 Society

Creative dance lighting photography

`` Learn how to use

`` £120/£95 Society

Saturday 1 April / 10:00-16:30

members

Photoshop’s precision cutting and retouching techniques within a non-destructive workflow `` Bath HQ

Saturday 8 April / 10:00-17:00

members

`` Surrey

Macro and art photography Thursday 13 April / 10:00-16:30

Professional

Saturday 25 February / 10:00-17:00

`` £115/£90 Society members

`` Surrey

Art nude photography Saturday 25 February / 10:00-17:00

`` £120/£95 Society 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

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

`` £120/£95 Society members

`` Lacock

Why not say ‘I do’ to a two-day wedding workshop, starting on 29 April

150 / THE RPS JOURNAL / FEBRUARY 2017 / VOL 157

Sunday 2 April / 10:00-16:30

`` £95/£71 Society

Sat 25 – Sun 26 March / 10:00-17:00

`` £165/£140 Society

Cinematic Hollywood beauty lighting made simple

Introduction to the creative eye

Photoshop colour control with Tim Daly

`` £55/£41 Society

| GUIDE | 151 GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

REGIONS

Meet photographers and view work in your area CENTRAL

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

‘Through my viewfinder’

by Warren Alani ARPS

`` Amersham

members

`` £95/£71 Society members `` Bath

Portraiture photography and getting the most from your subject

Cinematic Hollywood beauty lighting made simple

Thursday 20 April / 9:30-17:00

Saturday 29 April / 10:00-17:00

`` £115/£90 Society

`` £120/£95 Society members `` This course with

members

`` Amersham Environmental portraiture Saturday 22 April / 9:30-18:00

`` £120/£95 Society members

Two-day wedding workshop

`` Learning from history – photographing plants and gardens

`` £165/£140 Society

`` Derbyshire

Thursday 13 April 19:30-22:00

`` ‘Kingdom of the ice bear’ by Pam Lane ARPS and Eddy Lane ARPS

‘East African national parks’ by Ian Whiston

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

‘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

members `` Lacock

Saturday 22 April / 10:00-16:30

`` £55/£41 Society members `` RPS HQ Art nude photography Saturday 22 April / 10:00-17:00

`` £120/£95 Society members

`` Lacock, Wiltshire Introduction to your digital camera Sunday 23 April / 10:00-17:00

`` £85/£63 Society members `` Bath HQ Introduction to mindfulness and meditation, and how these link to photography Thursday 27 April / 10:00-16:30

`` £95/£71 Society members `` Amersham Creative techniques in Photoshop Friday 28 April / 10:00-16:30

`` £115/£90 Society

Advanced Lightroom creative editing techniques

Thursday 16 February / 19:30-22:00

`` £3 Society members `` Smethwick Photographic

Sunday 30 April / 10:00-16:30

Introduction to the creative eye Saturday 6 May / 10:00-16:30

`` £95/£71 Society members `` Bath HQ Running your own photographic business Mon 8-Tue 9 May / 10:00-16:00

`` £190/£165 Society members

`` Bath HQ Pinhole photography Saturday 13 May / 10:00-16:30

`` £75/£56 Society members `` Bath HQ Theatrical and creative dance lighting Saturday 13 May / 10:00-17:00

members `` Amersham

`` £120/£95 Society members `` Surrey

Advanced Lightroom: how to organise your library with keywords, metadata and gps

Introduction to Lightroom

Saturday 29 April / 10:00-16:30

‘Nudes night’ by Tim Pile

`` £95/£71 Society members `` Bath HQ

Saturday 13 May / 10:00-16:30

`` £95/£71 Society members `` Bath HQ

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

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

Thursday 20 April 19:30-22:00

`` £3 `` Smethwick Photographic

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

‘Ways of seeing’ by Cathy Roberts Thursday 27 April 19:30-22:00

`` £3 `` Smethwick Photographic

Society, Churchbridge, Oldbury, Birmingham B69 2AS `` Mike Sharples ARPS, as above EAST ANGLIA IAN WILSON ARPS, 07767 473594 IAN(GREENMEN.ORG.UK

Photo workshop, Wymondham Sunday 12 February / 10:30-16:30

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

`` £15/£10 Society members `` Informal workshop for those

Winter meeting members’ day

Club, Norwich Road, Wymondham NR18 0NT `` Ian Wilson ARPS, as above

Saturday 25 February / 10:30-16:00

Your events

‘Starting out: arriving at a Fellowship’ by Jill Pakenham FRPS `` £3 `` Smethwick Photographic

`` £3 Society members `` Smethwick Photographic

Saturday 29 April / 10:00-17:00

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

Thursday 2 February / 19:30-22:00

Thursday 2 February 19:30-22:00

International model Carla Monaco will show you how to use lighting to get stunning and beautiful results `` Surrey

Thursday 6 April 19:30-22:00

`` £3 `` Smethwick Photographic

`` £3 Society members `` Smethwick Photographic

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

Learn the secrets of cinematic beauty lighting on 29 April

‘Beyond the summit’ by Chris Palmer FRPS

`` £8 entry, £5 ploughman’s lunch

`` Rollright group meeting `` The Village Hall, Main Street, Long Compton CV36 5JS

`` Andreas Klattt, andreas@ klatt.tv

‘The big picture show’ by Ron Tear ARPS Thursday 9 March / 19:30-22:00

`` £3 Society members `` Smethwick Photographic

considering a Society Distinction

`` Wymondham Dell Bowls

RPS Creative Group print and PDI exhibition selections & AGM Sunday 26 February / 10:30-17:00

`` See website for costs `` Whittlesford Memorial Hall,

Mill Lane, Whittlesford, Cambs CB22 4NE `` David Jordan, daveandjoanjordan@yahoo. co.uk

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

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

‘An evening with Laurie Campbell’ by Laurie Campbell

`` £20/£15/£10 spectators `` Foxton Village Hall, Hardman

Saturday 4 March / 10:30-16:30

Thursday 16 March / 19:30-22:00

`` £3 Society members `` Smethwick Photographic

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

Road, Foxton CB22 6RN

`` Ann Miles FRPS, ann@pinsharp.co.uk

RPS Creative Group annual exhibition Sat 8 – Mon 17 April / 10:00-16:00

VOL 157 / FEBRUARY 2017 / THE RPS JOURNAL / 151

152 | GUIDE | `` Wingfield Barns, Church

Road, Wingfield, Diss IP21 5RA `` Moira Ellis, moira.ellis2011@ btinternet.com

Regional exhibition selection and AGM Sunday 9 April 10:30-16:30

`` Foxton Village Hall, Hardman Road, Foxton CB22 6RN `` Ian Wilson ARPS, as above EAST MIDLANDS STEWART WALL ARPS, 07955 124000 STEWART(STEWARTWALL.COM

East Midlands Lightroom training day with Ian Wilson ARPS Sunday 19 February 10:30-14:00

`` £10 `` Whatton Jubilee Hall, Church Street, Whatton in the Vale NG13 9EL `` Stewart Wall, as above

East Midlands LRPS and ARPS advisory day Sunday 9 April 10:00–16:00

`` £20/£15/£10 spectators `` Whatton Jubille Hall, Church Street, Whatton in the Vale NG13 9EL `` Stewart Wall, as above EIRE MICHAEL O’SULLIVAN INFO(MOSULLIVANPHOTO.COM

`` Judy & Jen,

`` London Bookworms,

Make a photobook workshop with Gerry Badger

Distinctions advisory day – LRPS

Sat 4 – Sun 5 February / 10:00-17:00

Saturday 18 February / 10:30-16:30

`` £25/£20/£15 spectators `` Ideas Store, 321 Whitechapel

members

Inner Circle, Regent’s Park NW1 4NS `` London Events, londonevents@rps.org

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

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

JUDY HICKS AND NEIL CORDELL LONDONEVENTS(RPS.ORG

Breathing London project Until Monday 17 April

`` Over all the London

boroughs, all over London, London W2 2UH

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

Wednesday 15 March / 18:30-21:00

`` The Crusting Pipe,

27 The Market, Covent Garden, London WC2E 8RD `` London Bookworms, LondonBookworms@rps.org

Adobe Lightroom for landscape photographers

Road, London E1 1BU `` London Distinctions, londondist@rps.org

`` £80/£60/£50 group

London Naturally walk

`` This workshop will cover a

Saturday 25 March / 9:45-16:15

members

complete landscape photography workflow, using the library and develop modules `` Whitechapel Idea Store, 321 Whitechapel Road, London E1 1BU `` Richard Ellis, landscapef16@ gmail.com , sre868@gmail.com

Sunday 26 February / tbc

`` Regent’s Canal from Mile End to Limehouse

`` Details to be confirmed `` london-naturally@rps.org Regular meeting of the SE London Group Tuesday 28 February / 19:00-21:00

Breathing London two-day pop-up exhibition Sat 11 Feb – Sun 12 Feb / 10:00-16:30

`` Exhibition displaying

Breathing London images, mainly of the SE London boroughs of Bexley, Bromley, Greenwich and Lewisham `` Greenwich Gallery, Peyton Place, London SE10 8RS `` Judy Hicks, as above

Regular meeting of the SW London Group Tuesday 14 February / 19:00-21:00

LONDON

LondonBookworms@rps.org

`` £190/£165 Society `` Fully booked `` Regent’s University London,

The Bookworm Club

London WC2E 8RD

greenlondon@rps.org

`` The Prince of Wales, 138

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

The Bookworm Club Wednesday 15 February / 18:30-21:00

`` The Crusting Pipe, 27 The Market, Covent Garden,

Morning in Richmond Park with the London Naturally Group

`` £5/£3 Society members `` Please note new date, the last Tuesday of the month

`` Greenwich Gallery, Peyton

Sunday 26 March / 10:30-13:00

`` The group presents an

Place, London SE10 8RS `` London Cave, londoncave@rps.org

informal Sunday stroll in Richmond Park. All details to be confirmed, but please note this date in your diary `` London – to be confirmed `` London Naturally, london_naturally@rps.org

London Region street walk Saturday 11 March / 9:45-14:00

`` Regular monthly meeting for

members and guests interested in street photography `` London – to be confirmed `` London Cave, londoncave@rps.org

Regular meeting of the SE London Group Tuesday 28 March / 19:00-21:00

`` £5/£3 non-members `` Please note new date, the last

Regular meeting of the SW London Group

Tuesday of the month

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

Tuesday 14 March / 19:00-21:00

`` The Prince of Wales, 138

Upper Richmond Road, Putney SW15 2SP `` London Web, Londonweb@rps.org

Join the London Region for a Sunday stroll in Richmond Park

`` London Cave, londoncave@ rps.org

Our final Breathing London workshop with Robert Canis – back to spring again Monday 3 April / 17:30-19:30

`` £25/£20 Society members `` To be confirmed `` Breathing London Team, greenlondon@rps.org

London Region street walk Saturday 8 April / 9:45-14:00

`` Regular monthly meeting for

members and guests interested in street photography `` To be confirmed `` London Cave, londoncave@ rps.org

Regular meeting of the SW London Group Tuesday 11 April / 19:00-21:00

`` Regular meeting of the SW London Group

`` The Prince of Wales, 138

Upper Richmond Road, Putney SW15 2SP `` London Web, Londonweb@ rps.org 152 / THE RPS JOURNAL / FEBRUARY 2017 / VOL 157

| GUIDE | 153 Road, Bovey Tracey TQ13 9AL

`` Mick Medley, as above

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

`` £30 Society members `` Advisory day for potential Fellowship applicants

`` 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

`` Regional AGM and

showing regional members’ successful panels `` The Dolphin Hotel, Station Road, Bovey Tracey TQ13 9AL `` Mick Medley, as above

Biannual weekend away Friday 3 – Sunday 5 March / 16:00-14:00

London Naturally Group Sunday 30 April / 10:30-13:00

`` A Sunday morning walk in Nunhead Cemetery

`` To be confirmed `` London Naturally, london_ naturally@rps.org

Scottish members’ exhibition `` Bridge of Allan Church Hall, Keir Street, Bridge of Allan FK9 4NW `` James Frost FRPS, as above

Around Loch Eck

The South Wales Region has arranged a spring photo walk to Nash Point and the Heritage Coast

Saturday 1 April / 10:00-16:00

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

`` £15/£5/ free to group members

`` Benmore Botanic Garden car

`` Annual general meeting of the

park, near Dunoon, Argyll PA23 8QU `` David Fiddes, daudistrachur@ gmail.com

`` Glasdir North Wales

Photoforum Lasswade

Annual general meeting Sunday 26 February / 14:00-17:00

North Wales Region

Conference Centre, Plas yn Dre, Llanrwst LL26 0DF `` Martin Brown, as above NORTH WEST DR AFZAL ANSARY ASIS FRPS, 07970 403672 AFZALANSARY(AOL.COM

AGM and speaker `` Hough End Centre, Mauldeth Road West, Manchester M21 7SX `` Afzal Ansary ASIS FRPS, as above

SOUTH EAST TERRY McGHIE ARPS, 01323 492584 SOUTHEAST(RPS.ORG

Annual general meeting Sunday 5 February / 10:00-10:30

NORTHERN GERRY ADCOCK ARPS, 01661 830882 GERRY(GERRYADCOCK.CO.UK NORTHERN IRELAND RICHARD CORBETT 07805 381429 RICHARD(RICHARDCORBETTPHOTOGRAPHY.COM

`` Free; Society members only `` The Haven Centre, Hophurst

Lane, Crawley Down, West Sussex RH10 4LJ `` Terry McGhie ARPS, as above

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

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

Scottish members’ exhibition, print selection and region AGM Saturday 4 March / 10:30-16:00

`` £8 `` Join in the selection of the

`` £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, Crawley Down, West Sussex RH10 4LJ `` Terry McGhie ARPS, as above

bringing prints, £10 spectators

`` Intended to provide guidance

to members and non-members who are considering applying for the LRPS Distinction `` Kings Centre, 27 Edison Road, Eastbourne, East Sussex BN23 6PT `` Terry McGhie ARPS, as above SOUTH WALES MIKEGLEWIS101(BTINTERNET.COM

Nash Point and the Heritage Coast

Sunday 9 April / 10:30

Sunday 26 February / 10:30-13:00

Saturday 4 March / 10:30-16:30

`` £20/£15 Society members

MIKE LEWIS, 07855 309667, 01446 710770

`` £10/£8 Society members `` An informal day to meet

members and receive constructive feedback on work `` Midlothian Camera Club, 7 Polton Road, Lasswade EH18 1AB `` James Frost FRPS, as above

LRPS advisory day

`` The South West Region weekend away

`` Tudor Arms Freehouse,

Shepherds Patch, Slimbridge GL2 7BP `` Mick Medley, as above

West Cornwall Group meeting Wednesday 15 March / 18:45-21:00

`` Bi-monthly meeting of the West Cornwall Group

`` The Copper Room,

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

Saturday 8 April / 10:00-16:00

`` An informal photography walk

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

on the coast of South Wales `` Mid Glamorgan, Nash Point car park, St Donas, Marcross CF61 1ZH `` Peter Douglas-Jones, 07776 141409, peter@douglas-jones.biz

Brecon Beacons photography walk

Evening lecture with Andrew Cooper Friday 31 March / 19:00-21:30

`` £10/£5 Society members `` The Dolphin Hotel, Station

Road, Bovey Tracey TQ13 9AL

`` Mick Medley, as above South West Region advisory day – LRPS and ARPS

Saturday 22 April / 9:00-14:00

Sunday 23 April / 10:30-16:00

`` An informal photography walk

`` Categories TBC `` The Dolphin Hotel, Station

in the beautiful Brecon Beacons

`` Car park of the former Cross Inn, Llanddeusant, Carmarthenshire SA19 9YG `` Peter Douglas-Jones, 07776 141409, peter@douglas-jones.biz

Road, Bovey Tracey TQ13 9AL

`` Martin Howse ARPS,

01326 221939, mghvkh@btinternet.com SOUTHERN DAVID ASHCROFT LRPS, 07710 302684

SOUTH WEST

SOUTHERN(RPS.ORG

MICK MEDLEY, 01626 824865/07980 073808 RPSSWREGION(GMAIL.COM

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

`` £15 Society members `` A day’s talk by Will Cheung FRPS `` The Dolphin Hotel, Station

Looking at the details with Celine Marchbank Saturday 18 February / 10:30-17:00

`` £95 `` The Society has partnered

with Leica Akademie and Bath’s Ace Optics to bring a special workshop led by Celine

VOL 157 / FEBRUARY 2017 / THE RPS JOURNAL / 153

154 | GUIDE | Marchbank to Bath HQ

See the RPS International Print Exhibition 159 in Barnsley from 22 April Image: School bus

by Anna Shustikova

`` David Ashcroft LRPS, as above

Southern Region Advisory Day – LRPS Sunday 2 April / 10:00-16:00

`` £20/£15/£10 spectators `` The Fishbourne Centre, Blackboy Lane, Fishbourne, Chichester PO18 8BE `` David Ashcroft LRPS, as above

MARK.BUCKLEY,SHARP(TISCALI.CO.UK

DI Group Thames Valley: digital image evolution with Mike McNamee FRPS Sunday 19 February / 10:00-15:30

`` £15/£12/£8 group members `` Digital imaging and the evolution of the creative image from conception to print `` Woosehill Community Hall, Emmview Close, Woosehill, Wokingham, Berkshire RG41 3DA `` Laurie Pate, digthamesvalley@rps.org

DI Group Thames Valley – Paul Sanders: pictures on a page and the mind’s eye Sunday 26 March / 10:00-15:30

`` £15/£12/£8 group members

`` Woosehill Community Hall, Emmview Close, Woosehill, Wokingham, Berkshire RG41 3DA `` Alan Bousfield ARPS, digthamesvalley@rps.org

the offices of Stone King as part of the Society’s regular trustee training and as a chance to consider particular questions arising from the recent governance review. `` Tim Rutherford and Alexandra Whittaker from Stone King gave a presentation on the role and responsibilities of trustees and took questions from those present. They noted that the primary roles of a trustee are governance and a responsibility to sustain the mission and values of the organisation. Society members should be

FACEBOOK: BIT.LY/RPSYORKSHIRE

Distinctions advisory day Saturday 11 March / 10:30-16:30

`` £20/£15/£10 spectators `` A Licentiate Distinctions advisory day in Wakefield

221 Barnsley Road, Wakefield WF1 5NU `` Robert Helliwell ARPS, 01904 500231, bobhelliwell@clara.co.uk

DI Group Thames Valley – Andrew Mills: the art of photography and lighting for still life

`` £2 `` Fenton House, 122 Wells

Yorkshire print exhibition 2017

Road, Bath BA2 3AH `` David Norfolk ARPS, as above

Closing date 31 March

`` Free to enter `` See website for details `` Mary Crowther ARPS, as above

Sunday 23 April / 10:00-15:30

`` £15/£12/£8 group

members `` Woosehill Community Hall, Emmview Close, Woosehill, Wokingham, Berkshire RG41 3DA `` Alan Bousfield ARPS, digthamesvalley@rps.org WESTERN DAVID NORFOLK ARPS, 07771 515273 WESTERN(RPS.ORG

RPS Western Region social Wed 1 February / 18:00-23:00

`` £20 `` Za Za Bazaar, Harbourside,

Canon’s Road, Bristol BS1 5UH `` Richard Olpin, 01453 549460, rps@ richardolpinphotography.co.uk

Members’ monthly meeting Sunday 12 February / 10:00-16:30

Members’ monthly meeting – March Sunday 12 March / 10:00-16:30

Members’ day

`` £2 `` Fenton House, 122 Wells

Saturday 8 April / 10:30-16:30

`` £7/£5 Society members `` New Brookhouse Club, 221 ,

Road, Bath BA2 3AH `` David Norfolk ARPS, as above

Barnsley Road, Sandal, Wakefield WF1 5NU `` Robert Helliwell, 01904 500231, bobhelliwell@clara.co.uk

Western Region LRPS and ARPS advisory day Saturday 8 April / 10:00-16:30

`` £20/£15/£10 spectators `` Fenton House, 122 Wells

`` RPS International Print Exhibition 159 – Barnsley

Road, Bath BA2 3AH `` Michelle Whitmore, michelle@ michellewhitmore.co.uk

Saturday 22 April – Saturday 3 June

`` The Civic, Hanson Street,

Members’ monthly meeting – April

Barnsley S70 2HZ

`` Jason White, 01226 327011,

jasonwhite@barnsleycivic.co.uk

Sunday 9 April / 10:00-16:30

`` £2 `` Fenton House, 122 Wells

SPECIAL INTEREST GROUPS

Road, Bath BA2 3AH

`` David Norfolk ARPS, as above YORKSHIRE

REPORT OF THE COUNCIL MEETING NOVEMBER 2016 `` The meeting took place at

PHOTOBOX50(GMAIL.COM

`` New Brookhouse Club,

THAMES VALLEY MARK BUCKLEY,SHARP ARPS, 020 8907 5874

MARY CROWTHER ARPS, 07921 237962

considered supporters of the organisation. `` A number of particular points were noted: `` The legal duties of a trustee are detailed in the Charity Commission publication The Essential Trustee. `` Minutes of meetings should provide a record of what was discussed, with different views being noted.

Decisions were collective. `` The Society’s management procedure 7.1.6 was inconsistent with the rules, which would take precedence. A majority vote, which could be set to a higher test of 75 per cent, was best practice and the procedure should be

154 / THE RPS JOURNAL / FEBRUARY 2017 / VOL 157

Explore more aspects of photography and digital imaging

updated. The by-laws noted membership categories that were no longer in place. `` Electronic voting in elections could result in unforeseen situations. `` The advisory board and its composition were discussed and would be on the agenda at the December meeting.

ANALOGUE RICHARD BRADFORD ARPS ANALOGUE(RPS.ORG ARCHAEOLOGY AND HERITAGE RODNEY BERNARD THRING LRPS, 01276 20725 RODNEY.THRING(NTLWORLD.COM AUDIO VISUAL

FINANCE MATTERS The trustees approved the introduction of the staff pension scheme from 1 January 2017. They approved a staff salary increase of 1.5 per cent.

The treasurer presented the draft 2017 budget, which required further detailed consideration.

HOWARD BAGSHAW ARPS, 01889 881503 HOWARD.BAGSHAW(NTLWORLD.COM CONTEMPORARY PETER ELLIS LRPS, 07770 837977 WORDSNPICSLTD(GMAIL.COM

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

CREATIVE BARRY COLLIN LRPS CREATIVECHAIR(RPS.ORG

Creative Group AGM

| GUIDE | 155 and print & PDI exhibition selections 26 February / 10:30-17:00

`` See website for costs `` Whittlesford Memorial Hall,

Mill Lane, Whittlesford, Cambs CB22 4NE `` David Jordan, 01603 866475, daveandjoanjordan@ yahoo.co.uk

RPS Creative Group annual exhibition Sat 8 – Mon 17 April / 10:00-16:00

`` Wingfield Barns, Church

Road, Wingfield, Diss IP21 5RA `` Moira Ellis, moira.ellis2011@ btinternet.com DIGITAL IMAGING JANET HAINES DIGCHAIR(RPS.ORG

DI Group Thames Valley: digital image evolution with Mike McNamee FRPS

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

from picture editor of The Times to landscape photographer `` Woosehill Community Hall, Emmview Close, Woosehill, Wokingham, Berkshire RG41 3DA `` Alan Bousfield, digthamesvalley@rps.org

Print with confidence Sunday 2 April / 10:30-15:30

`` Foxton Village Hall and Sports Pavilion, 2 Hardman Road, Cambridge CB22 6RN `` Mark Gillett, 07984 518959, mark_gillett@icloud.com

A creative journey with Jane Kearney Sunday 2 April / 10:30-16:00

`` £15/£12/£8 group members

`` Woosehill Community Hall,

dennisknowles123@btinternet. com

members

AFZALANSARY(AOL.COM NATURE

IMAGING SCIENCE

RICHARD REVELS FRPS, 01767 313065

KEN MACLENNAN,BROWN KEN.MACLENNAN(BTINTERNET.COM LANDSCAPE MARK REEVES LRPS, 07968 616551 RPS.LANDSCAPE.EVENTS(GMAIL.COM

Adobe Lightroom for landscape photographers Saturday 25 March / 9:45-16:15

members

complete landscape photography workflow, using the library and develop modules `` Whitechapel Idea Store, 321 Whitechapel Road, London E1 1BU `` Richard Ellis, landscapef16@ gmail.com, sre868@gmail.com

Around Loch Eck

RICHARD.REVELS(TALKTALK.NET

AGM and annual exhibition Saturday 8 April /10:45

`` See website for more details `` Smethwick PS Clubhouse, The Old Schoolhouse, Churchbridge, Aldbury, West Midlands `` Richard Revels, as above TRAVEL KEITH POINTON LRPS, 01588 640592 BAGPOINT(AOL.COM

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

`` £45/£35 group members `` An opportunity to improve

your travel photography in 2017

`` Runnymede-on-Thames

`` Benmore Botanic Garden

RPS Travel Group AGM

MO CONNELLY LRPS, 01590 641849

DI Group Thames Valley: Paul Sanders – ‘Pictures on a page and the mind’s eye’

Visit to the Pitt Rivers Museum’s photographic collections, Oxford

members `` Paul Sanders: the journey

403672

digthamesvalley@rps.org

DVJ(RPS.ORG

`` £15/£12/£8 group

MEDICAL DR AFZAL ANSARY ASIS FRPS, 07970

`` £15/£5/free to group

Society, The Old School House, Churchbridge, Oldbury B69 2AS `` Janet Davies, digsecretary@rps.org

Sunday 26 March / 10:00-15:30

07776 141409, peter@douglas-jones.biz

Emmview Close RG41 3DA

DOCUMENTARY

HISTORICAL JENNIFER FORD ARPS, 01234 881459 JENNYFORD2000(YAHOO.CO.UK

The Landscape Group has chosen the stunning Brecon Beacons for an informal photography walk

Cromwell Road, London SW7 2RL

`` Peter Douglas-Jones,

Hotel, Windsor Road, Egham TW20 0AG `` Richard Lewis, travel@rps.org

`` Alan Bousfield ARPS,

`` Smethwick Photographic

`` Victoria and Albert Museum,

`` This workshop will cover a

near Taunton TA19 9HG

`` Woosehill Community Hall,

Sunday 5 March / 10:00-16:00

Saturday 25 March / 11:15-12:00

`` Dennis Knowles,

Sunday 23 April / 10:00-15:30

DI Group AGM

Historical Group AGM

`` £80/£60/£50 group

`` £15/£12/£8 group

Emmview Close, Woosehill, Wokingham, Berkshire RG41 3DA `` Alan Bousfield ARPS, digthamesvalley@rps.org

0114 266 8655, gblackwell@fastmail.fm

`` £8/£7/£5 group members `` Merryfield Village Hall, Ilton,

DI Group Thames Valley – Andrew Mills: the art of photography and lighting for still life

Sunday 19 February / 10:00-15:30

`` Geoff Blackwell ARPS,

Tuesday 7 February / 14:00-16:00

`` £5 non-group members (fully booked)

`` Pitt Rivers Museum, South Parks Road, Oxford OX1 3PP

Saturday 1 April / 10:00-16:00

members

car park, near Dunoon, Argyll PA23 8QU `` David Fiddes, daudistrachur@gmail.com

Bolton Abbey and the River Wharfe

Saturday 25 March / 16:15-17:00

`` Runnymede Hotel,

Windsor Road, Egham, Surrey TW20 0AG `` John Speller, j.speller525@btinternet.com

`` £15/£5/free to group

Return pilgrimage to Jerez

`` Riverside, woodland and ruins `` Cavendish Pavilion Cafe,

`` £1,925 `` Hotel Casa Grande, Plaza las

Nash Point and the Heritage Coast

Rocky Mountain Gold 2017 – photo tour

Wednesday 5 April / 9:30-16:30

members

Tuesday 11 – Monday 17 April

Bolton Abbey, Skipton, Yorkshire BD23 6AN `` Jim Souper, Jim_Souper@ msn.com

Angustias, 3 Jerez de la Frontera, Spain `` Colin Howard, colin.howard@ mac.com

Saturday 8 April / 10:00-16:00

2-19 October

`` An informal photography

`` £2,250 `` Denver, Colorado, United

walk on the coast of South Wales `` Nash Point car park, St Donas, Marcross, Mid Glamorgan CF61 1ZH `` Peter Douglas-Jones, 07776 141409, peter@douglas-jones.biz

Brecon Beacons photography walk Saturday 22 April / 9:00–14:00

`` An informal photography

walk in the beautiful Brecon Beacons `` Car park of the former Cross Inn, Llanddeusant, Carmarthenshire SA19 9YG

States of America VISUAL ART

VIVECA KOH FRPS, 07956 517524 VIVECA.KOH(GMAIL.COM

Winter meeting members’ day Saturday 25 February / 10:30-16:00

`` £8 and £5 ploughman’s lunch

`` Winter meeting of the Rollright group

`` The Village Hall, Main Street, Long Compton CV36 5JS

`` Andreas Klattt,

andreas@klatt.tv

VOL 157 / FEBRUARY 2017 / THE RPS JOURNAL / 155

156 | GUIDE | Visual art group spring weekend Fri 21 April – Mon 24 April

`` Cost TBC `` Best Western Clayton Hotel `` St Mary Street, Cardiff CF10 1GD

`` David Wood,

wood.david.j@virgin.net

EXHIBITIONS

LESLEY GOODE, EXHIBITIONS MANAGER 01225 325720, LESLEY(RPS.ORG

RPS International Print Exhibition 159 – Taunton Until Saturday 11 March

`` Museum of Somerset,

Taunton Castle, Castle Green, Taunton TA1 4AA

RPS International Print Exhibition 159 – Barnsley Saturday 22 April – Saturday 3 June

`` Now in its 159th edition, this

exhibition showcases a diverse range of photographic work selected from a worldwide open call `` The Civic, Hanson Street, Barnsley S70 2HZ `` Jason White, 01226 327011 , jasonwhite@barnsleycivic.co.uk

Visit the Society website to find out more about international chapters

PATRONAGE

The following salons/ exhibitions have RPSapproved patronage:

1st Sandven Image House International Photography Award Closing date: 3 February `` `` sandvenimagehouse.com `` RPS 2017/11 104th Southampton International Exhibition Closing date: 12 February ``

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

Sint-Veerleplein 5, Ghent, Belgium Advisory day Brussels (TBC) Saturday 4 March / 10:00-16:00

Rue Royale 2, Brussels

exhibition.co.uk `` RPS 2017/01

11th International Salon – Circuit ‘With Love to Women’ 2016 Closing date: 15 March `` `` galleryprostir.com `` RPS 2016/76 German International DVF-Photocup 2017 Salon BadenWüttemberg Closing date: 19 March `` `` germanphotocup.de `` RPS 2017/04

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

OVERSEAS CHAPTERS

`` southamptoninternational

German International DVF-Photocup 2017 Salon Hessen Closing date: 19 March ``

German International DVF-Photocup 2017 Salon Niedersachsen Closing date: 19 March `` `` germanphotocup.de `` RPS 2017/04 32nd International Photosalon STROM Closing date: 25 March `` `` fotostrom.eu `` RPS 2017/15 1st Aranyak Coochbehar International Digital Salon 2017 Closing date: 7 April `` `` aranyakcoochbehar.org `` RPS 2017/17

The 47th HKCC International Salon of Pictorial Photography 2017 Closing date: 13 April `` `` hongkongcameraclub.com `` RPS 2017/16 Sydney Harbour International Closing date: 16 April `` `` sydney-harbourinternational.org.au/

`` RPS 2017/09

Cheltenham International Salon of Photography 2017 Closing date: 23 April `` `` cheltenhamcameraclub. co.uk/

`` RPS 2017/18

Royal Photographic Society members around the world

CANADA

`` 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

156 / THE RPS JOURNAL / FEBRUARY 2017 / VOL 157

`` germanphotocup.de `` RPS 2017/04

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

Tel:

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MON -FRI 8am - 5pm, SAT 9am - 3pm, SUN 10am - 1pm.

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APS-C

£1049

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£4697

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£998

Canon EOS 5D MKIV

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Canon EOS 750D

Canon EOS M3

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£528

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Plus 18-55 STM £628 Plus 18-135 STM £798

Canon EOS Full Frame Bodies

Canon EOS M LENSES

Canon EOS 760D

11-22 f4/5.6 IS STM ....................... £317 15-45 f3.5/6.3 IS STM .................... £219 18-55 f3.5/5.6 IS STM .................... £199 18-150 f3.5/6.3 IS STM .................. £429 22 f2 STM ....................................... £198 28 f3.5 Macro IS ............................. £289 55-200 f4.5/6.3 IS STM .................. £268

APS-C

EOS 5DsR body ..................................£2699 EOS 5Ds body ....................................£2499 Body only £548 EOS 6D body......................................£1297

Nikon D5 Full Frame

Body only price

£4797 Nikon D750 Full Frame Body only

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Plus 24-120 f4 VR £2297

Nikon D810 Full Frame

Body only £2398

Nikon D500 APS-C

Body only price

£1728

Nikon D5600 APS-C

Plus 18-55 AF-P £798 Plus 18-140 VR £989

Nikon D3400 APS-C

Body only £368 Plus 18-55 AF-P £438 Nikon DSLR Cameras APS-C Format D7200 Body only ..............................£848 D7200 + 18-105 VR .........................£1087 D5500 Body only ..............................£578 D5500 + 18-55 VRII ...........................£648 D5500 + 18-140 VR ...........................£797

X-T2 Body Black £1398 Plus 18-55 £1647 X-Pro2 Body only £1299

X-Pro2 body ........................... £1299 X-T2 + 18-55mm .................. £1647 X-T2 body ............................... £1398 X-T10 + 18-55mm ................... £715 X-T10 body Blk/silv................. £449 LENSES 10-24mm F4 XF ....................... £766 14mm F2.8 XF R ...................... £788 16mm F1.4 XF .......................... £797 16-55mm F2.8 .......................... £898 18mm F2 XF.............................. £449 18-55mm F2.8/4 OIS ............. £618

NIKON DX NON FULL FRAME LENSES 10.5 F2.8 DX Fisheye . . . . . . . .£599 10-24 F3.5/4.5 AFS G . . . . . . . .£729 16-80 F2.8/4 AFS ED VR. . . . . .£858 16-85 F3.5/5.6 AFS VR . . . . . . .£568 18-105 F3.5/5.6 AFS G no box £239 18-140 F3.5/5.6 AFS VR . . . . . .£458 18-300 F3.5/6.3 AFS VR . . . . . .£628 35 F1.8 AFS G . . . . . . . . . . . . . . .£178 40 F2.8 AFS G macro . . . . . . . .£238 70-300 F4.5/6.3 AFP VR. . . . . .£288 70-300 F4.5/6.3 AFP non VR .£259 NIKON FX FULL FRAME LENSES 14-24 F2.8 AFS G ED. . . . . . . £1638 16-35 F4 AFS VR . . . . . . . . . . £1018 18-35 F3.5/4.5 AFS G . . . . . . . .£618 19 F4 PC E ED . . . . . . . . . . . . .£3297 20 F1.8 AFS G ED. . . . . . . . . . . .£647 24 F1.4 AFS . . . . . . . . . . . . . . . £1788 24 F1.8 AFS G ED. . . . . . . . . . . .£628 24-70 F2.8 AFS G ED VR. . . . £1598 24-85 F3.5/4.5 AFS VR . . . . . . .£428 24-120 F4 AFS G ED VR . . . . . .£897 28 F1.8 AFS . . . . . . . . . . . . . . . . .£558 28-300 F3.5/5.6 AFS VR . . . . . .£828 35 F1.4 AFS G . . . . . . . . . . . . . £1578 35 F1.8 AFS G . . . . . . . . . . . . . . .£438

18-135mm F3.5/5.6 XF.......... £649 23mm F1.4 XF .......................... £788 23mm F2 XF R WR .................. £418 27mm F2.8 XF .......................... £328 35mm F1.4 XF .......................... £448 35mm F2 R WR......................... £347 50-140mm F2.8 R OIS ......... £1328 50-230mm F4.5/6.7 XC OIS . £247 55-200mm F3.5/4.8 OIS XF.. £597 56mm F1.2 R APD ................ £1158 56mm F1.2 XF .......................... £797 60mm F2.4 XF .......................... £578

CANON EF-S NON FULL FRAME LENSES 10-18 F4.5/5.6 IS STM . . . . . . .£228 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. . . . . . . £979 11-24 F4 L USM . . . . . . . . . . . .£2649 16-35 F2.8 L USM MKIII . . . . .£2249 16-35 F4 L IS USM. . . . . . . . . . . £877 17-40 F4 L USM . . . . . . . . . . . . . £539 20 F2.8 USM . . . . . . . . . . . . . . . . £447 24 F1.4 L II USM. . . . . . . . . . . .£1478 24 F2.8 IS USM . . . . . . . . . . . . . . £429 24 F3.5 LII TSE. . . . . . . . . . . . . £1499 24-70 F2.8 L II USM. . . . . . . . .£1897 24-70 F4 L IS USM. . . . . . . . . . . £747 24-105 F4 L IS USM MKII. . . .£1049 28 F2.8 IS USM . . . . . . . . . . . . . . £387 35 F1.4 USM LII . . . . . . . . . . . .£1798 35 F2 IS USM. . . . . . . . . . . . . . . . £468 40 F2.8 STM . . . . . . . . . . . . . . . . £168 50 F1.2 L USM . . . . . . . . . . . . .£1249 50 F1.4 USM . . . . . . . . . . . . . . . . £328 50 F1.8 STM . . . . . . . . . . . . . . . . £108 70-200 F2.8 IS LII USM. . . . . .£1848 70-200 F2.8 non IS L USM. . .£1097

50 F1.4 AFS G . . . . . . . . . . . . . . .£377 50 F1.8 AFS G . . . . . . . . . . . . . . .£188 60 F2.8 AFS . . . . . . . . . . . . . . . . .£498 70-200 F2.8 AFS VRII . . . . . £1898 70-200 F4 AFS G ED VR . . . . £1178 70-300 F4.5/5.6 AFS VR . . . . . .£497 80-400 F4.5/5.6 AFS G VR . . £2079 85 F1.4 AFS G . . . . . . . . . . . . . £1347 85 F1.8 AFS G . . . . . . . . . . . . . . .£428 105 F1.4 AFS E ED . . . . . . . . . £1997 105 F2.8 AFS VR macro . . . . . .£748 200-500 F5.6 AFS E ED VR. . £1178 300 F2.8 AFS ED VRII . . . . . . £4897 300 F4 AFS E PF ED VR. . . . . £1497 400 F2.8 G E FL ED VR . . . . £10398 500 F4 E AFS FL ED VR . . . . . £8447 600 F4 E AFS FL ED VR . . . . . £9699 TC14EIII converter. . . . . . . . . . .£428 TC17EII converter . . . . . . . . . . .£347 TC20EIII converter. . . . . . . . . . .£394 NIKON FLASH & GRIPS SB500 flash . . . . . . . . . . . . . . . . .£194 SB700 flash . . . . . . . . . . . . . . . . .£238 SB5000 flash. . . . . . . . . . . . . . . .£489 MBD-17 (fit D500). . . . . . . . . . .£358 MBD-16 (fit D750). . . . . . . . . . .£248 MBD-15 (fit D7200). . . . . . . . . .£229 MBD-12 (fit D810/800/E) . . . .£318 MBD-11 (fit D600/610) . . . . . .£189

SYSTEM

90mm F2 R LM WR ................. £797 100-400 F4/5.6 OIS WR ..........£1439 1.4x XF TC WR ........................... £299 2x XF TC WR .............................. £347 11mm or 16mm Ext tube ea ..£64 ACCESSORIES & FLASH VPB-XT2 Vertical grip............. £268 VPB-XT1 Vertical grip............. £119 EF-20 TTL Flashgun ...................£98 EF-42 TTL Flashgun ................ £168 EF-X20 TTL Flashgun ............. £168 EF-500 TTL Flashgun ............. £449

70-200 F4 L IS USM. . . . . . . . .£1018 70-200 F4 L USM . . . . . . . . . . . . £648 70-300 F4/5.6 L IS USM . . . . .£1188 70-300 F4/5.6 IS USM II . . . . . . £498 70-300 F4/5.6 IS USM. . . . . . . . £329 85 F1.8 USM . . . . . . . . . . . . . . . . £348 100 F2.8 IS L USM macro. . . £749 100 F2.8 Macro USM. . . . . . . £369 100-400 F4.5/5.6 IS LII U . . . .£1779 200-400 F4 IS L USM . . . . . . .£9797 200 F2.8 II L USM . . . . . . . . . . . £649 300 F2.8 IS L USM II . . . . . . . .£5777 300 F4 L IS USM. . . . . . . . . . . .£1138 400 F2.8 IS L USM II . . . . . . . .£8997 400 F4 DO II IS USM . . . . . . . £6777 400 F5.6 L USM . . . . . . . . . . . .£1098 500 F4 IS L U II . . . . . . . . . . . . £8297 600 F4 IS L USM II . . . . . . . .£10444 1.4x III converter. . . . . . . . . . . £347 2x III converter . . . . . . . . . . . . £338 12mm EF MKII ext tube. . . . . £69 25mm EF MKII ext tube. . . . £128 CANON FLASH & DSLR GRIPS 430EX III RT Speedlight . . . . . . £238 600EX-RT II Speedlight . . . . . . £538 BG-E20 (fit 5D MKIV) . . . . . . . . £279 BG-E16 (fit 7D MKII) . . . . . . . . . £179 BG-E18 (fit 750/760D) . . . . . . . . £99 BG-E14 (fit 80D). . . . . . . . . . . . . £178 BG-E13 (fit 6D) . . . . . . . . . . . . . . £147

10-20 F3.5 EX DC HSM . . . . . .£328 12-24 F4.5/5.6 II DG. . . . . . . . .£528 17-50 F2.8 EX DC OS. . . . . . . .£279 18-35 F1.8 DC HSM Art . . . . .£519 18-300 F3.5/6.3 DC mac OS .£335 20 F1.4 DG HSM Art . . . . . . . .£629 24 F1.4 DG HSM Art . . . . . . . .£598 24-35 F2 DG HSM Art . . . . . . .£699 24-70 F2.8 EX DG . . . . . . . . . . .£526 35 F1.4 DG HSM Art . . . . . . . .£577 50 F1.4 EX DG HSM Art .£569 50-100 F1.8 DC HSM Art . . . .£829 70-200 F2.8 EX DG OS . . . . . .£697 105 F2.8 EX DG OS HSM . . . .£318 150 F2.8 EX DG OS. . . . . . . . . .£647 150-600 F5/6.3 OS Cont. . . . .£697

150-600 F5/6.3 OS Sport . . £1197 TC1401 converter. . . . . . . . . . .£228 TC2001 converter. . . . . . . . . . .£269 USB Lens dock CAF/NAF . . . . . £38

16-300 f3.5/6.3 Di II VC PZD .... £388 18-200 F3.5/6.3 Di II VC............. £189

150-600 F5/6.3 VC USD G2 ....£1349 150-600 F5/6.3 SP VC USD ....... £728 Kenko Converters 1.4x Pro 300 converter .............. £159 2x Pro 300 converter ................. £159 Auto ext tube set ..................£109.99

Family Run Pro Dealership With Friendly, Knowledgeable Staff. Prices Inc VAT - Correct 13/01/2017. P&P Extra. E&OE. MORE ON WEBSITE - UPDATED DAILY. FREE U.K. MAINLAND DELIVERY FOR ITEMS OVER £100 VALUE. ALL U.K. STOCK, NO GREY IMPORTS.

Although we are the best stocked dealer in the West Country, we cannot always have every item listed in stock at all times, so we are happy to reserve new & used items for customers planning to visit. Prices correct 13/01/2017 but subject to change without notice. See website for up to date prices. E&OE.

Website altered daily inc. manufacturers cashback & promotions

www.mifsuds.com Subscribe to our newsletter - send your email address to info@mifsuds.com.

QUALITY USED EQUIPMENT. See website for full list. Call us to check condition. 6 Month warranty on most secondhand.

CANON USED

Used Canon

EOS 1DX body box

£2299/2799

Used Canon

EOS 5D MKIII body box

£1699

NIKON USED

Used Nikon D4s body box

£3699

Used Nikon D4 body box

£2299

Used Nikon D3X body box

£1999

DIGITAL USED

Used Fuji

X-Pro2 body box

£1099

Used Olympus

OM-D E-M1 body Mbox

£449

Used Sony

A7R II body box

£2299

Buy with confidence - all of our used equipment is thoroughly tested and cleaned before being offered for sale CANON DIGITAL AF USED 1DX MKII body ..................... £4299 1DX body box ...........£2299/2799 1D MKIV b/o serviced ....... £1499 1D MKIV body ...................... £1299 1D MKIII body .........................£699 1Ds body ..................................£299 7D body ....................................£499 5D MKIV body box ............. £2699 5D MKIII b/o box ......£1399/1699 5D MKII body ............................. £799 5D MKI body box ..................... £499 60D body ..................................... £399 50D body ..................................... £299 30D body ..................................... £129 20D body ........................................£99 EVF-DC1 for G3X ...................... £149 BG-E2 ................................................£39 BG-E2N.............................................£49 BG-E4 box .......................................£69 BG-E5 ................................................£49

BG-E6 ................................................£79 BG-E7 ................................................£79 BG-E8 ................................................£69 BG-E11 .......................................... £169 BG-E13 .......................................... £119 BG-E16 box ................................. £149 CANON AF FILM BODIES USED EOS 1V body M- box ............£699 EOS 3 body M- box ...............£299 EOS 1n HS body .....................£199 EOS 30/5 body each ............... £69 EOS 650 body ........................... £39 EOS 600 body ........................... £39 EOS 50E body............................ £29 EOS 500N body ........................ £29 EOS 1000 body ......................... £29 PB-E2 drive M- box................£199 PB-E2 drive fits EOS1/3 ........£149 CANON AF LENSES USED 10-22 F3.5/4.5 U .....................£279 16-35 F2.8 USM LII.................£899

50mm F4 CF FLE

£849

Used Mamiya RB67 Pro SD 127 KL + WLF + Back M-

£649

Used Pentax 67II body + AE Prism Box

£999

£499

Used Zeiss

Victory Diascope 85T* FL + 20x60 box

£1399

10-20 F4/5.6 HSM box .......£219 12-24 F4.5/5.6 EX DG ................£399 18-50 F2.8 EX DC.......................£149 18-50 F2.8/4.5 DC .......................£99 18-125 F3.8/5.6 OS DC ...........£149 18-200 F3.5/6.3 HSM OS £149/199 24-70 F2.8 HSM..........................£469 28-135 F3.8/5.6 ............................£99 50 F2.8 EX macro .....................£149 50-500 F4/6.3 EX DG ............£399 70-200 F2.8 EX DG ...............£399 120-300 F2.8 DG OS Sport box ............................... £1799 120-300 F2.8 EX DG ..............£699 120-400 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 EX DG conv ..........................£149

1.4x EX conv .................................... £99 Kenko Pro 300 1.4x conv........... £99 Kenko ext tubes............................. £79 OTHER CAF USED TAM 10-24 F3.5/4.5 Di II ......... £199 TAM 18-270 F3.5/6.3 VCII ......£169 TAM 28-75 F2.8 XR Di ...........£199 TAM 70-300 F4/5.6 .....................£99 TAM 90 F2.8 .................................£249 TAM 150-600 F5/6.3 USD ......£649 TAM 200-500 F5/6.3.................£449 ZEISS 50 F1.4 ZE M- box ........£599 CANON FLASH USED ST-E3 transmitter box ..........£189 ST-E2 transmitter ..................... £79 MR-14EX ringflash .................£349 430EXII.......................................£169 550EX .........................................£149 580EX box ................................£179 580EX MKII ...............................£299

MBD-80 grip .............................. £49 MBD-100 grip............................ £39 MBD-200 grip............................ £49 NIKON AF FILM BODIES USED F4E body ...................................£299 F4 body .....................................£249 F65 body ..................................... £39 F801 body ............................£29/59 F601 body .................................. £29 F55 body ..................................... £25 NIKON AF LENSES USED 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............................ £749 16-85 F3.5/5.6 AFS VR .........£399 17-55 F2.8 AFS ............................£449 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 18-105 F3.5/5.6 AFS VR ...........£169 18-135 F3.5/5.6 AFS G .............£169

18-200 F3.5/5.6 AFS VRI ..........£249 20 F2.8 AFD ..................................£329 20 F2.8 AF......................................£279 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 28-300 F3.5/5.6 VR......................£599 35 F2 AFD .......................................£199 35-70 F3.3/4.5 AF .......................... £59 40 f2.8 AFS Micro ...................£169 50 F1.4 AFD..............................£199 50 F1.8 AFD................................ £99 50 F1.8 AF ................................... £79 55-200 F4/5.6 AFS ................... £79 60 F2.8 AFS ..............................£399 60 F2.8 AF .................................£199 70-200 F2.8 AFS VRII .......... £1349 70-200 F2.8 AFS VRI ..............£899 70-200 F4 AFS 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 AFS M- box ...............£999 85 F1.4 AFD..............................£499 85 F1.8 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 ...........................£399 135 F2 AFD box ......................£799 180 F2.8 AFD M- box ............£449 200 F4 AF ..................................£999 200-400 F4 AFS VRII ........... £3799 300 F2.8 AFS VRI ................. £2699 300 F4 AFS box.......................£549 400 F2.8 AFS VR serviced . £5799 400 F2.8 AFS non VR.......... £3999 600 F4 AFS VR ...................... £6299 600 F4 AFS VR serviced .... £5799 600 F4 AFS II non VR serviced .................................. £4499 TC14EII .......................................£299 TC17EII .......................................£249

TC20EIII M- box ......................£249 TC20EII .......................................£199 TC20E .........................................£149 SIGMA NAF USED 10-20 F4/5.6 EX DC ....................£239 12-24 F4.5/5.6 EX DG ................£449 15 F2.8 EX DG ...............................£399 18-200 F3.5/6.3 DC OS ............£199 24-70 F2.8 EX DG serviced ....£299 28-200 F3.5/5.6 early...................£69 30 F1.4 EX DC ..............................£199 50 F1.4 Art M- box.....................£499 50-500 F4/6.3 DG..........£399/499 70 F2.8 EX DG .........................£149 70-200 F2.8 OS DG ................£599 70-200 F2.8 EX DG.................£399 70-300 F4/5.6 APO DG........... £99 80-400 F4.5/5.6 DG OS ........£399 105 F2.8 EX ..............................£199 120-400 F4/5.6 DG ................£399 150 F2.8 EX DG OS mac ...........£499 150-500 F5/6.3 DG OS ..............£499 2x EX DG converter....................£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 24-70 F2.8 USD.............................£599 28-300 F3.5/6.3 XR Di................£149 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-600.......£169 SB-900 ..........£249 SB-R1 kit M- box ..........................£399 SD-8 batt pack................................ £49 DR-3 angle finder.......................... £59 MB-10 (fits F90) .............................. £29 MB-23 (fits F4)................................. £69 MC-30 remote ................................ £39 MF-23 (date back F4) .................. £79

Why not register to receive our email newsletters? Simply send your email address to info@mifsuds.com to enrol FUJI DIGITAL USED X-Pro2 body box .................£1099 X-Pro1 body ............................ £299 X-T1 body graphite box ..... £499 X-T1 body black..................... £499 X-T1 body black..................... £449 X-T10 body box ..................... £349 X-E1 body black .................... £199 10-24 F4 ................................... £599 18-55 F2.8/4 XF ..................... £399 27 F2.8 XF box ....................... £199 35 F1.4 R box .......................... £399 50-230 F4.5/6.7 XC box ...... £169 55-200 F3.5/4.8 R .................. £449 60 F2.4 macro box................ £429 1.4x converter ........................ £269 X-T1 vertical grip......................£79 MINOLTA/SONY DIGITAL USED Sony A7R II body box..........£2299 Sony A7 II body ....................... £999 Sony A6300 body ................... £799 Sony VG-B30AM .........................£69 Sony VG-C2EM ......................... £179 Sony VG-C70AM...................... £139

BRONICA ETRS 645 USED 40 F4 MC .................................. £149 50 F2.8 E................................... £149 75 F2.8 PE ................................ £149 105 F3.5......£99 150 F3.5 E...£99 150 F3.5 PE M- Box............... £149 E14 Ext tube ..............................£49 E42 Ext tube ..............................£49 120 RFH .......................................£69 Polaroid Back ............................£39 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 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

35MM & MISCELLANEOUS USED CANON FD USED 28 F2.8 ..........................................£49 Used Leica 35-70 F3.5/4.5 ............................£59 R8 body black box

70-300 F4/5.6 L IS U .....£699/799 70-300 F4/5.6 DO IS U..........£399 70-300 F4.5/5.6 IS USM .......£249 75-300 F4/5.6 MKII .................. £99 85 F1.8 M-.................................£269 100 F2.8 USM box..................£299 100-400 F4.5/5.6 L IS U ......... £899 135 F2 L M- box......................£499 180 F3.5 L mac ..........................£799 300 F2.8 LI IS U.......................£2799 300 F4 L IS USM box ...............£749 400 F4 DO ISII L U .................£5799 400 F5.6 L box ...........................£749 500 F4 LI IS USM....................£4499 1.4x extender MKII ................£239 2x extender MKIII.....................£269 2x extender MKII ......................£199 Teleplus 2x DG conv ............... £89 Kenko ext tube set DG ............... £89 SIGMA CAF USED 10-20 F3.5 EX DC................£269

We carry out sensor cleaning on the premises, firmware updating and equipment hire - please enquire for details NIKON DIGITAL AF USED D4s body box ....................... £3699 D4 body box......................... £2299 D3X body box ...................... £1999 D3s body box ............£1499/1799 D3 body box......................... £1199 D2xs body ................................£399 D2x body ..................................£349 D800 body ............................ £1399 D700 body box.......................£699 D600 body box.......................£799 D300s body box .....................£429 D300 body box.......................£299 D200 body box.......................£149 D7100 body box ....................£499 D7000 body ....................£299/349 D5000 body .............................£169 D90 body ..................................£199 D80 body ..................................£169 D50 body .................................... £79 MBD-15 grip ............................£149 MBD-14 grip ............................£149 MBD-10 grip M- box .............£129 MBD-10 grip .............................. £79

Sony HV56AM .......................... £169 Sony LA-EA4 mount adap .. £189 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 55-200 F4.5/6.3 .....................£149 FE 90 F2.8 macro ........................£799 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 20-35 F3.5/4.5 M- box ......... £249 24 F2.8 AF ................................ £199 24-50 F4 ......................................£99 24-85 F3.5/4.5 ........................ £149 28 F2.8 .........................................£99 28-80 F4/5.6...............................£39 28-85 F3.5/4.5 ...........................£99 35-70 F4 ......................................£39

MEDIUM FORMAT 6x45, 6x6, 6x7 & 6x9 USED

Used Hasselblad

16-35 F2.8 USM LI..................£699 17-40 F4 L .................................£449 17-55 F2.8 EFS IS USM .........£399 17-85 F4/5.6.............................£199 18-135 F3.5/5.6 IS USM ............£349 24 F3.5 TSE MKI box...................£699 24-70 F2.8 L USM box ...............£799 24-85 F3.5/4.5 USM....................£149 24-105 F4 L.....................................£599 28 F2.8 .......................................£129 28-80 F3.5/5.6 ........................... £79 28-90 F3.5/5.6 ........................... £79 28-135 F3.5/5.6 IS USM .......£169 50 F1.2 L USM box.................£999 50 F1.4 USM.............................£239 50 F2.5 macro .........................£149 55-250 F4/5.6 EFS ..................£139 60 F2.8 USM EFS mac ...........£249 70-200 F2.8 IS USM LI...........£999 70-200 F2.8 USM L ................£799 70-200 F4 U L ..........................£399

35-70 F4 .......................................£69 50 F1.4 ..........................................£99 50 F1,8 ..........................................£49 50 F2..............................................£49 70-150 F4.5 .................................£29 75-200 F4.5 .................................£49 100-300 F5.6 ...............................£79 135 F3.5 (Breechlock) ..............£39 2x Extender B .............................£49 25mm Ext tube..........................£29 50mm Ext tube..........................£29 177A flash....................................£20 199A flash....................................£39 244T flash ....................................£20 277T flash ....................................£25 299T flash ....................................£29 300TL flash ..................................£49 Winder A ......................................£20

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 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 ..............................£79 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

35-70 F3.5/4.5 .................................£25 35-80 f4/5.6 ......................................£25 35-105 F3.5/4.5 ..............................£99 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 Angle finder VN..............................£69 SONY LENSES USED 16-80 F3.5/4.5 ZA DT................£499 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 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 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 TAM 150-600 F3.5/6.3 USD ..... £599 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 OLYMPUS 4/3 USED E10 MKII body ........................ £349 E10 body.................................. £279 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.................. £899 40-150 F4/5.6 ............................£49 50 F2 macro ............................ £279 25mm ext tube.........................£79 FL-36 Flash .............................. £119 OLYMPUS MICRO 4/3 USED Stylus 1F................................... £299 OMD-EM1 body M- box ..... £449 OMD E-M5 MKII b/o box .... £499 OMD E-M5 body box........... £249 OMD-EM10 MKII body ........ £299 OMD-EM10 body .................. £249 EP-M2 body ............................ £149 12-40 F2.8 Pro ........................ £649 12-50 F3.5/6.3 ........................ £149 14-150 F4/5.6 ......................... £399 17 F2.8 ...................................... £159 45 F1.8 box ............................. £199 40-150 F2.8 Pro ..................... £949 40-150 F4/5.6 ......................... £139 45 F1.8.......£159 60 F2.8.......£99 75-300 F4.8/6.7 MKII............ £299 1.4x converter ........................ £249 HLD-8 grip............................... £149

HLD-7 grip box ...................... £119 HLD-6 grip..................................£99 PANASONIC DIGITAL USED FZ1000 bridge camera ....... £449 GH2 body ................................ £299 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 GM1 body silver .................... £299 12-35 F2.8 ................................ £549 14 F2.5 ...................................... £199 14-42 F3.5/5.6 ...........................£79 14-45 F3.5/5.6 ........................ £149 20 F1.7 ...................................... £199 35-100 F4/5.6 ......................... £199 45-200 F4/4.5 box ................ £199 100-300 F4/5.6....................... £349 LVF2 viewfinder..................... £149 PENTAX DIGITAL USED Km body .................................. £149

For more used equipment listings please see website www.mifsuds.com 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 serviced..... £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 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 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 6 & 7 RF 6x7 USED 50 F4 G ..................................... £599 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 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 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

PENTAX 645AF USED 645N body .............................. £399 AF500FTZ flash .........................£79 PENTAX 645MF USED 645 + 75 F2.8 .......................... £249 645 body + insert ................. £199 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

Please contact us to determine availability before making a lengthy journey Winder B ......................................£30 CONTAX 35mm RF USED 90 F2.8 G ................................... £299 CONTAX MF USED 28-70 F3.5/4.5 MM ................ £169 HASSELBLAD XPAN USED Centre filter 49mm........................£129 LEICA SLR USED R8 body black box................. £499 R7 body black ......................... £299 R5 body black ......................... £179 28-70 F3.5/4.5 R ..................... £399 LEICA OPTICS USED Televid APO 77 + eyepiece .... £799 Televid 77 + 20x60 ................ £649 Trinovid 10x42 ........................ £599 Ultravid 8x32 HD ................... £849 LIGHTMETERS USED Minolta Flashmeter V ........... £199 Polaris ...........................................£99 Sekonic L308 ..............................£99

Sekonic L408 ........................... £149 MINOLTA MD USED X300 chrome body ..................£49 X300s black body .....................£49 X700 black body .......................£69 XGM chrome body ...................£49 28 F3.5 MD ..................................£39 50 F1.7 MD ..................................£49 50 F2 MD .....................................£49 70-210 F4 MD.............................£99 2x Converter ...............................£79 Ext tube for 50 F3.5..................£29 Ext tube set.................................£49 Auto bellows 1...........................£99 NIKON MF USED F3 body ..................................... £199 FM2n body chr box............... £299 FM2n body chr ....................... £249 FE body chrome........................£99 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 ........ £179 500 F4 AIS...............................£1499 500 F8 mirror early................ £279 TC200 ............................................£49 SC-17 TTL lead ...........................£25 DW-3 WLF find fit F3 ...............£99 DW-21 fits F4 ........................... £149 Nikon bellows II box ................£89

OLYMPUS OM USED OM-4T body ............................ £249 OM-2SP body .......................... £149 OM-2n body blk or chr ........ £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 7, 14, 25 man ext tube ea ......£20 14 or 25 auto ext tube ea ......£29 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 ........................................ £199

55-300 F4/5.8 ED box........... £199 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 MF USED 40 F2.8 PK ....................................£99 50 F1.4 PK ....................................£99 50 F4 macro PK..........................£99 TAMRON ADII USED 90 F2.5 SP ................................. £149 VANGUARD SCOPES USED Endeavour HD65A................. £229 VOIGTLANDER USED 15 F4.5 + VF M- box .............. £269 ZEISS USED Victory Diascope 85 T* FL + 20x60 box ...........................£1399

ITEM YOU REQUIRE NOT LISTED? PLEASE GIVE US DETAILS OF WHAT YOU ARE LOOKING FOR AND WE WILL CONTACT YOU WHEN THAT ITEM BECOMES AVAILABLE. Mail order used items sold on 10 day approval. Return in ‘as received’ condition for refund if not satisfied (postage not included - mail order only). E&OE.

160 | TIMES PAST | Speed Graphic camera. And even today the camera enjoys favour among some photographers.

American photojournalist David Burnett used one at the London 2012 Olympics.

Established in New York in 1887, The Folmer & Schwing Manufacturing Company originally produced light fittings and bicycles but started producing cameras in the 1890s, including the Speed Graphic from 1912 onwards. Acquired by George Eastman in 1909, it was a Kodak company until 1926, after which it went through several changes of name and ownership until it was dissolved in 1973, then known as Graflex.

The Anniversary model of the Speed Graphic camera in the Society Collection was manufactured between 1940 and 1947 and marked the company’s 50th year of making cameras. Available in two formats – 31/4 x 41/4 and 5 x 7 inches – it was equipped with both a rangefinder and wireframe viewfinder.

Although originally the camera used a two-shot sheet film holder, it was later possible to use six and 12-sheet magazines.

Photographers had the choice of two shutters – a built-in focal plane (up to 1/1,000sec – hence the ‘Speed’ in the camera’s name) and that on the lens.

Meanwhile, its front panel could accommodate a huge variety of lenses.

The Speed Graphic camera produced many award-winning and memorable images until the early 1960s – the 1961 Pulitzer Prize-winning shot of the assassination of Japanese politician Inejiro Asanuma was one of the last before smaller cameras took over.

Nowadays we can admire the photographers who used the Speed Graphic, who did not have the questionable luxuries of motor drives and SD cards and autoeverything. Perhaps we could all learn from their necessarily economical approach.

A 20th-century thoroughbred

The Speed Graphic camera was the must-have piece of equipment for press photographers

N

o depiction of a press photographer in the 1930s-1950s would be complete without a Speed Graphic camera.

This was the workhorse of professional photographers for almost 61 years. It was the camera of choice for the likes of Weegee and for countless World

War II photographers – Joe Rosenthal’s iconic image Raising the Flag was shot on one.

During her time as a reporter for the Washington Times-Herald, Jacqueline Bouvier (under the byline of the Inquiring Camera Girl) photographed Richard Nixon – and her future husband, Senator John F Kennedy – using a

160 / THE RPS JOURNAL / FEBRUARY 2017 / VOL 157

The camera, which would be used to take many iconic photographs, made its debut in 1912

PETER HARVEY ARPS

© MICHAEL PRITCHARD

‘JACQUELINE BOUVIER USED ONE UNDER THE BYLINE OF THE INQUIRING CAMERA GIRL’