The RPS Journal, April 2017

BURSARIES

ONLINE ADVICE

STEP BY STEP

HOW SOCIETY SUPPORT HAS TRANSFORMED LIVES

GET EXPERT HELP WITH BUILD YOUR OWN DISTINCTIONS PORTFOLIOS PINHOLE CAMERA

APRIL 2017 / VOLUME 157 / NUMBER 4 / WWW.RPS.ORG

JILLIAN EDELSTEIN ‘Why empathy is the key to good portraiture’

Now’s the time.

Buy the B1 or B2.

Get an Air remote for free.

Buy a B1 or B2 Off-Camera Flash kit before April 30, 2017 and get any of the Air Remote TTL (for Canon, Nikon or Sony) or Air Remote for free.

Find dealer: profoto.com/offcameraflash/find-dealer

OPENING SHOT

| APRIL 2017 | 241

IT’S ALL ABOUT THE JOURNEY

I PLEASE NOMINATE…

Don’t miss the call for nominations to the Council and Advisory Board, included with this issue.

In particular, the Society is looking for members with relevant professional experience – especially in marketing, fundraising and education, or as a charity trustee – to stand.

See rps.org/election2017

PRINCIPAL PATRONS

have newly returned from yet another excellent Photography Show at the NEC, Birmingham. It was great to have the opportunity to attend talks by some of the biggest names in photography, and I particularly enjoyed hearing star-studded tales from Albert Watson HonFRPS, who shed some light on how much commitment is required to become such a high-profile photographer.

The Society’s stand was, as ever, swarming with eager photographers – and future Albert Watsons – looking to find out about what a membership can offer them, with the Society’s dedicated staff and volunteers on hand to chat to and advise visitors.

Among those tireless volunteers was the chair of the Distinctions board, Roger Reynolds HonFRPS, who, among his other duties, has found the time to write an engaging profile about the wildlife photographer Dan Hartman, starting on page 282.

Working as a photographer for more than three decades, Hartman has become an expert in Wyoming wildlife along the way, and often assists on nature programmes such as the BBC’s Planet Earth. His story is well worth a read.

For those of you looking for an opportunity to

MAJOR PARTNERS

embark on a photography project all of your own – although perhaps not a 27-year trip to the Wyoming wilderness – then why not consider one of the Society’s four bursaries, now open for applications.

If you’re under any doubt that such an award can really make a difference to your career, then turn to our bursary feature, where we talk to four previous recipients and find out how Society support has helped their careers go from strength to strength.

Finally, I’m excited to bring you this month’s cover artist, the exceptional Jillian Edelstein HonFRPS. In a feature looking back over her extensive career, Edelstein shares the stories behind some of her best shots, and reveals an image from a brand new body of work that explores the biggest fears faced by young men.

ANDREW CATTANACH Editor

SUPPORTING PARTNERS

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242 | APRIL 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

Contributing editors Fiona McKinlay, Jonathan McIntosh, Gavin Stoker, David Clark Design Matthew Ball, John Pender, Andrew Bell Sub-editor Sam Bartlett Advertising sales Molly Matthews molly.matthews@thinkpublishing. co.uk 020 3771 7233 Editor-in-chief Clare Harris clare.harris@thinkpublishing.co.uk Group account director John Innes © 2017 The Royal Photographic Society.

All rights reserved.

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

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

Cover A selfie with my son

by Jillian Edelstein HonFRPS

276 Pinhole aficionados share their love of the format's lo-tech, high-impact possibilities

CONTRIBUTORS

DARIO MITIDIERI Big picture (p244) Award-winning London-based Italian photographer Dario Mitidieri has been shortlisted for the Sony World Photography Awards for his project Lost Family Portraits TESSA MILLS FRPS A guide to online advice (p266) Panel member Tessa Mills has a background working in jewellery and industrial design, but took up photography seriously in 2005, going on to achieve her Fellowship in 2009 GEMMA PADLEY Personal connection (p286) A freelance journalist and editor, Gemma Padley was on the selection panel for the International Print Exhibition 159, and is a regular RPS Journal contributor

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FEATURES

266 | ONLINE ADVICE Improve your Distinctions chances with help from Society experts 280 Entries for IPE 160 close on 24 May

270 | SOCIETY BURSARIES Recipients share what funding awards have helped them achieve 276 | SMALL WONDERS The power of pinhole photography 280 | MAY DAY Still time to beat IPE 160 deadline 282 | OUT OF THE WOODS Wildlife pioneer Dan Hartman

266 'How online advice aided my ARPS'

286 | BEST SHOTS Jillian Edelstein HonFRPS reveals what drives her creativity

BILL WITTLIFF; MICHAEL MCALISTER; WILLIAM GROB

EDITORIAL ENQUIRIES Editor Andrew Cattanach andrew@thinkpublishing.co.uk 0141 375 0481

260

Chestnut tiger butterfly

by Evangeline Man Lam ARPS

THE CRAFT

EVERY MONTH

295 | MUST TRY/LATEST KIT Reviews of Canon's EOS 77D and the Nikon PC-E NIKKOR 24mm f/3.5, plus a range of other gear

MICHAEL VINCE KIM; EVANGELINE MAN LAM ARPS

299 | MASTERCLASS Go retro with Matt Richardson 300 | IN DEPTH Harold Ross shares his expertise in painting with light

244 | BIG PICTURE Lost Family Portraits

by Dario Mitidieri 247 | IN FOCUS Society news, views and more 259 | BOOKS Includes The Swiss by Switzerland Chapter member Christian Nilson 260 | DISTINCTIONS Evangeline Man Lam ARPS 316 | SHOWCASE Quarried by Colin Shaw ARPS

270 One of Society postgraduate bursary recipient Michael Vince Kim's project images

320 | TIMES PAST From Street Life in London

by John Thomson VOL 157 / APRIL 2017 / THE RPS JOURNAL / 243

244 | BIG PICTURE |

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Lost Family Portraits

By Dario Mitidieri

I photographed 12 Syrian families in two refugee camps in the Bekaa Valley, Lebanon.

The families were asked to pose for a portrait, leaving spaces for relatives they had lost in the war, either through death or displacement.

I wanted to raise awareness of the plight of the nearly 1.5 million refugees in the area.

Kalila’s husband, Ahmed, told her to leave Syria as it was too dangerous. Ahmed was forced to stay, but Kalila took the children and fled for Lebanon.

Italian photographer Dario Mitidieri has been shortlisted for the Sony World Photography Awards. For more visit worldphoto.org

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247

PRESIDENT’S VIEW Thanks for Distinctions feedback 249

EXPO EXPERTS DIG reveals conference line-up 250

WALL FLOWERS The pick of the best exhibitions 252

INFOCUS NEWS, VIEWS, EXHIBITIONS AND MEMBER INSIGHT

Four days, 30 talks, 90 galleries, and more make up the Photo London experience

PAUL GRAHAM HITS LONDON FOR SOCIETY

ASTRID STAWIARZ / GETTY

Honorary Fellow will deliver the first in a new series of Photo London events: ‘RPS Presents’ Leading photographers, galleries and curators will be taking part in the third annual Photo London event from 18-21 May. Held at Somerset House, it will include a varied programme of more than 30 talks and discussions, plus

ARTIST TALK

displays of photographic work from 90 important galleries worldwide.

One of the highlights of the four-day event will be the first of a new annual series of talks arranged and supported by the Society.

The inaugural ‘RPS Presents’ talk will be on Photo London preview day, 17 May, by the celebrated fine-art

RPS PRESENTS PAUL GRAHAM

documentary photographer Paul Graham HonFRPS. Elsewhere at Photo London, big names talking about their work include Bruce Davidson, Centenary medallist William Klein, and Honorary Society Fellows David Hurn and Martin Parr.

The acclaimed Queen guitarist Brian May CBE will discuss stereoscopy, while

veteran film director Ken Loach will be in conversation with movie stills photographer Joss Barratt.

For full details of all exhibitions and events see photolondon.org

Paul Graham, made an HonFRPS in 2009

The Honorary Fellow will talk as part of Photo London on 17 May at 4.20pm. Visit photolondon.org/talks-programme VOL 157 / APRIL 2017 / THE RPS JOURNAL / 247

248 | IN FOCUS

The Olympus Trip 35 was launched in 1967 as a sturdy compact camera suitable for amateurs and pitched at those looking to take photographs on holiday. It had a 17-year production run, and in the 1970s was the subject of an advertising campaign featuring David Bailey HonFRPS and British actors, well known at the time, such as Phil Daniels.

Now, 50 years on, the camera appeals to a generation of photographers interested in analogue film.

248 / THE RPS JOURNAL / APRIL 2017 / VOL 157

ALAMY; BEN CHERRY

THE OLYMPUS TRIP 35 TURNS 50

FROM WALTER BENZIE HonFRPS

DISTINCTIONS UNDER REVIEW

Finding areas that can be improved

CALL FOR ENTRIES

WEATHER PHOTO COMPETITION OPEN For the second year the RPS has joined forces with the Royal Meteorological Society to stage the Weather Photographer of the Year competition.

The competition is open to professional and amateur photographers to submit images on weather in its widest sense. Entries can show specific weather

conditions, from stormy seas to tranquil mist, or the impact of weather.

A judging panel of photographers, photo editors and meteorologists, including BBC weather presenter Matt Taylor, will select the winning images.

The closing date for entries is 7 June

APPRECIATION

REMEMBERING BARRY LANE Barry John Lane (1944-2017) was the first, and only, photography officer at the Arts Council and was later secretarygeneral of the Royal Photographic Society, between 1995 and 2001.

As a champion for photography at the Arts Council, Lane played a pivotal role in supporting a new wave of emerging British photographers in the 1970s and 1980s through direct funding, publications and exhibitions.

At the RPS, Lane worked closely on modernising the Society, secured funding for

a feasibility study and was involved in determining future options for the RPS Collection. Away from the RPS he was a keen beekeeper and active in local history.

DR MICHAEL PRITCHARD FRPS

N

o activity is more important to the Society than the Distinctions. For this very reason council sanctioned a review into the Distinctions process to ensure that standards were being maintained, and that the assessments are being carried out fairly and efficiently.

The review team requested feedback from those who had recently been through the Distinctions process.

This qualitative survey asked that participants give comments.

The real importance of such a review is to reveal areas that can be improved. The detailed findings and recommendations were discussed with the Distinctions advisory board (DAB), and a summary of these will be published on the Society’s website, while the chair of the review team, Robert Albright FRPS, reveals his conclusions on page 314.

The review identified that members wanted: To further extend the number and geographical diversity of advisory days and alternative ways of giving advice to potential applicants, including online communication both within the UK and globally.

More consistent feedback from advisory days and from unsuccessful

portfolio applications. The recently introduced advisory day feedback forms are expected to improve this process.

More help needs to be given in clarifying the differences between the various categories in the Associate and Fellowship assessments.

More transparency in the Fellowship assessments.

Improved quality of feedback for unsuccessful applicants.

The DAB had already started to address some of these issues and it is to be congratulated for taking positive action.

For instance, those who write to unsuccessful Distinction applicants will get more training in giving concise, constructive and encouraging feedback.

I would like to thank all of those who contributed to the review, the Society’s Distinctions department and members of the DAB. WALTER BENZIE HonFRPS President of The Royal Photographic Society

VOL 157 / APRIL 2017 / THE RPS JOURNAL / 249

250 | IN FOCUS | Studio shot by Expo 17 speaker Polina Plotnikova (pictured below)

NEWS IN BRIEF

SURVEY WINNER A recent survey sent out by the exhibitions department gave members an opportunity to share feedback with the Society.

Names of participants were entered into a £100 prize draw and the winner was Martin Malies ARPS.

RECOGNISING VOLUNTEERS

Digital Imaging Group to host a range of experts at Expo 17 The annual one-day conference organised by the Society’s Digital Imaging Group takes place on 23 September. This year’s event will feature presentations by speakers including Photoshop expert Glyn Dewis and street photographer Nick Turpin, as well as landscape photographer

Paul Sanders and flower photographer Polina Plotnikova, both of whom have featured in the Journal.

The event is mainly aimed at DIG members, but all Society and non-Society members are welcome.

Tickets are £25 for Digital Imaging members and £30 for Society members.

For full details, including all ticket prices, see rps.org/ DIGExpo

The DIG is the Society’s largest special interest group and has more than 1,500 members. Formed in 1996, the group aims to stimulate and inspire, and exchange information.

Among other benefits, members can attend regular meetings, workshops and lectures, and take part in the group’s online forum.

Visit rps.org/specialinterest-groups/ digital-imaging

EIGHT TO TWELVE YEARS’ SERVICE Walter Benzie HonFRPS Garry Bisshopp ARPS Barry Collin LRPS Alan Cross LRPS David Jordan FRPS David Norfolk ARPS Laurie Pate Gillian Read FRPS Michael Sassee Norman Smith LRPS Linda Wevill FRPS John Widdows FRPS Ian Wilson ARPS TWELVE YEARS’ AND OVER SERVICE Carolyn Bloore ARPS Avril Harris ARPS Elizabeth Rhodes

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POLINA PLOTNIKOVA

DIG CONFERENCE SPEAKERS UNVEILED

FOUR TO EIGHT YEARS’ SERVICE Janine Freeston ARPS Martin Gandy LRPS Aline Hopkins LRPS Viveca Koh FRPS David O’Neill LRPS Ralph Snook ARPS

IN FOCUS | 251

365

BLACK SWAN

By Richard Dennis LRPS especially as it had This black swan is small droplets of a regular visitor at the RSPB Saltholme water on its head.

It was taken reserve in Teesside. using a Canon 7D On this day it was MkII with an EF feeding in the 500mm f/4L lens shallows close to and x1.4 extender the hide. I wanted to capture an image using the camera settings f/5.6 at of the swan just 1/800sec and after it had been foraging for food, ISO 1,000.

FEBRUARY’S MOST POPULAR ENTRIES THIS MONTH

RED GET INVOLVED

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

By Stephen Jackson This is from my first which turns healthy green foliage red attempt at using when exposed, and Kodak Aerochrome film, during a family was really happy holiday at Amroth in with the results.

I shot the South Wales on a photograph very bright, sunny morning, where the hand-held using a only clouds were Hasselblad 501cm formed from fitted with an numerous contrails. 80mm lens at f/22, I had read a little 1/125sec and with about how to use a B+W #099 this unusual film, orange filter.

MYANMAR’S NOVICE BUDDHIST MONKS By Htet Aung collectively known I took this photo while on a short trip in Myanmar – to the Bago Region. have been calling It features novice for justice and Buddhist monks democracy on reading religious behalf of the people books at their since colonial times. monastery situated I captured this near the Mahargyi image with Pagoda. The a Nikon D3200 Sangha – as coupled with an monks are 18-200mm lens.

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252 | IN FOCUS |

WHAT NOT TO MISS VOYAGES Science Museum, London UNTIL 25 JUNE

THE PROSPECT OF IMMORTALITY Side Gallery, Newcastle

This body of work by Honorary Fellows Jonathan Anderson and Edwin Low features images of the Science Museum Group’s collection of historical ship models. Shot through protective sheeting and only using ambient light, these Turneresque images play with ideas of fantasy, artifice and perception. sciencemuseum.org.uk

UNTIL 30 APRIL

These images, taken over a 10-year period

by Murray Ballard, document the international ‘cryonics community’. The exhibition is running concurrently with Under Gods, Liz Hingley’s exploration of the everyday religious experiences of the multiracial communities that live around one road in Birmingham. amber-online.com

BROAD HORIZON Drift Pop-Up Gallery @ The Mersea Gallery, West Mersea UNTIL 30 APRIL

Chrissie Westgate FRPS, Patricia Forrest, Andy Brooke, Colin Westgate FRPS and John Cruttenden use photographs to create an investigating of the term ‘horizon’. The group’s diverse interpretations of the theme range from the literal to the abstract. facebook.com/DriftPopUp

ICELAND: AN UNEASY CALM Dimbola Museum and Galleries, Isle of Wight 21 APRIL-16 JULY

Photographed and printed over an eightyear period by Dr Tim Rudman FRPS, this collection of atmospheric images of Iceland explores what he calls ‘a land of myth and magic, of fearsome subterranean power and spectacular scenery’. dimbola.co.uk

FOCUS GROUP EXHIBITION Assembly Room, Chichester 1-8 APRIL

The Focus Group is comprised of like-minded photographers based in the south of England. Its annual exhibition is showing work by its six members: Iain McGowan FRPS, Janey Devine FRPS, Peter Bamforth ARPS, Bill McKnight ARPS, Nigel Chapman and John Bradshaw FRPS. focusgroupphotography.com

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SONY WORLD PHOTOGRAPHY AWARD ! MARTIN PARR Somerset House, London 21 APRIL-7 MAY

Winning, shortlisted and commended images will be on show from the World Photography Organisation’s competition, alongside rarely seen black and white images

by Martin Parr HonFRPS, the ‘outstanding contribution to photography prize’ recipient. somersethouse.org.uk

Tate Modern, London Until 11 June Roger Mayne

The Photographers’ Gallery, London Until 11 June

Poetics of Light: Pinhole Photography

and

Britain in Focus: A Photographic History

National Science and Media Museum, Bradford Both until 25 June

ANDERSON ! LOW HonFRPS; MURRAY BALLARD; CHRISSIE WESTGATE FRPS; MARTIN PARR HonFRPS; JANEY DEVINE FRPS; TIM RUDMAN FRPS

ALSO SHOWING

Wolfgang Tillmans

254 | IN FOCUS |

Left: Lesley Goode at the Victoria Gallery in Bath in 2007 Above: Speaking at the Belfast Photo Fest in 2015 Below: IISE 2013

SOCIETY SEND$OFF

As the Society’s exhibitions manager Lesley Goode moves on to pastures new she reflects on her role with the RPS over almost 18 years

I

have been working for the Society for more than 17 years, during which time there have been big changes in the photographic industry and in my job, because of the digital transformation.

I began working for the Society in 1999 and was promoted to exhibitions manager four years later.

After moving to our new headquarters in 2004, which had no gallery space, my role focused on developing and building up touring programmes for the Society’s then three exhibitions – the International Print, International Slide and

Members’ Biennial. I also helped set up a small space in our reception area for a monthly exhibition.

In 2006, I arranged for the 148th International Print Exhibition (IPE) to go overseas for the first time in its long history, to China, and since then I have shipped exhibitions to Ukraine, Spain, Italy, Portugal and Ireland, as well as organising them all around the UK. It has always been challenging finding venues, and during my time I have used galleries, museums, arts centres, schools, universities, empty shops, shopping centres, offices, hospitals, the

Members’ Biennial exhibition in March

The 2014 International Print Exhibition

254 / THE RPS JOURNAL / APRIL 2017 / VOL 157

Royal Albert Hall and even the Houses of Parliament.

In 2007 we introduced the RPS patronage scheme and in 2011 we launched the International Images for Science Exhibition (IISE). In 2012 we inaugurated an online platform for a competition to celebrate the London Olympics which has since been frequently upgraded to meet demands and now serves the Society’s IPE, IISE, Members’ 365 monthly and Weather Photographer of the Year competitions.

One of the most enjoyable aspects of my job has been looking through the thousands of wonderful images that we receive and it is very rewarding seeing the whole process through, from

the call for entries and selection, to displaying the framed prints on the wall and in the exhibition catalogues.

I am so grateful for all the help and support I have had from the members over the years and I want to say a special thank you to my colleague, Sally Smart, who has worked with me for the last seven years on developing the exhibitions and striving to keep them relevant to the ever-changing world of photography.

The Society has been a large part of my life for a long time and I will miss my RPS ‘family’, but I am looking forward to the opportunities ahead and I am sure that the Society’s exhibitions will continue to thrive.

256 | IN FOCUS DISTINCTION SUCCESSES

03/17 LRPS Brian Baker, Kent Geoffrey Beer, Middlesex 03/17 ARPS NATURAL HISTORY Lakshitha Karunarathna, Sri Lanka Mary Kirkby, Warwick Sze Man Evangeline Lam, Hong Kong Douglas Neve, Eastbourne 03/17 ARPS EXEMPTIONS Sarah Brooks, Leicestershire Matthew Savage, Accrington 02/17 GRADUATE IMAGING SCIENCE AND ARPS Bethany Flowers, Towcester NEWS IN BRIEF

LEGACY

OBITUARY

RALPH SMITH ARPS Ralph Smith ARPS was the founder of the Leeds and District Audio Visual Group and was well known nationally in audio visual circles. He and fellow enthusiasts broke away from the soon-toclose Leeds Camera Club to present their Colour and Musical Spectacular Show, which ran for many years. He will be remembered by the thousands to whom he brought his entertaining AV experiences.

This image by David Gleave LRPS is part of his ongoing urban street photo project

CALL FOR SUPER!SHORT FILMS DepicT! short film competition open for entries DepicT!, organised by the Watershed media centre in Bristol and co-sponsored by the Society, is open for entries. Films must be 90 seconds or less in duration and have been completed after September 2016.

Prizes include the DepicT! award of £1,500 and the RPS Cinematography Award of £1,000. The deadline for entries is Monday 3 July.

For full details, see depict.org/competition

STUART CLARK ARPS 256 / THE RPS JOURNAL / APRIL 2017 / VOL 157

£1,000 is up for grabs in the RPS Cinematography Award

WORKSHOPS For those interested in making short films, there are two upcoming Society workshops that can help.

‘Learn to make films with your DSLR’ is on 19 April

and a video editing workshop is on 8 June, both in Buckinghamshire.

For details, visit rps.org/ learning/workshops

DAVID GLEAVE LRPS

The Society would like to acknowledge the receipt of a generous legacy of £5,000 from Andrew Gasser ARPS. It will be added to the Society’s development fund, which will support the purchase and refurbishment of a new building. If you wish to remember the Society in your will, please contact Dr Michael Pritchard or see rps.org/legacy

FRENCH CONNECTION

Society member David Gleave LRPS is to exhibit work at Street Sans Frontières, Paris

David Gleave LRPS has been selected to exhibit images from his In the City project at the Street Sans Frontières show in Paris, from 12-14 May. Gleave is one of 60 photographers from five continents who will be

PICTURE PRIDE

An image by Society member Mike Cullis features in the latest edition of Wanderlust’s Travel Photo of

showcasing their work at the exhibition.

‘I got a fair amount of press coverage for my book In the City, through which the exhibition’s curator became aware of my work,’ said Gleave. ‘The images and book are part of an ongoing project of urban street photos.’ imagenation.it/streetsansfrontieres

the Year book.

A finalist in the 2016 competition, the image is of two young lionesses playing with a leopard

tortoise, and is printed across a doublepage spread.

‘I was delighted they chose my image,’ said Cullis.

MIKE CULLIS; © MARK A PHILLIPS 2015

Entrants could win a day with Magnum’s Stuart Franklin HonFRPS

PHOTO!ESSAY AWARD LAUNCHED Documentary Group seeks entries from Society members The Documentary Group’s new photographer of the year competition is now open for entries. Judges will

be looking for photo essays consisting of five images that are representative of the chosen subject matter.

The overall winner’s prize is a one-on-one day with the acclaimed Magnum

photographer Stuart Franklin HonFRPS. The winner and finalists will be announced at a Documentary Group social on 19 October at the Print Space in Shoreditch, London.

The winning and shortlisted

images will then be on display at the Print Space for two weeks.

Find competition details and more information at bit.ly/ DocumentaryGroup

VOL 157 / APRIL 2017 / THE RPS JOURNAL / 257

‘Prints were perfect from the first test’ – f2 Cameracraft Test, Jan/Feb ‘Saves the hassle and wastage of cutting down larger sheets... well worth exploring’ – Photography News Test, Jan

2 • MASTER PHOTOGRAPHY JANUARY/FEBRUARY 2017

BOOK REVIEWS

ROCKS AND CLOUDS Mitch Epstein Steidl (£45) Best known for his fine-art colour documentary work, Epstein turned to black and white for New York Arbor (2013), and this new book continues in the same vein.

Shot around New York City with an 8x10 field camera, the book is a meditation on the relationship between nature and society, and the passage of time.

Ancient, unchanging rocks are contrasted with the ephemeral shapes of clouds, while the city is somewhere between the two.

Cattle farmers are among the subjects seen in their finery

THE HILLS ARE ALIVE

Switzerland Chapter member Christian Nilson has captured an outsider’s insight into everyday life in the country

CHRISTIAN NILSON

| IN FOCUS | 259

THE SWISS Christian Nilson Scheidegger & Spiess (£35) Swedish freelance photographer Christian Nilson began by working as a street photographer, but now concentrates on longer-term documentary projects tackling subjects from dog shows to adult entertainment events. He has lived in Switzerland for the past 12 years and his first book, The Swiss, brings together work from several of his projects in a personal exploration of the country.

Nilson is a member of the Society’s Switzerland Chapter and sees his adopted country with a curious outsider’s eye for cultural detail.

He focuses on its eccentric side via

a mixture of portraits, alpine landscapes, urban scenes and interiors, all of which depict aspects of Swiss life or character.

He uses flash in a Martin Parr-like way, catching people unawares, increasing colour saturation and brightness while highlighting revealing details. He says he likes to use flash ‘because I want the viewer to see everything, no hiding, no guessing’.

One consistent theme running through the book is the Swiss love of dressing-up – from young people in superhero outfits at a Comic-Con festival to the decorated hats, waistcoats and boots worn by farmers at cattle fairs. In one image, Nilson has photographed what looks like a walking bush. It’s actually someone dressed from head to toe in a traditional ‘pine suit’, a centuries-old way of seeing in the new year in the Appenzell region.

Despite the emphasis on the humorous and quirky aspects of the Swiss character, Nilson insists his photographs are ultimately affectionate.

‘I’m not trying to be ironic,’ he has said, ‘it is really a place that I love. I want to show people my Switzerland – that it is more than luxury goods, chocolate and banking.’

Christian Nilson uses flash in a ‘Martin Parr-like way’

DAVID CLARK

SMALL WORLD Anne Geddes Taschen (£44.99) Geddes’s latest book showcases images from her phenomenally successful 30-year career. As well as the beautiful babies in pea pods and flowers, there are equally idealised images of pregnant women and young children. There’s no doubting Geddes’s love of her subject, and she is second to none at what she does. But while fans will love the book, others may find all that sweetness – from someone who’s been dubbed ‘the world’s most famous baby photographer’ – a little too much.

IN CAMERA Gordon Laing Ilex (£19.99) Most photographers see post-production work as an essential part of the imagemaking process. Laing’s book, however, contains 100 photographs, all of which are JPEGs made without any computer manipulation. Instead, he uses a range of in-camera techniques that negate post-capture time and effort. In telling the story behind each picture Laing includes useful basic information on lens choice, shooting angles, exposure compensation and more.

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260 | APRIL WHAT ARE SOCIETY DISTINCTIONS?

Distinctions are standards of achievement recognised throughout the world

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

Evangeline Man Lam ARPS $ Natural history

I have been photographing butterflies since 2012, spending most of my leisure time out in the field observing their habits. The surprising combinations of colours and patterns on the butterflies’ wings fascinate me.

In my portfolio I show a pictorial and artistic impression of butterflies’ natural beauty, using macro techniques to highlight details. A passion for macro has helped me develop my patience when photographing such small creatures, which is a challenging task. Butterflies can be very active and rarely keep still for long.

Lighting and composition are very important for a good portfolio, while the colour and style must be consistent throughout. To make the subject more prominent I prefer having a clean background. Irrelevant objects in a composition can draw attention away from the subject.

For those looking to apply for their Associate Distinction I suggest you choose a subject that you enjoy shooting and then photograph it as many times as you can. Try to think about ways to improve the quality of the images and ask for advice from the panel members.

FACTFILE

Evangeline Man Lam was born and raised in Hong Kong. She is inspired by her surrounding, and turned to butterfly

photography when she saw an image of monarch butterflies clustering together in Mexico, covering a tree in a blanket of orange and black

RIGHT

Green hairstreak butterfly (taken in the UK) 260 / THE RPS JOURNAL / APRIL 2017 / VOL 157

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

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

FEATURE SPONSORED BY

Emotion Through Image

VOL 157 / APRIL 2017 / THE RPS JOURNAL / 261

262 | DISTINCTIONS |

BELOW

European peacock butterfly (taken in Beijing, China)

ABOVE

Common posy butterfly (taken in Malaysia) 262 / THE RPS JOURNAL / APRIL 2017 / VOL 157

FEATURE SPONSORED BY

Emotion Through Image

BELOW

Dragon swallowtail butterfly (taken in Beijing, China)

ASSESSOR’S VIEW

DAVID OSBORN FRPS Natural history chair

ABOVE

Redspot sawtooth butterfly (taken in Malaysia) LEFT

Common duffer butterfly (taken in Hong Kong)

Evangeline Man Lam’s journey to this successful panel began in 2015 when she made her first application for the Associate Distinction. The natural history assessment panel recognised the potential in Lam’s original submission but there were a few technical problems in her images, namely, there was evidence of ‘banding’ (see advice panel on page 264).

However, her approach to photographing butterflies was something to be encouraged. Thankfully, she listened to the advice in her assessment debrief and subsequently went on to reshoot images to progress to this successful body of work.

The underlying background theme is a saturated green which acts as a bedrock to the overall feel of the submission.

There is a wonderful selection of butterflies which are incredibly colourful, all shown in a very pictorial way.

Traditionally, the approach we would normally expect to see in a natural history portfolio is typified in images two and three, but a more pictorial approach is evidenced with the lead-in from the fern fronds in images five, 11 and 15, and the thoughtful compositions shown in 12 and 14.

All in all this is an original submission. Thought has clearly been given to the portfolio layout, and it’s well balanced. It has been nice to follow Lam’s journey to such a commendable conclusion.

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264 | DISTINCTIONS | Emotion Through Image

ABOVE

Forget-me-not butterfly (taken in Hong Kong) RIGHT

Black prince butterfly (taken in Hong Kong) HANGING PLAN

‘The saturated green acts as a bedrock to the overall feel of the submission’

HOW TO PREVENT BANDING Banding is when the colours in a gradient do not transition smoothly, creating a pattern of lines. If you find this is happening with your prints, try cleaning your printer heads. If that doesn’t help, then the issue might have occurred while

editing your images in software such as Photoshop.

Increase the noise in the image (eg Photoshop has an ‘add noise’ filter). But be careful not to add too much, as this could affect highlights and shadows.

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FEATURE SPONSORED BY

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266 | DISTINCTIONS |

Panel member Tessa Mills explains how getting expert help could significantly improve the chances of achieving a Distinction

T

he Distinctions process helps and encourages photographers to improve their images, but as we all know improvement does not take place in isolation. That’s why we suggest that anyone who sets out to achieve a Distinction should seek advice from the Society before submitting a portfolio.

Aside from reading the Distinctions guidelines and attending assessment and advisory days, one of the main ways to get help with a portfolio is by using the Society’s online advice service, which was launched last year.

It’s the perfect way to get the advice needed for a specific panel and could make the difference between being recommended for a Distinction and not.

As well as being a member of the conceptual and contemporary assessment panel, I am also one of the specialists offering advice to members looking for help with their portfolio via the Society’s website. So, for those planning on trying for a Distinction, here is my guide to getting the advice required, as well as some examples of suggestions I have made to two members who went on to achieve their ARPS.

WHO SHOULD SEEK ADVICE? Online advice is exclusively available to members and is particularly useful for those who cannot attend an advisory day or want advice on their panel prior to attending one.

We recommend that anyone who is a member and intends to apply for a Distinction should consider seeking online advice. It’s not a guarantee of success, and the advice will be the opinion of one panel member and not necessarily representative of the panel as a whole, but it’s the most qualified advice that potential applicants will find outside an advisory day.

HOW TO APPLY To apply for online advice requires a prospective portfolio, a hanging plan/ sequence plan and a statement of intent (if trying for an ARPS or FRPS), as well as spare shots about which the applicant is uncertain that could form part of the proposed submission.

Images will be submitted for advice via the Society website (www.rps.org/ advice), but before doing so we suggest reading the section’s detailed instructions, including how many images are required and their specification.

See overleaf for details.

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Portraits of a partner Michael McAlister ARPS

STATEMENT OF INTENT These are all photos of my partner Martin, who I’ve been with for 20 years.

My aim was to be inventive and broaden my view of what a portrait can be, while deliberately restricting where the photographs were taken to places familiar and comfortable to us both.

TESSA MILLS’ ADVICE Overall The strength is in the wide variety of ways that the creative portraits describe Martin’s personality and the appreciation of him. This has the potential to be a viable application. I recommend that after a couple of alterations this panel is forwarded for ARPS assessment.

IMAGE 13

Martin’s Shorts This one offers less in the way of depth than the others.

Sometimes it’s a good idea to leave out a favourite image and take the opportunity to strengthen the application, but ultimately the decision is the applicant’s.

CREDIT SITS IN BOX 4MM DEEP

A guide to online advice

CASE STUDY

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Emotion Through Image

HANGING PLAN

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Martin in the Temple I enjoy this one as an image, although its association with the intention is less obvious.

I feel this could be better balanced in the panel if there was another ‘place’ image included.

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and with similar lighting.

Perhaps try using number 12 in this position and use a more creative image on the bottom line.

CREDIT SITS IN BOX 4MM DEEP

IMAGE 11

Martin Yawning This one balances the portrait in position 5. Two similar images are acceptable, but there is also number 12, taken at the same distance

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268 | DISTINCTIONS |

CASE STUDY

In the light Mike Mills ARPS

STATEMENT OF INTENT The Norwegian Opera and Ballet building appears to rise out of the Oslo Fjord.

The ever-changing light reflects on the glass, the marble, the white aluminium and the people. I have been here countless times in all weathers, in all seasons and at all hours, pursuing my intention to capture the interplay between the landscape and the light, the people and the place.

WHAT KIND OF ADVICE DO WE OFFER? The panel member will give advice about individual images, the hanging/ sequence plan and statement of intent. I check if the statement is clear and concise, and has no details irrelevant to the submission.

We offer detailed advice regarding each of the images TESSA MILLS’ ADVICE in the hanging/sequence Overall plan, giving positive feedback My feeling is that this is a where relevant. This is where good selection of beautiful the panel member suggests images. The applicant has that certain images be found variety and depth in swapped with one of the the subject, without spare shots, or highlights repetition. They have made possible technical issues, an interesting theme such as poor composition. stronger by emotive images.

The adviser will also make I feel the red umbrella does suggestions about the 15 image panel not5 make a big addition to 15+image panel + 5 spares spares hanging plan or sequence 15 image panel theimage portfolio I question +5 spares 15 panel + and 5 spares 15 image panel + 5+ spares 15 image +spares 5 spares 15 image panel image panel 5+panel spares 15 panel 5++spares 15image image panel 55image spares plan, at times recommending15 the central choice.

15 image panel + 5 spares 15 image 15 image panel +panel 5 spares + 5 spares that images should move to 15 image panel + 5 spares different positions, or perhaps 15 image panel + 5 spares HANGING PLAN that additional images should be taken to help make a 1 2 stronger, more balanced plan.

Bear in mind that the advice received will be 14 14 11 11 regarding the digital images 14 14 14 14 14 14 14 that are submitted, so the 1111 11 11 11 1111 14 11 11 14 panel member cannot 14 14 14 11 11 11 comment on the quality of 14 11 6 7 any prints. Those looking for advice on the quality of their prints should attend 18 10 18 10 an advisory day.

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‘WE OFFER DETAILED ADVICE REGARDING EACH OF THE IMAGES IN THE HANGING PLAN’

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be the central image.

It takes more of a supporting role because of its quietness, especially among the drama of some of the other shots.

IMAGE 9

The darkness and muted colours show subtlety – which is valid for the theme. But I don’t feel this is strong enough to

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CREDIT SITS IN BOX 4MM DEEP

Tessa Mills is here to help members

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IMAGE 11

This is obviously taken in the same area as image 10 and has a similar low light. The details of the buildings in the

CREDIT SITS IN BOX 4MM DEEP

IMAGE 3

This is another good image – but to be picky I think it is a little similar to others. The colouring is gentle and it does have a mystery, but I think it could be replaced by one of the spares.

| XX | 269

background make for a pleasing texture. On its own, this image does not have much new to offer, compared to some of the others.

For a thorough outline of how to submit your work, including where to send your images for advice, go to the Society’s online advice page at rps.org/ Distinctions/Advice

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270 | BURSARIES |

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CLOCKWISE FROM LEFT

Matanzas, home to one of Cuba’s biggest communities of Korean descendants

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Sisters Olga and Adelina Lim Hi, among the few Korean descendants in Cuba who do not have mixed heritage Young KoreanMayans play in a pool in Mexico Cecilio Pak Kim, a Cuban-Korean musician who lives in Cardenas Traditional Korean clothing, belonging to a Korean-Mayan

HOME IS WHERE THE HEART IS With the help of the Society’s 2016 postgraduate bursary, Michael Vince Kim’s project examines how young Mexicans and Cubans are celebrating their Korean roots VOL 157 / APRIL 2017 / THE RPS JOURNAL / 271

272 | BURSARIES |

M

ichael Vince Kim was born in the USA to Korean parents and spent most of his childhood in Argentina. He has every right to lay claim to all of these national identities, but says he isn’t that comfortable with any of them.

‘I don’t feel like I have a home,’ he explains from London, where he has lived since July 2015, and where in December he completed a course in documentary photography at the London College of Communication. ‘I’ve got a historic home which is in Korea, but I’ve only been there twice in my life. When I go, people don’t think I’m Korean because I dress differently, speak differently and wear my hair differently. In the US they think I’m Latino because I speak Spanish [Kim’s first language], and in Argentina I don’t look like others.’

This is the context in which Kim produces his thoughtful photo essays about cultural identity. For his most recent project, partly funded by the Society’s £3,500 postgraduate bursary, which is awarded every year to students on photography courses or undertaking research in photography, Kim travelled to Mexico and Cuba to document Korean communities that have made these countries their home for five generations.

In 1905, he explains, 1,033 Koreans sailed to Mexico, leaving their impoverished country in search of new opportunities.

Instead of the prosperity they anticipated, they were sold off as indentured labourers – a form of bonded labour that required them to work on a henequen plantation for low wages, where they were often beaten and whipped, producing raw materials for the textile industry.

By the time the labourers’ contracts ended in 1910, Korea was a Japanese colony and they no longer had a home to go to.

Instead they went in search of

‘MY HISTORIC HOME IS IN KOREA, BUT I’VE ONLY BEEN TWICE IN MY LIFE’ 272 / THE RPS JOURNAL / APRIL 2017 / VOL 157

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LEFT, TOP

Children playing near an area that used to be surrounded by henequen plantations LEFT

Swimming lesson in Matanzas ABOVE

Joaquin Poot Lee, a second generation Korean-Mayan, celebrates his 90th birthday RIGHT

Tapestry in Cardenas, Cuba FAR RIGHT

Senorina Pe Hu, daughter of a Korean-Mayan couple

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274 | BURSARIES | The coastal town of Progreso, where Korean immigrants first arrived in Mexico

SUCCESS STORIES

We catch up with three previous Society bursary recipients and hear how the awards helped them in their career

‘JUST FINDING THE SUBJECTS FOR THE PROJECT ! SOME OF WHOM ARE 100 YEARS OLD ! IS TOUGH’ work, some travelling to Cuba’s sugar plantations. But with sugar prices plummeting, they were instead forced to look for work in the Cuban henequen plantations.

During his research, Kim discovered that the latest generation of Koreans descended from those who arrived in Mexico in 1905 – most of whom also have Yucatec Mayan heritage – are interested in learning about their Korean heritage.

‘Korean culture has become really popular; I think that’s one of the reasons people now feel more attached to their heritage,’ says Kim. ‘It’s something they feel like they belong to. Even though they don’t look Korean, they still feel attached to their roots.’

Being acutely aware of the complexities around his own and others’ national identity, Kim is careful not to be overly didactic with his project. Even the title of the work, Aenikkaeng – a phonetic transcription of the Korean word for henequen, itself a Spanish word – contains many of the contradictions of identity.

‘Doing a photo project on something that happened more than 100 years ago is hard,’ Kim explains. ‘Just finding the subjects – some of whom are 100 years old – is tough. And these are not even the first-generation migrants.

So in that situation one looks for alternative ways of telling a story, and I just went with my gut feeling. It was sort of instinctual and, in the end, looked more poetic.’

The project won first prize in the ‘people’ category of this year’s World Press Photo awards, even though, as Kim points out, it is not a straight photojournalistic essay.

But with immigration such a hot topic – Kim was completing the project during Donald Trump’s presidential campaign – the prestigious competition notably found merit in Aenikkaeng.

Kim now faces a new challenge: with his UK student visa about to run out, and with nowhere to call home, where will he go next?

Back to his roots, it would seem, as he embarks on a trip to Korea to stay with friends. There he aims to take stock, and consider what his next project will be.

274 / THE RPS JOURNAL / APRIL 2017 / VOL 157

From Blood Sacrifice in Sumba

by James Morgan

JAMES MORGAN

RPS postgraduate bursary, 2009 The bursary helped Kong, where most of the fish wind complete my Last of the Sea Nomads up. It was good to raise awareness project, which looked at changing and encourage consumers to put conditions for itinerant fishermen pressure on restaurants to working between source their fish Indonesia, the from places that Philippines do not use cyanide and Malaysia. fishing.

I explored some The project fishing methods used in the area, was the most such as bomb and successful I had cyanide fishing, completed so far. and followed the Financially, through catch to the Hong sales of the story, Kong markets. it sorted me out The project got and allowed me to some good do other projects, coverage in Hong such as my story

about harvest blood sacrifices on the Indonesian island of Sumba (pictured).

Since then I have done a few more environmental stories, with quite a lot of support from WWF. And I’ve now made a couple of documentaries and a short fiction film with the BFI – I was writer and director. I would like to do more of this, and make a feature for cinema.

XX XX [THIS IS FOLLOWED BY (MOST OF) A SPREAD WITH THREE SHORT PIECES ABOUT PREVIOUS BURSARY WINNERS AND WHAT THEY ARE UP TO NOW. PLEASE USE DUMMY TEXT FOR TWO OF THEM.]

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TOBY SMITH

Environmental awareness bursary, 2013 journey as I went.

HS2, which for me After the The project was is a good gauge of government published over how successful a unveiled plans to eight pages in the project is. build the highRecently I have speed railway, HS2, Sunday Times magazine – a great been an artist inbursary recipients between London We catch up with three previous Society opportunity to residence at the and Birmingham, andevolved hear how reach the awards them a wider helped University of in their career debate audience. This, Cambridge around the project: along with the Conservation was it beneficial Society bursary, Research Institute. enough to justify really gave the This has allowed its costs and the project momentum me to contribute to impact it would and helped it its work – which is have on wildlife. very gratifying – In response to take shape. including the project these disputes, I It hasn’t been JAMES MORGAN walked entire theBURSARY, most lucrative RPS the POSTGRADUATE 2009 Chasing Cuckoos, which visualises theultrices nibh a quam lineLorem from Euston to sit project worked adipiscing ipsum dolor amet,I’ve consectetur elit. Nulla remote landscapes Birmingham on, butut has beenlibero. In accumsanNew finibus. Aenean lectus hac habitasse platea dictumst. Curabitur people Street using good accumsan for my profile. vel imperdiet tellus. Duis aliquet and metus, vel molestie enim commodo rutrum. discovered on an Proin ultrices enim government Journalists will id interdum Nunc elementum felis a ex mattis, odio feugiat. expedition the In ornare scelerisque engineering sometimes imperdiet sapien elementum aliquam. In vitae suscipittonunc. wintering grounds sed. Mauris ac lacinia documents as my me ifid faucibus rutrum. Nulla facilisisapproach justo quam, quam consequat guides, and they want someone of satellite-tagged mauris. migratoryProin cuckoos. capturing the to comment on Sed fermentum pulvinar nibh pulvinar vulputate. quis pellentesque est. Fusce pharetra non dui ut semper. Donec quis auctor sapien. Pellentesque semper nulla at lectus aliquam, et mattis nibh suscipit. Pellentesque et nulla Two images from nibh. Ut vel diam nec Walk the Line in dolor mattis, nec mauris finibus fringilla a sit amet ligula. Nulla HS2: rhoncus sapien tincidunt lorem aliquet. Vivamus sagittis a massa vel pulvinar. Maecenas nec felis pulvinar nibh tempor pharetra.

Morbi sollicitudin arcu tincidunt est ultricies, et fringilla dolor condimentum. Nullam Barker’s Beyond semper fermentum lacus, at euismod sapien mollis eu. Vestibulum eu arcu sodales, Drifting: Imperfectly interdum arcu vitae, placerat neque. Nunc ac magna ipsum. Nulla rutrum Knownposuere Animals dui quis fermentum. Donec velit quam, tincidunt non urna vel, ornare eleifend risus. Donec libero magna, scelerisque vel urna et, porta fermentum.

SUCCESS STORIES

MANDY BARKER

Environmental awareness bursary, 2012 beaches in Hong The bursary Kong, and I was enabled me to go blown away by the on a voyage across amount of waste the north Pacific there was. So I Ocean as part of a realised, having plastic research seen this, that it expedition on a small yacht with 11 would be my other crew next project. members. Basically From meeting it was a scientific Tracy and seeing expedition to waste problems in collect and analyse Hong Kong, I went the plastics that on to make my had entered the next series. ocean as a result of So everything the tsunami in stemmed from that 2011, off the coast Society-sponsored of Japan. voyage really.

During the I recently voyage I met a completed a book fellow crew of my project member called Beyond Drifting: Tracy Reid. She did Imperfectly Known a presentation on Animals. In this I the state of the show microscopic

images of marine plastic debris found in samples of seawater from Cork harbour. The images mimic John Vaughan Thompson’s early scientific discoveries of plankton, also taken from samples in Cork.

Current scientific research has found that plankton ingest plastic micro-particles, mistaking them for food and, being at the bottom of the food chain, they are themselves a crucial source of food for larger creatures.

VOL 157 / APRIL 2017 / THE RPS JOURNAL / 275

276 | TECHNIQUE |

THE POETRY OF PINHOLE

As we celebrate worldwide pinhole day on 30 April, artists Eric Renner and Nancy Spencer tell David Clark why they prefer their photography lo-tech and lensless, and Nigel Goldsmith shows how to make your very own pinhole camera

hile mainstream photography continues to technologically advance, a number of artists prefer making images with the most rudimentary equipment available: the pinhole camera.

Pinhole cameras come in a wide variety of forms, but have to be lensless and light tight, with a small hole in one side that projects an image on to the analogue film or digital sensor on the other. Devices range from purpose-made pinhole cameras to cereal boxes, tin cans or wheelie bins – and even the inside of a chicken’s egg or the photographer’s own mouth.

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Daffodil #2 by Larry Bullis, 1987 276 / THE RPS JOURNAL / APRIL 2017 / VOL 157

Light fantastic

An exhibition of more than 200 contemporary pinhole images, Poetics of Light, is now on show at the National Media Museum. The collection was made by American pinhole artists Eric Renner and Nancy Spencer while running Pinhole Resource Inc at their home in New Mexico, USA. Renner is the author of

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| PINHOLE PHOTOGRAPHY | 277

Above: Untitled, Belgium by Alain Brusco, undated. Right: Anne S in front of Jack B’s Pool, 1984, a five-minute exposure by Willie Anne Wright, the first pinhole photographer to put Cibachrome positive photographic paper directly into her 11”x14” pinhole camera. Below: Rosetvliders by Bethany DeForest, 2010

End of the World (On Deaf Ears series)

Pinhole Photography: From Historic Technique to Digital Application, which has sold more than 40,000 copies since its 2008 publication. He made his first pinhole images in 1968, while an assistant professor of design at the State University of New York.

A new world view

Renner recalls: ‘One day it

occurred to me I ought to make a camera that took an entire environment into view. That’s where my first pinhole camera image came from. I was amazed at how everything worked. I’ve not stopped making cameras.’

He founded Pinhole Resource in 1984, primarily as a place where like-minded photographers could share

information and buy materials. It became a worldwide repository for pinhole images.

Double exposure

‘I thought there ought to be some sort of a collection place for these images,’ he adds, ‘so I wrote to the people I knew and said, “If you send me pinhole images we’ll

preserve them. If I get enough we’ll publish a magazine.” By the following year I was able to publish Pinhole Journal.’ Its publication has continued for more than 20 years.

In 1987 he was joined by Spencer, who had made the transition from conventional to pinhole cameras. ‘I had started doing photography in college and gradually moved towards more and more outof-focus images,’ she says. ‘I began working with plasticlensed cameras, then in about 1984 I saw my first pinhole image and almost fell over. I decided that was the way I wanted to make images.’

Renner and Spencer have collaborated on many projects, became co-directors of Pinhole Resource and co-editors of the journal. They have produced several books, together and separately, including On Deaf Ears, jointly authored in 2008.

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278 | TECHNIQUE | Box clever

By 2012, the pinhole collection contained 6,000 images by 500 photographers in 36 countries worldwide. The duo decided the collection should have a permanent home offering the facilities to store and preserve it, so donated it to the New Mexico History Museum in Santa Fe. The Poetics of Light exhibition, first shown in Santa Fe in 2014 and curated

by Renner and Spencer, features images by more than 150 artists. They range from landscapes and street images to more conceptual work, such as the colourful dioramas by Bethany de Forest. ‘I do think one of the interesting aspects is how variable the imagery is,’ says

Peggy Ann Jones with a triple-aperture pinhole camera, 1984

Spencer. ‘It’s incredible all these have been made from a box with a hole in it.’

No letting up

Also on display are some 40 pinhole cameras, including. an underwater model by Canadian artist Donald Lawrence, which is mounted on a kayak that is also used as a darkroom.

The variety of images, plus the lo-tech and sometimes eccentric devices that have made them, makes for a striking celebration of all things pinhole. Renner and Spencer, meanwhile, continue their work with Pinhole Resource and donate images to the museum as they receive them. Now aged 75 and 69 respectively, they are collaborating on four bodies of work, and find the pinhole world as fascinating as ever.

The hole truth

‘What attracts me to pinhole is the lack of definition,’ says Spencer. ‘I love the fall-off around the edges. It captures both things seen and unseen.

By extending the moment it seems to capture objects moving in a way that the eye can’t see. It seems there’s more soul to a pinhole image than any other kind I know.’

Poetics of Light is on until 25 June at the National Science and Media Museum, Bradford. See nationalmediamuseum.org.uk

JOIN

If you are interested in pinhole photography, or other forms of analogue image making and printing, why not sign up to the Society’s Analogue Group?

Visit bit.ly/ analoguegroup From the Annalee series by Diana Bloomfield, 2002 278 / THE RPS JOURNAL / APRIL 2017 / VOL 157

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How to make a pinhole camera

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Create a lensless device with Nigel Goldsmith, ahead of his Society HQ workshop You will need 1 A lightproof tin or box (check lids and joins in the container for light leaks. Small holes can be patched with tape. Watch out for plastic lids that can let in light) 2 An aluminium can, such as a soft drink or beer can

Black paint 4 Sandpaper Needle 6 Duct tape 7 Thick glue for metal 8 Tools such as tin snips, scissors and a drill (please take care when handling tools and using paint and glue) Gloves

If your container has a light or shiny interior coat it in black paint to reduce internal reflections that will degrade the image. Allow to dry.

Carefully cut or drill a hole measuring around 1cm across in the centre of your container. Remember to be careful.

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Cut out a square of aluminium tin about 2cm across and flatten. Place on a cutting mat or magazine and push needle through the centre.

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Use sandpaper to smooth the area around the hole and roughen up the surface of the metal so that glue will better adhere when applied.

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READY FOR ACTION You have now made a pinhole 7 camera. If you make two or three cameras exactly the same this helps when you take your test shots.

Apply glue around your pinhole – don’t allow it to cover the hole – and push it up against the hole drilled in the larger tin. Allow to dry.

5

You can make a simple ‘shutter’ with a fold of duct tape to cover the pinhole.

This is held open during the exposure and closed over the pinhole while in transit.

CREDIT SITS IN BOX 4MM DEEP

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| BOOK NOW | PINHOLE PHOTOGRAPHY WORKSHOP |

Made your camera? Now learn how to create pinhole images at Nigel Goldsmith’s workshop on 12 May. See page 304 details

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DEPOSITION, LOUIS DEBELLE; HATTVER, ROSS BROWN

280 | IPE

OPEN FOR

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ENTRIES

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CLOSING DATE 24 MAY

INTERNATIONAL PHOTOGRAPHY EXHIBITION

CREDIT SITS IN BOX 4MM DEEP

The longest-running exhibition of its kind now accepting submissions

T

he Society’s flagship competition, the International Photography Exhibition (IPE), is now open for entries. The competition is in its 160th year, and this time boasts an all-female selection panel.

The five selectors include photographers Abbie TraylerSmith, Sian Davey and Ingrid Pollard HonFRPS, and curators Zelda Cheatle and Karin Bareman. They are looking

for engaging, visually striking and inspiring work from across every genre and from both amateurs and professionals.

Selected work will be exhibited in a nationwide touring exhibition opening in London in October. The International Photography Exhibition 160 is supported by theprintspace.

Enter at rps.org/competitions/ ipe-160

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282 | PROFILE |

GRIZZLY MAN

Dan Hartman has endured the hardships of rural Wyoming since 1989 to become one of the USA’s foremost wildlife experts, reports Roger Reynolds HonFRPS

F

or nearly three decades, photographer Dan Hartman has been quietly building a reputation as one of America’s most sought-after wildlife experts. He knows Yellowstone National Park and the nearby Beartooth Mountains better than most, and is regularly approached by documentary filmmakers to help track

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local animals. But his enviable knowledge has been nonetheless hardwon, with Hartman and his family enduring a life in the often isolated and hostile wilderness – a wilderness that they no less adore.

Hartman was born in Indiana and caught the nature and photography bug at an early age. After marrying his partner Cindy, the pair began to explore

the wildlife of the America, including six months travelling in a camper van, with Alaska being a prime destination. Later, Hartman would take a two-year tour of the country, travelling as far afield as Texas and Alaska. Soon he settled in Jackson, Wyoming, an area rich in diverse wildlife and stunning scenery.

There he worked in the leisure industry, which gave him the

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ABOVE

Black bear cubs at their den entrance RIGHT

Bull bison struggling through deep snow

opportunity to hone his photographic skills. These skills were soon recognised by local filmmaker Russ Finley who was making a promotional video about Yellowstone with his company Holiday Films. He asked Hartman to locate great grey owls for the film. That production, made in 1987, was Hartman’s first big break, and is still available today.

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284 | PROFILE |

The Hartmans lived in Jackson from 1981 to 1990, and while exploring the region on their early photographic and nature sorties they came across a cabin in the woods. They immediately fell in love with it because of its location – and the fact it had pine martens in the yard.

However, it would be eight years before the cabin came on the market, after which they quickly snapped it up. Their home ever since, this period marked the start of Hartman’s professional photographic career.

Becoming a professional back then was a brave decision, as the industry was not in great shape, and Hartman was forced to be inventive to ensure his dream came to fruition. He would often be seen travelling to art shows far and wide, selling his images. He also opened a small booth in Silver Gate, Montana, where he sold his photographs to Yellowstone visitors.

Over the following 27 years Hartman has built a reputation as an outstanding photographer, and someone who is extremely knowledgeable about wildlife in the area. His services are much in demand by film and television production companies which rely on his photographic and naturalist skills when 284 / THE RPS JOURNAL / APRIL 2017 / VOL 157

‘HE COULDN’T WAIT FOR SPRING AND TO HEAD INTO HIS BELOVED BEARTOOTH MOUNTAINS’ making documentaries about Yellowstone. Each year, he gives a large number of presentations on the natural history of the region to visitors who book via educational organisations, such as Yellowstone Forever and Teton Science Schools.

His list of credits mounts annually and he has collaborated and advised on numerous films and television documentaries, including Yellowstone Wild, The Life of Mammals, Planet Earth, Yellowstone: Battle for Life, Naomi’s Nightmares of Nature and the Yellowstone Park series for National Geographic.

But he is not one for the limelight and prefers to advise rather than appear in front of the camera.

In the recent BBC Yellowstone series, presented by Kate Humble, he worked with his good friend Jeff Hogan.

Hogan was already established, with several Yellowstone films to his name, and some years ago

recommended that Hartman assist in locating subjects for other films in which he was involved. Most of the great grey owl location photography was based on Hartman’s intimate knowledge of the species. It is fair to say that owls are his speciality. There can be few people, if any, who know as much as he does about the species and local populations.

When I met him this past winter, he was happy to admit that he could not wait for spring and to be able to head into his beloved Beartooth Mountains to check on his owls. When asked about his outstanding photography, he is modest, preferring to tell the story of how and where the images were captured.

Once, while watching a grizzly bear charging at full speed towards him in attack mode, Hartman calmly continued photographing from his car, waiting until the last minute to get the shot while hoping the electric window would go up quickly enough.

Telling the stories behind the images and local wildlife is one of Hartman’s talents. Happy to share all his photographs, he has a passion for the natural world and the region he calls

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home which he wants to relate to others, to make them aware just how special these areas are.

To reach this position while bringing up two talented daughters has taken an immense commitment over the last 27 years. I feel sure that not very many people would have put up with the hardships he has experienced – the nearest supermarket and high school are 60 miles away, and there are no school buses.

However, Hartman’s tight-knit family support him wholeheartedly. It is clear his wife Cindy shares his passion for the wilderness, keeping an eye on the business side while Hartman turns in the photographs.

We are fortunate that Hartman will be visiting the United Kingdom to make a number of presentations at Society events, sharing his stories and images.

Do not miss this opportunity to see such an outstanding photographer and naturalist in action.

Dan Hartman will be talking at an event organised by the East Anglia Region at Foxton Village Hall on 14 May and at the Scotland Region’s spring weekend in Dunfermline (20-21 May). See page 303

| DAN HARTMAN | 285

FACING PAGE, FAR LEFT

Weasel stalking a pika FACING PAGE, NEAR LEFT

Grizzly bear on the charge ABOVE LEFT

Great grey owl hunkered down in a spring snowstorm RIGHT

Pine marten in winter

BIOGRAPHY DAN HARTMAN Through years of patience, and careful, quiet and respectful observation, National Geographic photographer Dan Hartman has proved rare wildlife can be photographed in its natural habitat VOL 157 / APRIL 2017 / THE RPS JOURNAL / 285

EDELSTEIN 286 | BEST SHOTS | JILLIAN

PERSONAL CONNECTION

As she unveils a new body of work looking at young men’s greatest fears, Jillian Edelstein tells Gemma Padley about how building a rapport with her subjects has led her to the top of the photography tree 286 / THE RPS JOURNAL / APRIL 2017 / VOL 157

JILLIAN EDELSTEIN PRIMO LEVI, 1986

LEFT

‘This is a portrait of chemist and writer Primo Levi who was a Holocaust survivor.

Since he spoke Italian and I spoke English, we communicated through gesture. I

took the image at a hotel in London’s west end. I think he had picked up his glasses to clean them and I asked him [to pause]. It was a lucky moment, because of the light and the way the [shadows] fell on

his face. When he died, people speculated whether he took his own life, so there’s something quite poignant [about this shot]. I can still remember the light coming through the window.’

GABRIEL HARVEY FROM YOUNG MEN: WORST FEARS, 2017 BELOW

‘This is from my latest series, which I started in January 2017, and is about young men and their

| BEST SHOTS | 287

fears. I’d met several young guys through the charity initiative Wembley to Soweto, where I was a mentor. The idea was for cameras to be used as tools to give people a sense of self and purpose.

I asked about their fears, which included loss, death and not realising one’s ambitions. This young lad is gay and his fear is being isolated. He gave himself over entirely to the camera.’

VOL 157 / APRIL 2017 / THE RPS JOURNAL / 287

EDELSTEIN 288 | BEST SHOTS | JILLIAN

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‘I’m fascinated by what makes people tick …’

illian Edelstein grew up in Cape Town during apartheid and was aware of racial segregation from an early age. Her mother, a medical social worker, used to take Edelstein into local townships, and she remembers trying ‘to understand why because someone had black skin they were legislated against, whereas I had the privilege’.

She felt outraged, and recounts how these feelings and experiences propelled her towards photography. ‘It was a marrying of this powerful, politically informing background with my humanitarian outlook and sense of outrage that led me to pick up a camera. But my mother also always said to me: “look, watch, see”; so I had this visual sense too.’

After graduating from the University of Cape Town with a bachelor of social science in anthropology, sociology, psychology and social work, Edelstein got a job as a social worker in a crime and rehabilitation organisation. The job took her into townships, but instead of taking notes she made photographs.

She already had a keen interest in photography, having travelled through Europe with a camera while at university. After one year as a social worker she left, deciding to become a photographer instead. In 1985, after assisting with fashion and commercial shoots, and working for a time as a press photographer in Johannesburg, Edelstein left South Africa and headed to England.

There she studied photojournalism at the London College of Printing (now LCC)

‘IT WAS PARTLY A SENSE OF OUTRAGE THAT LED ME TO PICK UP A CAMERA’ 288 / THE RPS JOURNAL / APRIL 2017 / VOL 157

JILLIAN EDELSTEIN

WARMWATERBERG, SOUTH AFRICA, 2001 ‘It was just before Christmas in 2001 and I was with my two young kids. We were on holiday.

| BEST SHOTS | 289

There was a natural hot bath behind me where my children were swimming, and in front of me kids were playing. For me this image says so much about boyhood

– the violence and submission [routine] that young boys play, with this other little boy caught in the middle – his naivety and vulnerability [apparent].’

VOL 157 / APRIL 2017 / THE RPS JOURNAL / 289

EDELSTEIN 290 | BEST SHOTS | JILLIAN THE FXB JOURNEY Anjalai Devi, Mathur Periya Colony, Tamil Nadu, India, 2014 BELOW

‘Is this girl laughing or crying? Maybe she’s shy. Anjalai was in fact giggling. In 2014, NGO FXB International, which helps tackle poverty, celebrated its 25th anniversary.

Commissioned to take images to mark this milestone I visited FXB programmes in villages in Rwanda, Uganda, Burundi, China, Colombia and India. Anjalai is standing in front of coir (made from the husk of coconut), used for matting and compost. The image was in the Royal Academy’s summer exhibition in 2016.’

and began working for the Sunday Times as a staff photographer.

It was, she says, her dream job, but shortly after she started the bitter Wapping dispute between print workers at Rupert Murdoch’s News International and the media mogul broke out, and Edelstein felt she had to leave. Setting up as a freelance photographer, she took her portfolio to picture editors and began working for publications including the New Statesman and the Observer.

‘I hadn’t been known as a portrait photographer, but I was being asked to photograph people such as Terry Jones from Monty Python, actors, and others,’ she says. ‘This led me in the direction of editorial.’ Before long she was asked to photograph Plácido Domingo and Gérard Depardieu – ‘one big name after another’ she says – and steadily built up her portfolio. In the years since, her

work has been published in the New York Times magazine, the FT Weekend magazine, Vanity Fair, The Guardian Weekend, and Time, to name just a few.

Alongside her commissioned work, Edelstein, who was awarded an Honorary Fellowship by The Royal Photographic Society in 2002, has pursued personal projects. In 1990 she began working on Affinities, about creative partnerships. She asked friends and colleagues to name someone they’d worked with and with whom they’d continued to collaborate. Edelstein then photographed these people.

The series ran in the Telegraph magazine under the title Soul Mates for 18 months, and featured politicians, artists, actors, writers and musicians.

Between 1990 and 1994 Edelstein shot more than 100 pairs in London, New York and South Africa. Two years ago

IT’S ABOUT CONNECTING WITH PEOPLE, A RAPPORT … BUT IT’S ALSO ABOUT TRUST, AND SOMEONE WANTING TO SHOW VULNERABILITY’

THE FXB JOURNEY The handing-over of keys to Melanie Niyimbonera in her new house, Buterere village, Bujumbura, Burundi, 2014 ABOVE

‘There had been floods and this woman hadn’t had a home for ages.

She’d just been given the keys to a house in Bujumbura, and was very excited. “Hurry, hurry! The keys are being given to her,” someone said. It was a tiny space, so the only way to get the shot was to shove my body through the window.

Fortunately, there wasn’t any glass in it’.

290 / THE RPS JOURNAL / APRIL 2017 / VOL 157

JILLIAN EDELSTEIN

| BEST SHOTS | 291

THE AGES OF EDELSTEIN London-based photographer Jillian Edelstein HonFRPS began working as a press photographer in Johannesburg, South Africa before moving to London in 1985. Her portraits have appeared in The New York Times Magazine, The FT Weekend Magazine and Vanity Fair

VOL 157 / APRIL 2017 / THE RPS JOURNAL / 291

EDELSTEIN 292 | BEST SHOTS | JILLIAN

AFFINITIES Jane Horrocks and Simon Curtis from Affinities, 1992; Jane Horrocks and Jillian Edelstein from Affinities/ Phase One, 2014; Simon Curtis, Elizabeth McGovern and Hugh Bonneville from 2012 LEFT AND BELOW

BORIS JOHNSON The Road to 2012: Aiming High ABOVE

‘I had been commissioned by the National Portrait Gallery and BT to produce 17 portraits of people working to

make the Olympic and Paralympic Games happen. I had a very specific idea of what I wanted to do – I wanted to give Boris a Union Jack flag to hold, the idea being he was holding the whole experience of the

she revisited some of the images, reshooting a few of the same people, and it has become something of an ongoing project.

What drove Edelstein to make pictures when she started drives her still – a genuine desire to understand people, she says. ‘It’s about connecting with people and creating a rapport, but it’s also about trust, and someone wanting to show their vulnerability.’

She finds herself drawn back to portraiture time and again, born from a desire to connect with and understand others. ‘I’m fascinated by what makes people tick … that two-way intimate connection [between photographer and subject] is what I love so much.’

jillianedelstein.co.uk Edelstein will show work at Art Bermondsey Project Space, London, as part of CAMERA PRESS at 70: a lifetime in pictures, 17 May – 10 June 292 / THE RPS JOURNAL / APRIL 2017 / VOL 157

nation in his hands.

He held the flag, but the shot didn’t work for some reason. I took this image in the last few minutes. I thought if I threw the flag maybe that would work … and it fell into this interesting shape.’

‘I took the image of Jane Horrocks and Simon Curtis in the early 1990s. I contacted them both again recently asking with whom they wanted to be photographed now.

Curtis named the actor Hugh Bonneville and his wife, Elizabeth McGovern, who plays the wife of Bonneville’s character in the TV series Downton Abbey – “because we share a wife”, he said.

Horrocks chose me.

She dressed as Yolandi Visser from Die Antwoord – a nod to my South African roots. I am in the background with my hair covering my face.’

295

MEMBER TEST Nikon PC-E NIKKOR 24mm f/3.5 297

FIFTIES FLASHBACK The keys to a retro-style portrait 299

OBJECT LESSON Learn to paint with light 300

MUST TRY

APRIL 2017 THE LATEST TECHNOLOGY, TECHNIQUES AND SKILLS

Canon EOS 77D

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Gavin Stoker gets under the skin of a 24.2-megapixel APS-C sensor enthusiast DSLR

ntroduced alongside the entry-level 800D, this enthusiast-targeted model shares a very similar feature set. Both DSLRs offer 24.2 effective megapixels from a new APS-C sensor, a tilting LCD alongside an eye-level viewfinder, full HD video (rather than the increasingly popular 4K) and up to 6fps continuous shooting for action photography.

Compared to the 80D above it in Canon’s line-up – with this the EOS brand’s 30th year – the 77D is smaller and lighter. It also

has more auto modes and the addition of a new user guide – the equivalent of an in-camera tutor – within its menu options.

A core light-sensitivity range that tops out at ISO 25,600 is extendable up to 51,200 equivalent. With the equally new 18-55mm f/4-5.6 IS STM kit zoom attached, autofocus is the quickest in its class at just 0.03 seconds. The asking price of £829.99 for the body feels fair; if purchasing the lens in tandem the combined cost is £919.99.

As a semi-pro model, we get a

Price £829.99 body only Sensor 24MP APS-C CMOS sensor Lens Optional, via EF-mount Display 3-inch, 1,040K dots Weight/size 540g body only, 131x99.9x76.2mm More canon.co.uk Summary While we wouldn’t describe this new enthusiast DSLR as a game changer – it’s more a refinement – it does nevertheless marry solidity of build to feature set and performance

top-plate LCD window in addition to the larger tilting back screen, plus a large grip which has been refined in comparison with its forebear to sit well in the hand. There’s wi-fi and NFC connectivity built in, with the ability to set Bluetooth to ‘always on’, plus five-axis image stabilisation, which is particularly effective if shooting video clips on the move.

Subtly enhanced compared to predecessors, evolutionary rather than revolutionary is our impression here.

VOL 157 / APRIL 2017 / THE RPS JOURNAL / 295

296 | THE CRAFT | LATEST KIT

2

1

3

Canon EOS M6 Sony SF-G UHS-II SD From £729.99 body only cards From £TBC Compact system camera between the M5 and range-topping M10 canon.co.uk

Super-fast cards to store ultrahigh resolution stills or 4K video sony.co.uk

Canon has expanded its ‘M’ series mirrorless line-up to three models by introducing the M6. Like its equally new big-brother DSLRs, we get 24.2 megapixels of effective resolution from an APS-C sized chip, plus here the advantage of up to 9fps burst capture (if using the camera in fixed AF mode).

That the 3-inch flip-up LCD is a touchscreen feels par for the course, as does its small, portable dimensions, full HD video capture up to 60fps and wireless connectivity via wi-fi and NFC. Its EF-M mount offers compatibility with seven dedicated lenses plus the whole 92 lens-strong Canon family via an adapter, so users looking to switch to a more portable body – or looking for a smaller backup camera – will feel at home.

Sony’s ‘SF-G’ range of memory cards – in 32GB, 64GB and 128GB capacities – are offered as storage solutions for large-resolution files.

Claimed as the fastest SD card family in the world (giving a ‘Class 10’ SD speed class performance, or Class 3 UHS speed class), these deliver writing speeds up to 299MB/ sec, plus reading speeds of up to 300MB/sec for quick file transfer. Durable as well as swift, the cards are X-ray proof, waterproof, temperature resistant and shockproof.

Alongside the SF-G series comes a compact memory card reader, the MRW-S1. Its built in ‘SuperSpeed’ USB-standard A port offers cable-free connection, enabling copying more quickly than via a slot on your PC.

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296 / THE RPS JOURNAL / APRIL 2017 / VOL 157

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GEAR SPY

Sony HVL-F45RM flash unit £420

Compact, flexible flash option for owners of Sony a7 series cameras sony.co.uk l Fujifilm Two X series lenses for Fujifilm’s mirrorless system have been teased for 2018, neither of which has a model name as yet.

These are a ‘telephoto prime lens’ plus an ‘ultra wide-angle zoom lens’, both of which Fuji says are in response to requests from its professional photographers and enthusiasts. l E-mount optics Sticking with lenses, two Sony optics for its E-mount compact system cameras have been released: the FE 100mm f/2.8 STF GM OSS mid-telephoto prime lens, plus lightweight FE 85mm f/1.8 mid-telephoto prime lens.

With a guide number of 45, this clip-on flash unit features wireless radio control with a reach of up to 30m and a battery life lasting for up to 210 bursts. With continuous flash performance a respectable 40 flashes at 10 flashes per second, it can be tilted up to 150° vertically, swivelled 360° horizontally, and directed 8° downwards.

A manageable yet solid 317g, operation is via a large and bright LCD display, while an LED light, dust and moisture-resistant construction and revamped menu system – that closely apes those found on Sony’s cameras – cements the impression that, when twinned, camera and flash are working as one coherent photographic unit. Power comes via four AA batteries.

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MEMBER TEST

4 'The shift feature allows users to control converging lines'

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Nikon PC-E NIKKOR 24mm f/3.5 Tilt-shift lens practice makes perfect

T Professional Ektachrome NanGuang Flexible LED Colour Reversal Film £TBC light panels £679.98 fullkit A resurrection of a Kodak film discontinued in 2012 kodakalaris.com/go/profilms

Flexible panels can be shaped to fully control illumination kenro.co.uk

Interesting, given Kodak’s recent focus on apps to encourage digital photographers to print, is the news that a formerly discontinued film is being reintroduced.

Axed five years ago, Kodak Professional Ektachrome Colour Reversal Film had won praise for its extremely fine grain, clean colours, great tones and contrast. Its return is put down to photographers’ demands for colour reversal film.

Unlike the other available Kodak professional films, which are colour negative, Ektachrome generates a positive image that can be viewed or projected once it is exposed and processed – making it well suited to scanning and printing. The relaunched film is due to arrive in the fourth quarter of 2017.

Ever wanted to wrap lighting around a subject?

That’s just one of the possibilities with this flexible solution from NanGuang, introduced to the UK via distributor Kenro.

Featuring 288 bi-colour LEDs, these lights are suitable for use in studio and on location, and are resistant to water and frost.

The kit comprises two panels 30x60cm in size, 2mm thick and weighing a mere 140g, and the pair can be mounted in a square or rectangular shape thanks to aluminium frames, also provided.

Alternatively, the panels can be laid on the floor of a studio or curved around the subject being photographed. That the panels provide a continuous lighting source for either video or stills, and are cool to the touch with it, are further advantages.

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ilt-shift lenses have two key characteristics: the shift feature allows you to control converging lines by moving the lens up and down, while the tilt feature allows you to apply selective focus by moving left to right.

The feature I was most interested in was the shift capability. At least 90 per cent of the interior and property images I take are shot with Nikon’s 24mm f/2.8. As such, each shot needs to be straightened in postproduction so that the walls are vertical. This can be time-consuming.

The lens took a bit of getting used to. When you shift the lens up or down to achieve a vertical wall, you simultaneously need to adjust the angle of the camera up or down to ensure the composition remains the same. If not, you end up seeing too much ceiling or floor.

In my two-hour test I found myself getting better at finding the sweet spot. By using it daily this would become second nature.

Over time, finding the lens's sweet spot became easier

This lens is superb to use and its quality pretty much identical to my Nikon 24mm f/2.8.

However, my images needed minor tweaking to ensure the verticals were 100 per cent.

Although it allowed me to retain that extra bit of frame, the time spent adjusting the shot in post somewhat cancelled out the benefit, but over time this would be something I’d improve upon.

Most photographers will get good results using a slightly wider lens and straightening their images in postproduction. But while a tilt-shift lens is expensive, for professional interior shooters I feel it could be a worthwhile investment.

AUTHOR PROFILE PHILIP FIELD ARPS A two-time finalist in Travel Photographer of the Year, Field combines his passion for travel, sport and photojournalism with his career as a graphic designer

VOL 157 / APRIL 2017 / THE RPS JOURNAL / 297

| THE CRAFT | 299 MASTER CLASS

4 2

1 7 3

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5

How to light a retro-style shoot

Matt Richardson reveals the set-up for this cinematic, 1950s pin-up-influenced portrait Influenced by films such as Pulp Fiction and Drive, I had a good idea of the style I was keen to create with this shoot. I wanted to try out something a little different to my usual and get pictures that would be good for stock.

SET YOUR SCENE I found the model for this shoot online – she specialises in this look, and brought all her own clothes and accessories to suit the shoot. The car itself is an interesting thing – inside it’s really smart, but it looks terrifying on the outside. The shoot took place in a workshop car park, and we had to position the car to leave a reasonably clear backdrop.

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SCOPE OUT THE VEHICLE The windows of the car are really small, and it’s got a split windscreen, so getting light into the car was a real challenge without getting shadows on to it.

The low roof line and window frames restrict the angles that lights can be fired in.

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POSITION THE LIGHTS I shot through the open passenger door and even crouching down I was in the way of my key light – an Elinchrom Ranger with a 26cm-high performance reflector slightly above camera right – but low enough to clear the door frame.

A pair of Elinchroms were placed either side of the front wings firing through either side of the two-part windscreen; the one near the camera quite close to act as both fill and a kicker light on the face and hair, while the one on the far side was placed slightly further back to give a softer fill light on that side of the car.

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LIGHT UP THE BACKGROUND There is a Nikon Speedlight on the rear parcel shelf firing into the ceiling to fill that area and drop a soft light back down on to the interior.

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FIND THE RIGHT SETTINGS I use manual mode with off-camera flash. Using the

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camera’s built-in meter I take a base reading of the ambient light with either the shutter or aperture set as I want it, then I set to underexpose to allow for the flash and adjust the rest of my settings from there.

COMPOSE FOR PURPOSE Because I intended to use these photos for stock they are intentionally shot slightly wide, with room for cropping or text.

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POST&PROCESS TO FINESSE THE FINAL RESULT I try to get everything right in camera, and then not mess around on Photoshop much more than the levels. I shot it raw so that I have creative control; I could tweak the highlights, shadows and get a nice colour balance. I brought up the saturation a bit because I wanted to get the colour of her hair and the cherries, the wood etc.

I also turned down the vibrancy a little bit so the strong colours were muted.

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AUTHOR PROFILE MATT RICHARDSON An internationally published editorial, commercial and PR photographer, Richardson specialises in cars, people and architecture. He was one of the selected photographers for the Society's Members' Biennial 2017

VOL 157 / APRIL 2017 / THE RPS JOURNAL / 299

300 | THE CRAFT | DIFFERENT METHODS OF LIGHTING 1

HARD LIGHT a torch with diffuser, held without motion at a distance

2

SOFT LIGHT using a softbox or umbrella, this gives a typical studio-lighting look

STANDARD 3

SCULPTURAL LIGHT a torch with diffuser, held closely, with movement

Sculpt a still life

Fine-art photographer Harold Ross explains how to paint with light

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began light painting almost 30 years ago, initially as a way to solve lighting issues.

I immediately saw, though, that the areas of an image that were light painted were much more beautiful than the rest. Right away, I started using light painting, or sculpting with light, for all of my photography.

The process involves painting (not pointing) the light on to the subject in a darkened environment over time, in a very controlled way. With proximity (of the light to the subject) and motion, we use a relatively small (hard) light but are able to capture the beauty of a soft light.

By making several captures we can optimise the lighting for each element of the image. This gives us unparalleled texture,

300 / THE RPS JOURNAL / APRIL 2017 / VOL 157

detail and shape, while imparting a softness, which I find beautiful.

These captures are then easily blended in Photoshop using layers and masking.

In the days of film, this light had to be applied ‘perfectly’ on one piece of transparency film.

This was a challenge, and required sophisticated equipment. Today, because we can (and should) combine multiple captures, which are later masked together, we can use an ordinary torch (with diffusion) and two or three other very simple pieces of equipment.

Of course, you also need a camera and a sturdy tripod, as well as a computer, as I highly recommend shooting tethered.

I always say that the camera is the least important part of

the kit; it is the lighting and post-processing that create the look of the images. I use Capture One for tethering and raw processing, and Photoshop for layering the images together.

It’s very easy to get started, but it requires patience and possibly some guidance to get it right. Shooting tethered is a huge help and I like to refer to the capture software as ‘the world’s best light meter’, as we can determine exposure corrections very easily and quickly. We can also check critical focus very well, look at potential cropping and judge detail. These things aren’t possible on a camera display.

One of the biggest challenges is getting used to controlling the light and seeing what works, through trial and error. Seeing the ‘pool of light’ precisely and the distribution of the light, and using the edge of the cone of light for texture – all at the same time – takes some practice.

In masking, the most challenging part is learning how to create masks with smooth gradients, and using the mask in a sculptural way, much like a painter does with pigment. This phase is very rewarding (and fun) and, when masking, we are actually painting with light a second time.

SCULPTED

BASIC PROCESS

1 Set up your scene and position your camera and tripod 2 Set a slow shutter speed of at least a few seconds, depending on your base light set-up.

Most light sculpting will be done in very low light to allow

IN DEPTH

ADVANTAGES OF SCULPTING WITH LIGHT

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The method gives us the benefits of a small light source (a surgical application of light, great texture, dimension and colour saturation), while also giving us the beauty of a large light source (the soft gradation of highlight-toshadow transitions).

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Fine control of light is easier – just move your hand.

We can easily compensate for the brightness of everything in the image.

This means that we can have a lump of coal next to a pile of salt, and both can have tremendous detail.

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We can locally skim the light for tremendous amounts of texture.

The dimension of objects can be enhanced by using slightly differing lighting directions for various parts of the image.

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The look and feel of light painting can be beautiful; it can resemble painting or illustration.

With no need for reflectors, mirrors, light stands etc, the set is uncluttered, and the tools are cheaper and easier to store.

maximum control 3 Open the shutter and start painting an element of your scene with your light source – a torch with diffuser, LED panel or similar 4 Review your results and repeat step 3 until you are happy with the lighting of that element

5 Open the shutter and start painting the next element 6 Repeat step 5 until you are happy you have lit every element of your shot 7 Take your best results for each part of the image into Photoshop and use layer masking to blend them into one picture

RECOMMENDED EQUIPMENT

LED torch with a diffuser (pictured left); you may also wish to use a wand attachment to provide a long, thin, soft light source Small battery-powered LED panel (pictured left, bottom) Diffusion panel (or scrim) approximately 30” in diameter, to be used with the LED panel

AUTHOR PROFILE HAROLD ROSS An American fine-art photographer who specialises in light painting, Ross teaches workshops on his methods.

See haroldrossfineart.com

VOL 157 / APRIL 2017 / THE RPS JOURNAL / 301

'Plants in a different Add some colourlight' to

by Jan Ramscar

your weekend this autumn at Gibside Following in the footsteps of early

Saturday 18 March - Sunday 18 June at the Fox Talbot Museum, Lacock photographic pioneers, Jan Ramscar's botanical projection photograms are created Go crunching leaves Her and discover a forest without the through use of afallen camera. vivid and teeming with wildlife and autumn colours, with walking intricate images showcase the beauty of some routes for all ages and abilities. of the smallest elements of the natural world.

Call 01249 730459 for details nationaltrust.org.uk/gibside or visit nationaltrust.org.uk/lacock When you visit, visit,donate, donate,volunteer volunteer join National Trust, When you oror join thethe National Trust, youryour support helpsus usto tolook lookafter after special places the South<like West support helps special places <inin the region> such as Lacock Abbey andProeprty DyrhamZ> Park forever, ever, everyone. property X, property Y and in for forfor everyone. © National Trust 2017. The National Trust is an © National Trust 2016. The National Trust is an independent independent registered charity, number 205846. registered charity, number 205846. Photography © National Trust Photography © National Trust Images\Jan Ramscar: Images.

'Erythronium dens-canis; Dog's tooth violet'.

#nationaltrust #nationaltrust

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Wildlife along the Rockies A day of American natural history photography – in Leicestershire

R

enowned American wildlife photographer Dan Hartman is to give a lecture on American natural history and wildlife photography to the East Anglia Region on 14 May. Hartman, whose work has featured in National Geographic, focuses on photographing the rich wildlife and scenery of the Rocky Mountains, including Yellowstone National Park.

He guarantees that all his images are of wild animals, including wolves, which are usually only pictured in captivity. His photographs showcase majestic creatures in their natural state and emphasise their place in the natural habitat.

Hartman will be accompanied by Roger Reynolds HonFRPS, who also specialises in capturing the natural world. Reynolds offers comprehensive photographic tours of Yellowstone, which include a stop at Hartman’s log cabin embedded in the forest on the outskirts of the park, and the pair offer their expertise to photographers of all levels.

Hartman will also be appearing at the Scotland Region’s spring break weekend in Dumfermline on 20–21 May. For more about Hartman and his work, turn to page 282, details on the East Anglia event are on page 305, and for the Scotland weekend, turn to page 307, or visit rps.org/events

Top: Chipmunk on stump, Mount St Helens Above: Three great grey owl chicks VOL 157 / APRIL 2017 / THE RPS JOURNAL / 303

304 | GUIDE |

WORKSHOPS

Art-nude photography Saturday 22 April / 10:00-17:00

Hear from the experts and hone your skills

`` £120/£95 Society

Professional Photoshop retouching with Tim Daly

`` Wiltshire

Saturday 1 April / 10:00-16:30

`` £95/£71 Society

members `` Learn how to use precision cutting and retouching techniques within a non-destructive workflow `` Bath HQ

Professional Photoshop colour control with Tim Daly Sunday 2 April / 10:00-16:30

`` £95/£71 Society

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

Shooting modern architecture Friday 7 April / 10:00-16:30

`` £99/£75 Society members

`` Fully booked `` Nottinghamshire Coastal landscapes – Lyme Regis

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

members `` Fully booked `` Dorset

Thursday 13 April / 10:00-16:30

`` £55/£41 Society `` Buckinghamshire Learn to film with your DSLR Wednesday 19 April / 10:00-16:30

`` £120/£95 Society members `` Buckinghamshire

Portraiture photography and getting the most from your subject Thursday 20 April / 9:30-17:00

`` £115/£90 Society members `` Fully booked `` Buckinghamshire

Environmental portraiture Saturday 22 April / 9:30-18:00

`` £120/£95 Society members

`` Approaches to portraiture on location

`` Derbyshire `` Learning from history – photographing plants and gardens Saturday 22 April / 10:00-16:30

Creative dancelighting photography Saturday 8 April / 10:00-17:00

`` Introduction to your digital camera Sunday 23 April / 10:00-17:00

Macro and art photography

Saturday 8 April / 10:00-17:00

`` £95/£71 Society

members

`` £55/£41 Society members `` Bath HQ

`` £85/£63 Society members

`` Bath HQ Introduction to mindfulness and meditation, and how these link to photography Thursday 27 April / 10:00-16:30

workshop Sat 29 – Sun 30 April / 10:00-17:00

`` £165/£140 Society members `` Fully booked `` Wiltshire

Advanced Lightroom creative editing techniques Sunday 30 April / 10:00-16:30

`` £95/£71 Society

members `` Fully booked `` Buckinghamshire

Advanced Lightroom: how to organise your library with keywords, metadata and GPS Saturday 29 April / 10:00-16:30

`` £95/£71 Society members `` Bath HQ

Cinematic Hollywood beauty lighting made simple Saturday 29 April / 10:00-17:00

`` £120/£95 Society

Thursday 18 May / 10:00-16:30

Saturday 6 May / 10:00-16:30

`` £95/£71 Society members

Mon 8 – Tue 9 May / 10:00-16:00

members

`` Buckinghamshire Advanced creative compositing in Photoshop Friday 19 May / 10:00-17:30

`` £140/£115 Society members

`` £190/£165 Society

`` Surrey

`` Bath HQ

Studio portraiture

Paint with light

`` £165/£140 Society

members

Saturday 20 May / 10:00-17:00 Wed 10 May / 10:00-16:00

members

`` £95/£71 Society

`` Wiltshire

`` Buckinghamshire

Introduction to Photoshop

members

Introduction to Lightroom Saturday 13 May / 10:00-16:30

Sunday 21 May / 10:00-17:00

`` £95/£71 Society members

`` £95/£71 Society

`` Bath HQ

`` Bath HQ

Two-day Photoshop workshop

members

Pinhole photography Saturday 13 May / 10:00-16:30

`` £75/£56 Society

members

members `` Bath HQ

Two-day wedding

Theatrical and creative dance lighting

`` Surrey

members

`` Buckinghamshire

`` £155/£90 Society

Running your own photographic business

Friday 28 April / 10:00-16:30

Sunday 14 May / 10:00-17:00

`` £95/£120 Society

Introduction to the creative eye

`` Buckinghamshire

`` £115/£90 Society

Child portrait photography

A beginners’ guide to product photography

`` Bath HQ

Creative techniques in Photoshop

members

`` Surrey

members

`` Bath HQ

`` £95/£71 Society members

Saturday 13 May / 10:00-17:00

`` £120/£95 Society

Sat 27 – Sun 28 May / 10:00-17:00

`` £165/£140 Society members

`` Bath HQ Art figure painting with light Saturday 3 June / 10:00-17:00

`` £115/£90 Society members

`` Surrey

Video editing (beginner to advanced) Thursday 8 June / 10:00-16:30

`` £120/£95 Society members

`` Buckinghamshire Macro and art photography Friday 9 June / 10:00-16:30

`` £55/£41 Society members

`` Buckinghamshire Duo Dance classic and contemporary lighting workshop Saturday 10 June / 10:00-17:00

`` £115/£140 Society Learn the art and techniques behind successful wedding photography

304 / THE RPS JOURNAL / APRIL 2017 / VOL 157

members

`` Surrey

| GUIDE | 305 Two-day wedding workshop Sat 10 – Sun 11 June / 10:00-17:00

`` £165/£140 Society members `` Fully booked `` Lacock Developing personal projects and storytelling with Ben Cherry Thursday 15 June / 10:00-17:00

`` £120/£95 Society members `` Buckinghamshire

Creative techniques in Photoshop

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

‘Beyond the summit’ by Chris Palmer FRPS

members `` Buckinghamshire

Different landscapes and rural life Saturday 17 June / 9:30-18:00

`` £120/£95 Society members `` Buxton

Introduction to your digital camera Sunday 18 June / 10:00-17:00

`` £85/£63 Society members `` Bath HQ Product photography Monday 19 June / 10:00-17:00

`` £155/£130 Society members

`` Colerne, near Bath Portraiture photography and getting the most from your subject Thursday 22 June / 9:30-17:00

`` £115/£90 Society members `` Buckinghamshire Historical architecture photography – Holme Pierrepont Hall

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

‘Tales of two rivers’ Saturday 8 April / 10:00-17:00

`` £50 `` This is the Contemporary

Special Interest Group’s April 2017 conference `` Jubilee Suite, Copthorne Hotel, Paradise Circus, Birmingham B3 3HG `` Avril Harris, 07990 976390, avrilrharris@blueyonder.co.uk

‘Starting out: arriving at a Fellowship’ by Jill Pakenham FRPS

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

‘East African national parks’ by Ian Whiston 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 FRPS Thursday 27 April / 19:30-22:00

`` £99/£75 Society members `` Nottingham

`` £3 `` Smethwick Photographic

Saturday 24 June / 10:00-17:00

`` £120/£95 Society members `` Lacock

How to photograph children and babies Sunday 25 June / 10:00-17:00

`` £120/£95 Society members `` Lacock

Photographing landscape whatever the weather, with Tony Worobiec

Sunday 11 June / 10:30-16:30

`` £15/£10 Society members `` A lecture by Alison Baskerville,

Society, Church Bridge, Oldbury, West Midlands B69 2AS `` Mike Sharples ARPS, as above

a renowned British documentary photographer `` Foxton Village Hall, 2 Hardman Road, Foxton CB22 6RN `` Mark Gillett, rpsdigeast@gmail.com

Cyanotype process workshop

Visit to West Stow Anglo-Saxon village

Sunday 11 June / 10:00-16:00

`` £10/£8/£5 spectators `` Smethwick Photographic

Sunday 11 June / 10:00-16:00

Saturday 17 June / 10:30-16:00

`` £25/£20 Society members `` Smethwick Photographic

`` Visit the Anglo-Saxon village

IAN(GREENMEN.ORG.UK

at West Stow with the Archaeology and Heritage Group `` West Stow Anglo-Saxon village, Icklingham Road, Suffolk IP28 6HG `` Mike Sasse, 01892 531179, mike.sasse@btinternet.com

Print with confidence

Norfolk coast weekend

Society, Church Bridge, Oldbury, West Midlands B69 2AS `` Mike Sharples ARPS, as above EAST ANGLIA IAN WILSON ARPS, 07767 473594

Sunday 2 April / 10:30-15:30

Saturday 24 June / 10:30-15:00

`` £10/£7 Society members `` Foxton Village Hall and Sports

`` See website for costs `` Guided photographic trip to

Pavilion, 2 Hardman Road, Cambridge CB22 6RN `` Mark Gillett, 07984 518959, mark_gillett@icloud.com

Thursday 13 April / 19:30-22:00

`` £3 `` Smethwick Photographic

Thursday 22 June / 10:00-16:30

Art-nude photography

Central Region photoforum: LRPS and ARPS (fine art)

Alison Baskerville – joint EA meeting with the Digital Imaging Group

Thursday 6 April / 19:30-22:00

`` £3 Society members `` Smethwick Photographic

Friday 16 June / 10:00-16:30

`` £115/£90 Society

West Midlands B69 2AS

`` Mike Sharples ARPS, as above

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

‘An evening with John Chamberlin’ presented by John Chamberlin FRPS Thursday 11 May / 19:30-22:00

`` £3 Society members `` Smethwick Photographic

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

LRPS advice; ARPS advisory day (all five categories)

Sunday 25 June / 10:30-16:30

Sunday 14 May / 10:00-16:00

`` £55/£41 Society members `` Bath HQ

`` £20/£15/£10 spectators `` Smethwick Photographic

Society, Church Bridge, Oldbury,

Visit Ely Cathedral with the A&H Group Wednesday 5 April / 11:00-15:00

`` Visit the cathedral with the

Archaeology and Heritage Group `` Ely Cathedral, Ely CB7 4DL `` Ken Keen, 01753 886036, ken.keen.333@btinternet.com

Creative Group annual exhibition Sat 8 – Mon 17 April / 10:00-16:00

`` Wingfield Barns, Church

Road, Wingfield, Diss IP21 5RA `` Moira Ellice, moira. ellice2011@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 Regional exhibition

part of the Norfolk coast

`` Happisburgh community car

park, Happisburgh, Norfolk NR12 0PR `` Nick Bowman, Nickbowman55@hotmail.com EAST MIDLANDS STEWART WALL ARPS, 07955 124000 STEWART(STEWARTWALL.COM

LRPS and ARPS advisory day Sunday 9 April / 10:00-16:00

`` £20/£15/£10 spectators `` Whatton Jubilee Hall, Church

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

Photographic projects Sunday 21 May / 10:30-16:00

`` Hear from RPS gold medal

winner Carolyn Mendelsohn and discover the work of Samuel Bourne, the first photographer to work in the high Himalayas `` Whatton Jubilee Hall, Church Street, Whatton in the Vale NG13 9EL `` Stewart Wall ARPS, as above

Wed 3 May – Sun 4 June / 10:00-16:00

`` Apex Art Gallery, Charter

Square, Bury St Edmunds IP33 3FD `` Moira Ellice, moira. ellice2011@btinternet.com

Dan Hartman: ‘Wildlife among the Rockies’ Sunday 14 May / 10:30-16:30

`` The 2017 regional-sponsored lecture; entry is free

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

`` Breathing London project Until Monday 17 April

`` Foxton Village Hall, Hardman Road, Foxton CB22 6RN

`` Ian Wilson ARPS, as above

`` All over London W2 2UH `` Judy & Jen, greenlondon@rps.org

VOL 157 / APRIL 2017 / THE RPS JOURNAL / 305

306 | GUIDE | Living London exhibition Until Fri 21 April / 11:00-14:00

`` Free `` Exhibition of images

contained in the book of the same name `` The Croation Embassy, 21 Conway Street, Fitzrovia, London W1T 6BN `` londonevents@rps.org

‘Sunny Climes’ – an exhibition of work by south-west Londoners Until Wednesday 31 May / 8:00-16:00

`` Cafe Barossa, 277 New King’s Road, Fulham, London SW6 3DU `` Judy Hicks, 07768 923620, londonro2@rps.org

The final Breathing London workshop with Robert Canis – back to spring again

Upper Richmond Road, Putney SW15 2SP `` London Web, Londonweb@rps.org

London Region advisory day – FRPS Saturday 15 April / 10:00-16:00

`` £35 Associate members `` A day for Associate members to get advice on a potential Fellowship application `` Idea Store, Whitchapel, 321 Whitechapel Road, London E1 1BU `` London Distinctions, londondist@rps.org

The Bookworm Club Wednesday 19 April / 18:30-21:00

`` The Crusting Pipe, 27 The

Market, Covent Garden, London WC2E 8RD `` London Bookworms, LondonBookworms@rps.org

Monday 3 April / 17:30-19:30

`` £25/£20 Society members `` To be confirmed `` Breathing London Team,

Getting started with macro photography Tuesday 25 April / 10:30-16:30

greenlondon@rps.org

`` £149/£134.10 Society

Getting started with Speedlights, part one

`` Nikon Centre for Excellence,

Tuesday 4 April / 10:30-16:30

`` £149/£134.10 Society

members `` This hands-on workshop will take partipants through the basics of using Speedlights, enabling them to become confident and proficient in flash photography `` Nikon Centre for Excellence, 63-64 Margaret Street, London W1W 8SW `` London Events, londonevents@rps.org

members

63-64 Margaret Street, London W1W 8SW `` London Events, londonevents@rps.org

Regular meeting of the SE London Group Tuesday 25 April / 19:00-21:00

`` £5/£3 Society members `` Greenwich Gallery, Peyton Place, London SE10 8RS

`` London Cave, londoncave@ rps.org

London Naturally Group

`` Judy Hicks, 07768 923620, londonro@rps.org

London Region street walk Saturday 13 May / 9:45-14:00

`` To be confirmed `` London Cave,

londoncave@rps.org

The Bookworm Club Wednesday 17 May / 18:30-21:00

`` The Crusting Pipe, 27 The

Market, Covent Garden, London WC2E 8RD `` London Bookworms, LondonBookworms@rps.org

Historical Group visit to the Centre for Photographic Conservation, London Saturday 27 May / 11:00-15:30

`` £5 group members `` Group field trip `` Centre for Photographic

Conservation, 233 Stanstead Road, Forest Hill SE23 1HU `` Geoff Blackwell ARPS, gblackwell@fastmail.fm

A Sunday morning walk with the London Naturally Group Sunday 28 May / 10:30-13:00

`` To be confirmed `` London Naturally,

Friday 7 April / 15:00-16:00

`` £10 non-Society members `` A fabulous opportunity to

meet Anderson & Low for a guided tour of their exhibition `` Media Space, 2nd Floor, Science Museum, Exhibition Road, London SW7 2DD `` london Events, londonevents@rps.org

London Region street walk

`` Regular meeting of the

`` 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

`` The Prince of Wales, 138

rps.org

Saturday 10 June / 9:45-14:00

rps.org

Regular meeting of the SW London Group Tuesday 13 June / 19:00-21:00

Upper Richmond Road, Putney SW15 2SP `` London Web, Londonweb@ rps.org

The Bookworm Club Wednesday 21 June / 18:30-21:00

306 / THE RPS JOURNAL / APRIL 2017 / VOL 157

NORTH WEST BRIAN SMETHURST, 01942 719766 BSMETHURST(HOTMAIL.CO.UK

Advisory day – LRPS and ARPS Sunday 30 April / 10:00-16:00

`` £20/£15/£10 spectators `` Advisory day for LRPS and ARPS (all five categories)

`` Days Inn, M6 Charnock

Richard services, M6 northbound, Charnock Richard PR7 5LR `` Brian Smethurst, bsmethurst@hotmail.co.uk

Spring walk – a little gem: the hamlet of Feizor and Oxenber-Wharfe Woods Saturday 13 May / 9:30-16:30

Village LA2 8DH

261173, HartleyAlmal@aol.com

`` £10 `` Three studios with models,

Place, London SE10 8RS

`` London, The Crusting Pipe, 27

tour of the west and east Highgate Cemeteries. `` Archway Tube Station, Junction Road, London N19 5RQ

NORTHWALES(RPS.ORG

`` London Cave, londoncave@

Special photographers’ tour of the west and east Highgate Cemeteries Wednesday 10 May / 10:15-14:00

NORTH WALES MARTIN BROWN LRPS, 01691 773316

‘Photographing characters’

`` The Prince of Wales, 138

`` £20/£12 Society members `` We have arranged a special

rps.org

`` £5/£3 Society members `` Greenwich Gallery, Peyton

SW London Group in Putney.

Details to be confirmed. `` The Prince of Wales, 138 Upper Richmond Road, Putney SW15 2SP `` London Web, Londonweb@ rps.org

Saturday 8 April / 9:45-14:00

Place, London SE10 8RS

`` London Cave, londoncave@

Tuesday 30 May / 19:00-21:00

naturally@rps.org

Tuesday 9 May / 19:00-21:00

Tuesday 27 June / 19:00-21:00

`` Greenwich Gallery, Peyton

`` Allan Hartley ARPS, 01524

`` To be confirmed `` London Cave, londoncave@

Regular meeting of the SW London Group

Regular meeting of the SE London Group

Regular meeting of the SE London Group

Nunhead Cemetery

`` To be confirmed `` London Naturally, london_

naturally@rps.org

`` Woodend Farm, Austwick

London Region street walk

`` A Sunday morning walk in

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

`` London Naturally, london_

london_naturally@rps.org

Sunday 30 April / 10:30-13:00

Meet the artists – Anderson & Low HonFRPS at the Science Museum

Your events

The Market, Covent Garden, London WC2E 8RD `` London Bookworms, LondonBookworms@rps.org

A Sunday morning walk with the London Naturally Group Sunday 25 June / 10:30-13:00

`` To be confirmed

Sunday 11 June / 11:00-13:30

strobe lighting and portraiture photographers on hand to assist participants and offer their expert knowledge `` The Wilmslow Guild, Bourne Street, Wilmslow SK9 5HD `` Alan Angel FRPS, 0161 980 0106, aandjangel@btinternet.com NORTHERN GERRY ADCOCK ARPS, 01661 830882 GERRY(GERRYADCOCK.CO.UK

Analogue group AGM Saturday 29 April / 10:00-17:30

`` £18/£15 Society members `` This year’s AGM will be held at Manchester’s Museum of Science and Industry `` Museum of Science and Industry, Liverpool Road, Manchester M3 4FP `` Stephen Godfrey, 07812 605837, steve@stephen godfrey-photography.co.uk NORTHERN IRELAND RICHARD CORBETT 07805 381429 RICHARD(RICHARDCORBETTPHOTOGRAPHY.COM

| GUIDE | 307 `` The Dolphin Hotel, Station

SOUTH EAST

Road, Bovey Tracey TQ13 9AL

REGIONAL COMMITTEE

`` Martin Howse ARPS,

SOUTHEAST(RPS.ORG

A&H AGM and annual print day Saturday 6 May / 10:30-16:30

`` A good opportunity for new

members, or those interested in joining, to find out about the group’s interests and photography, and meet other members `` Leatherhead Institute, 67 High Street, Leatherhead, Surrey KT22 8AH `` Chelin Miller, 07804 776980, southeastweb@rps.org

Advisory day – LRPS and ARPS (all five categories) Sunday 7 May / 10:30-17:00

`` £20/£15/£10 spectators `` Distinctions advice from panel members

`` Detling Village Hall, Pilgrim’s SCOTLAND JAMES FROST FRPS 01578 730466/07881 856294 JAMES.FROST11(BTINTERNET.COM

Scotland Region members’ print exhibition 2017/18 – Lerwick Until Friday 14 April / 10:30-16:00

`` Islesburgh Community

Centre, Lerwick ZE1 0EQ `` James Frost FRPS, as above

Around Loch Eck Saturday 1 April / 10:00-16:00

`` £15/£5 Society members `` Field trip to the beautiful Loch Eck in Argyll

`` Benmore Botanic Garden car

park, Dunoon, Argyll PA23 8QU

`` David Fiddes,

daudistrachur@gmail.com

DIG Scotland Centre – April 2017 meeting Sunday 2 April / 13:30-16:15

`` £15 group season ticket/

£5 renewal season ticket/ £5 non-members `` All welcome `` Bridge of Allan Parish Church, 12 Keir Street, Bridge of Allan FK9 4NW `` Dave Hunt, digscotland@rps.org

Photoforum Lasswade Sunday 9 April / from 10:30

`` £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

Scotland Region members’ print

exhibition 2017/18 – Glenrothes Mon 1 – Wed 24 May / 10:30-16:00

`` Rothes Halls, Glenrothes KY7 5NX

`` Donald Stewart,

Photograph the idyllic Golitha Falls and surrounding area with the South West Region

Way, Detling, Maidstone ME14 3EY `` Colin Smith, 07966 178026, colinsmith118@btinternet.com MIKE LEWIS, 07855 309667, 01446 710770

Nash Point and the Heritage Coast

Scotland Region spring weekend in Dunfermline

Saturday 8 April / 10:00-16:00

`` Nash Point car park, St

Donas, Marcross, Mid Glamorgan , CF61 1ZH `` Peter Douglas-Jones, 07776 141409, peter@douglas-jones.biz

Sat 20 – Sun 21 May / 9:00-17:30

`` Prices vary. See website for details

`` The weekend includes talks

by Dan Hartman, Laura Pannack and Dougie Wallace, president Walter Benzie HonFRPS, and Honorary Fellows Tom Stoddart and Roger Reynolds, plus a drinks reception and three-course meal on the Saturday `` Carnegie Conference Centre, Halbeath Road, Dunfermline KY11 8DY `` James Frost FRPS, as above

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 `` Peter Douglas-Jones, 07776 141409, peter@douglas-jones.biz

Scotland Region members’ print exhibition 2017/18 – Penicuik

Waterfalls along the Rivers Nedd, Pyrddin, Mellte and Hepste

Thu 1 – Sun 25 June / 10:30-16:00

Saturday 6 May / 10:30-16:00

`` Penicuik Community Arts

`` The Angel Inn, Glynneath,

Association, Penicuik EH26 9DL `` Doug Berndt, doggier@ blueyonder.co.uk

near Neath, West Glamorgan SA11 5NR `` Peter Douglas-Jones, 07776 141409, peter@douglas-jones.biz

DIG Scotland Centre – June 2017 meeting

SOUTH WEST

Sunday 11 June / 13:30-16:15

MICK MEDLEY, 01626 824865/07980 073808

`` £15 group season ticket/ £5 single ticket

`` Bridge of Allan Parish Church, 12 Keir Street, Bridge of Allan FK9 4NW `` Dave Hunt, digscotland@rps.org

RPSSWREGION(GMAIL.COM

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

Advisory day – LRPS and ARPS Sunday 23 April / 10:30-16:00

`` £10 spectators `` Categories TBC

West Cornwall Group meeting Wednesday 17 May / 18:45-21:00

`` The Copper Room,

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

Field trip to Plymouth Saturday 20 May / 10:00-16:00

`` A day photographing some

of the historical sites of Plymouth `` Mutton Cove car park, James Street, Plymouth PL1 4LB `` John Widdows, 01752 781555, johnwiddows@ btinternet.com

Cornwall field trip Saturday 24 June / 10:00-16:00

`` A day photographing around Golitha Falls and The Minions

`` Golitha Falls, St Cleer,

SOUTH WALES MIKEGLEWIS101(BTINTERNET.COM

Donaldstewart@aol.com

01326 221939, mghvkh@btinternet.com

Liskeard PL14 6RX

`` Martin and Viv Howse,

01326 221939, mghvkh@btinternet.com SOUTHERN DAVID ASHCROFT LRPS, 07710 302684 SOUTHERN(RPS.ORG

Advisory day – LRPS Sunday 2 April / 10:00-16:00

`` £20/£15/£10 spectators `` Distinctions advice from panel members

`` The Fishbourne Centre,

Blackboy Lane, Fishbourne, Chichester PO18 8BE `` David Ashcroft LRPS, as above

Imaging the moon Wednesday 3 May / 19:30-22:00

`` £15/£10 Society members `` A rare opportunity to view and

photograph the moon and possibly other objects in the night sky, through a selection of telescopes `` Lilian’s Observatory, 36 Linden Grove, Chandlers Ford, SO53 1LD `` Lilian Hobbs, 07785 264684, me@lilianhobbs.com

Imaging the sun Saturday 13 May / 11:00-14:00

`` £20/£15 Society members `` Lilian’s Observatory, 36

Linden Grove, Chandlers Ford, SO53 1LD `` Lilian Hobbs, 07785 264684, me@lilianhobbs.com

DIG Southern Centre: ‘Altered reality ... better than the real thing’

VOL 157 / APRIL 2017 / THE RPS JOURNAL / 307

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

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| GUIDE | 309 with Adrian Lines ARPS and ‘Going solo’ with Jane Lines LRPS Sunday 21 May / 10:30-16:00

`` £12/£8 group members `` Lecture workshops

discussing concepts and techniques for creating successsful exhibition and competition images `` Greyfriars Community Centre, 44 Christchurch Road, Ringwood BH24 1DW `` Barry Senior HonFRPS, 01425 471489, digsouthern@rps.org

Imaging the moon Thursday 1 June / 19:30-22:00

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

Linden Grove, Chandlers Ford, SO53 1LD `` Lilian Hobbs, 07785 264684, me@lilianhobbs.com

Lee Filters factory visit Tuesday 20 June / 11:00-15:00

`` A rare opportunity to see

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

PDI competition, plus presentation by members with prints and AVs Sunday 21 May / 10:00-15:30

`` £15/£12/£8 group members `` An open event organised by

Advisory day – LRPS and ARPS (fine art, natural history)

Road, Bath BA2 3AH `` David Norfolk ARPS, as above

Sunday 25 June / 10:00-16:00

`` £15/£10 observers `` Distinctions advice from

panel members `` Millennium Hall, Main Road, Lacey Green HP27 0QN `` Kathy Chantler, 01296 483469/07738 112775, kathychantler@gmail.com WESTERN DAVID NORFOLK ARPS, 07771 515273

Walworth Business Park, Andover, Hampshire SP10 5AN `` Richard Ellis, landscapef16@gmail.com

DI Group Western – ‘A creative journey’ with Jane Kearney

Saturday 24 June / 10:00-16:00

`` £55/£45/£40 group

members `` Castel Douzaine Room, Les Beaucamps, Castel, Guernsey GY5 7PE `` Eric Ferbrache ARPS, rpsciorganiser@gmx.com

Advisory day – LRPS, ARPS and FRPS (all five categories) Sunday 25 June / 10:00-16:00

`` £20/£10/£15 `` Castel Douzaine Room,

Les Beauamps, Castel, Guernsey GY5 7PE `` Eric Ferbrache ARPS, rpsciorganiser@gmx.com THAMES VALLEY MARK BUCKLEY,SHARP ARPS, 020 8907 5874 MARK.BUCKLEY,SHARP(TISCALI.CO.UK

DI Group Thames Valley: Andrew Mills – ‘The art of photography and lighting for still life’ 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

Road, Bath BA2 3AH

`` David Norfolk ARPS, as above

WESTERN(RPS.ORG

‘Lighting up faces’ with Richard Tucker ARPS – Guernsey

Sunday 7 May / 10:00-16:30

`` £2 `` Fenton House, 122 Wells

the Digital Imaging Group Thames Valley Centre `` Woosehill Community Hall, Emmview Close, Woosehill, Wokingham RG41 3DA `` Alan Bousfield ARPS, digthamesvalley@rps.org

Lee filters being made

`` Lee Filters, Central Way,

Members’ monthly meeting – May

Members’ monthly meeting – June Sunday 4 June / 10:00-16:30

`` £2 `` Members’ show and tell `` Fenton House, 122 Wells

YORKSHIRE MARY CROWTHER ARPS, 07921 237962

`` Museum of Science and

(AGM free)

Saturday 8 April / 10:30-16:30

`` £7/£5 Society members `` New Brookhouse Club, 221, Barnsley Road, Sandal, Wakefield WF1 5NU `` Robert Helliwell, 01904 500231, bobhelliwell@clara.co.uk

a possible Western documentary subgroup and a Swindon technology and history project, followed by a Beechen Cliff/Alexandra Park photowalk `` Fenton House, 122 Wells Road, Bath BA2 3AH `` David Norfolk ARPS, as above

Highnam meeting Sunday 30 April / 10:00-13:00

`` £5 `` Show and tell, and talk from Martin Cooper LRPS `` The Parish Room, Highnam Community Centre, Newent Road, Highnam, Gloucester GL2 8DG `` David Norfolk ARPS, as above

Wednesday 5 April / 11:00-15:00

‘Great Yorkshire AV day’

A&H AGM and annual print day

`` £12/£10 Society members `` Bring along your sequences

Sunday 9 April / 14:00-17:00

Visit Ely Cathedral with the A&H Group `` Visit the cathedral with the

`` £2 `` Fenton House, 122 Wells

`` A meeting to discuss

ARCHAEOLOGY AND HERITAGE RODNEY BERNARD THRING LRPS, 01276 20725

Barnsley Road, Wakefield WF1 5NU `` Robert Helliwell, 01904 500231, bobhelliwell@clara.co.uk Sunday 9 April / 10:00-16:00

Joint meeting with documentary group

Industry, Liverpool Road, Manchester M3 4FP `` Stephen Godfrey, 07812 605837, steve@stephengodfreyphotography.co.uk

RODNEY.THRING(NTLWORLD.COM

Self-help group

Sunday 9 April / 10:00-16:30

as above

Analogue group AGM with guest speakers

Members’ day/ regional AGM

Saturday 8 April/14:00-16:00

Road, Bath BA2 3AH

ANALOGUE(RPS.ORG

`` £18/£15 Society members

`` £7/Society members £3 `` New Brookhouse Club, 221

`` David Norfolk ARPS,

ANALOGUE RICHARD BRADFORD ARPS

FACEBOOK: BIT.LY/RPSYORKSHIRE

Sunday 2 April / 10:30-16:00

Members’ monthly meeting – April

Explore more aspects of photography and digital imaging

Saturday 29 April / 10:00-17:30

PHOTOBOX50(GMAIL.COM

`` £8/£7/£5 group members `` Merryfield Village Hall, Ilton, Nr Taunton TA19 9HG `` Dennis Knowles, dennisknowles123 @btinternet.com

SPECIAL INTEREST GROUPS

for constructive feedback, and hear from two local guest speakers – Tony Collinson LRPS and Bryan Stubbs ARPS `` Leeds Trinity University, Brownberrie lane, Horsforth, Leeds LS18 5HD `` Bryan Stubbs ARPS, 0113 266 1448, bryan@stubbsav.com

Self-help group Saturday 13 May / 10:30-12:30

`` £7/£3 Society members `` VJs Art Bar, YORK, Finkle Street, York YO1 8RW

`` Robert Helliwell ARPS,

01904 500231, bobhelliwell@clara.co.uk

Advisory day – LRPS and ARPS (natural history)

Archaeology and Heritage Group

`` Ely Cathedral, Ely CB7 4DL `` Ken Keen, 01753 886036,

ken.keen.333@btinternet.com

Saturday 6 May / 10:30-16:30

`` A good opportunity for new

members, or those interested in joining, to find out about the group’s interests and photography, and meet other members `` Leatherhead Institute, 67 High Street, Leatherhead, Surrey KT22 8AH `` Chelin Miller, 07804 776980, heritageweb@rps.org

Visit to West Stow Anglo-Saxon village Saturday 17 June / 10:30-16:00

`` Visit the Anglo-Saxon village

at West Stow with the Archaeology and Heritage Group `` West Stow Anglo-Saxon village, Icklingham Road, West Stow, Suffolk IP28 6HG `` Mike Sasse, 01892 531179, mike.sasse@btinternet.com

Saturday 17 June / 10:30-16:30

`` £20/£15/£10 spectators `` New Brookhouse Club,

221 Barnsley Road, Wakefield WF1 5NU `` Robert Helliwell ARPS, 01904 500231, bobhelliwell@clara.co.uk

Archaeology day at Towton battlefield Friday 23 June / 15:45-19:00

`` Free (but booking required) `` Meet opposite the Crooked

Billet, Wakefield Road, Saxton, North Yorkshire LS24 9QN

VOL 157 / APRIL 2017 / THE RPS JOURNAL / 309

310 | GUIDE | Creative Group annual exhibition

`` Eric Houlder,

erichoulder@gmail.com AUDIO VISUAL HOWARD BAGSHAW ARPS, 01889 881503 HOWARD.BAGSHAW(NTLWORLD.COM

GO TO

Sat 8 April – Mon 17 April / 10:00-16:00

RPS.ORG/EVENTS FOR THE LATEST UPDATES

`` The group’s annual exhibition `` Wingfield Barns, Church

Road, Wingfield, Diss IP21 5RA

`` Moira Ellice, moira.

‘Great Yorkshire AV day’

ellice2011@btinternet.com

Sunday 9 April / 10:00-16:00

`` £12/£10 Society members `` Bring along your sequences

DIGITAL IMAGING JANET HAINES

for constructive feedback, and hear from two local guest speakers – Tony Collinson LRPS and Bryan Stubbs ARPS `` Leeds Trinity University, Brownberrie lane, Horsforth, Leeds LS18 5HD `` Bryan Stubbs ARPS, 0113 266 1448, bryan@stubbsav.com

DIGCHAIR(RPS.ORG

Emmview Close, Woosehill, Wokingham, Berkshire RG41 3DA `` Alan Bousfield ARPS, digthamesvalley@rps.org

DIG Southern Centre: ‘Altered reality ... better than the real thing’ with Adrian Lines ARPS and ‘Going Solo’ with Jane Lines LRPS

DIG Scotland Centre – June meeting Sunday 11 June / 13:30-16:15

`` £15/£5 Society members `` Parish Church, 12 Keir Street, Bridge of Allan FK9 4NW

`` Dave Hunt,

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

Sunday 21 May / 10:30-16:00

DI Group Western: ‘A creative journey’ with Jane Kearney Sunday 2 April / 10:30-16:00

`` Merryfield Village Hall, Ilton,

Nr Taunton TA19 9HG `` Dennis Knowles, dennisknowles123@btinternet. com

CONTEMPORARY PETER ELLIS LRPS, 07770 837977

‘Print with confidence’

WORDSNPICSLTD(GMAIL.COM

`` £12/£8 group members `` Lecture workshops

discussing concepts and techniques for creating successsful exhibition and competition images `` Greyfriars Community Centre, 44 Christchurch Road, Ringwood BH24 1DW `` Barry Senior HonFRPS, 01425 471489, digsouthern@rps.org

Documentary Group annual general meeting Sunday 2 April / 12:00-14:00

`` Canvas Cafe, 42 Hanbury Street, London E15JL

`` David Barnes,

docsecretary@rps.org HISTORICAL JENNIFER FORD ARPS, 01234 881459 JENNYFORD2000(YAHOO.CO.UK

Sunday 2 April / 10:30-15:30

Suprematism exhibition

`` £10/£7 Society members `` A lecture by Permajet `` Foxton Village Hall and Sports

Until Sunday 2 April

`` Tony Bramley FRPS’s solo exhibition

Pavilion, 2 Hardman Road, Cambridge CB22 6RN `` Mark Gillett, 07984 518959, mark_gillett@icloud.com

`` The Digby Gallery @ Mercury Theatre, Balkerne Gardens, Colchester CO1 1PT

‘Tales of two rivers’

DIG Scotland Centre – April 2017 meeting

Saturday 8 April / 10:00-17:00

`` £50 `` The Contemporary Special

Sunday 2 April / 13:30-16:15

`` £15 group season ticket/

£5 renewal season ticket/ £5 non-members `` All welcome `` Bridge of Allan Parish Church, 12 Keir Street, Bridge of Allan FK9 4NW `` Dave Hunt, digscotland@rps.org

Interest Group’s April 2017 conference featuring presentations on the River Yangtze by Yan Wang Preston and the River Lea by Polly Braden. Attendees may also bring prints for review `` Jubilee Suite, Copthorne Hotel, Paradise Circus, Birmingham B3 3HG `` Avril Harris, 07990 976390, avrilrharris@blueyonder.co.uk

DI Group Thames Valley: Andrew Mills – ‘The art of photography and lighting for still life’ Sunday 23 April / 10:00-15:30

CREATIVE

`` £15/£12/£8 group members `` Woosehill Community Hall,

MIKE COWLING ARPS CREATIVE.CHAIR(RPS.ORG

OVERSEAS CHAPTERS

`` AUSTRALIA Elaine Herbert ARPS, eherbert @alphalink.com.au `` BENELUX Richard Sylvester LRPS richard.sylvester@skynet.be Ypres photo expedition

Sat 10 – Sun 11 June / 11:00-16:00

Grote Markt 35, Ypres, Belgium `` CANADA webadmin@rps.org `` CHINA BEIJING Yan Li, yanli88@yahoo.com `` CHINA CHONGQING

Group visit to the Centre for Photographic Conservation, London

Sunday 21 May / 10:00-15:30

Saturday 27 May / 11:00-15:30

`` £15/£12/£8 group

`` £5 `` Field trip to the Centre for

members

`` An open event organised by the Digital Imaging Group Thames Valley Centre `` Woosehill Community Hall, Emmview Close, Woosehill, Wokingham, Berkshire RG41 3DA `` Alan Bousfield ARPS, digthamesvalley@rps.org

Alison Baskerville – joint EA meeting with the Digital Imaging Group

Photographic Conservation

`` Centre for Photographic

Conservation, 233 Stanstead Road, Forest Hill SE23 1HU `` Geoff Blackwell ARPS, gblackwell@fastmail.fm IMAGING SCIENCE KEN MACLENNAN,BROWN KEN.MACLENNAN(BTINTERNET.COM LANDSCAPE MARK REEVES LRPS, 07968 616551 RPS.LANDSCAPE.EVENTS(GMAIL.COM

Sunday 11 June / 10:30-16:30

`` £15/£10 Society members `` A lecture by Alison

Baskerville, a renowned British documentary photographer `` Foxton Village Hall, 2 Hardman Road, Foxton CB22 6RN `` Mark Gillett, rpsdigeast@gmail.com

`` Around Loch Eck Saturday 1 April / 10:00-16:00

`` Field trip to the beautiful Loch Eck in Argyll

`` Benmore Botanic Garden car

park, Dunoon, Argyll PA23 8QU

`` David Fiddes,

daudistrachur@gmail.com

Royal Photographic Society members around the world

`` CHINA WESTERN Wei Han (Richard), oolongcha @hotmail.com `` CHINA SHANGTUF Guo Jing, shangtuf@yahoo.com.cn `` CHINA QUANZHOU Xiaoling Wang, hgudsh@163.com `` DUBAI Mohammed Arfan Asif ARPS, dubai@rps.org `` GERMANY Chris Renk, germany@rps.org

310 / THE RPS JOURNAL / APRIL 2017 / VOL 157

PDI competition, plus presentation by members with prints and AVs

RPS Germany Chapter Olivio Argenti FRPS, exhibition – ‘Reflection’ info@rps-italy.org Fri 19 May – Wed 12 July/ 19:00-18:00 `` JAPAN TOKYO Altes Stadtbad, Hagen Berliner Straße 115, Hagen, Germany `` HONG KONG Shan Sang Wan FRPS, shansangwan@ yahoo.com.hk `` INDIA Rajen Nandwana, rajennandwana@gmail.com `` INDONESIA Agatha Bunanta ARPS, agathabunanta@gmail.com `` ITALY

`` SRI LANKA Romesh de Silva, romesh@access.lk `` SWISS CHAPTER Yoshio Miyake, Richard Tucker ARPS, yoshio-raps@nifty.com `` MALAYSIA tucker42@bluewin.ch `` TAIWAN Michael Chong ARPS, michaelcsc1985@gmail.com Joanie Fan Hui Ling ARPS, `` MALTA djpassionfoto@gmail.com `` USA ATLANTIC Ruben Buhagiar, info@rubenbuhagiar.com CHAPTER `` NEW ZEALAND Carl Lindgren, Mark Berger, lindgren.carl @gmail.com rps@moothall.co.nz `` SINGAPORE `` USA PACIFIC Steven Yee Pui Chung FRPS, CHAPTER peacock@sandvengroup.com Jeff Barton, rps@vadis.net

| GUIDE | 311 Nash Point and the Heritage Coast

The Landscape Group has arranged a behind-the-scenes look at the Lee Filters factory

Saturday 8 April / 10:00-16:00

`` An informal photography 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

Homage to Arles 21 July – 27 July

`` £2,050 `` Hotel Amphitheatre, 5 Rue Diderot, Arles, France

`` Jay Charnock or Mo Connelly, jaypix@hotmail.com, 0208 570 4116

Rocky Mountain Gold 2017 – photo tour 2-19 October

Brecon Beacons photography walk

`` £2,250 `` Denver, Colorado, USA `` Keith Pointon LRPS, as above

Saturday 22 April / 9:00-14:00

`` An informal photography walk in the beautiful Brecon Beacons

VISUAL ART

`` Car park of the former Cross

VIVECA KOH FRPS, 07956 517524

Inn, Llanddeusant, Carmarthenshire SA19 9YG `` Peter Douglas-Jones, 07776 141409, peter@douglas-jones.biz

VIVECA.KOH(GMAIL.COM

Visual Art Group spring weekend Fri 21 April – Mon 24 April

`` £240 group members `` Best Western Clayton Hotel, St

Beginners’ day in Llandudno

Mary Street, Cardiff CF10 1GD

`` David Wood,

Saturday 29 April / 10:00-16:00

`` £15/£5/free to group

members `` A field trip aimed at new photographers.

Online booking required `` York Road pay and display car park, off Gloddaeth Avenue, Llandudno LL30 2EF `` Richard Glynne Jones, 07974 235840, richardjns11@gmail.com

Waterfalls along the Rivers Nedd, Pyrddin, Mellte and Hepste

wood.david.j@virgin.net

Rollright Visual Art Group – spring meeting Saturday 20 May / 10:00-16:30

`` See website for costs `` Guided photographic trip to part of the Norfolk coast

`` Happisburgh Community car park, Happisburgh NR12 0PR `` Nick Bowman, Nickbowman55@hotmail.com

Saturday 6 May / 10:30-16:00

`` The Angel Inn, Glynneath,

near Neath, West Glamorgan SA11 5NR `` Peter Douglas-Jones, 07776 141409, peter@douglas-jones.biz

South coast scenic shoot Sunday 7 May / 8:00-17:00

`` £15/£5/free to group

members `` A field trip to some of the most scenic locations of Hampshire and south-west Sussex `` The Ship Inn car park, Langstone Road, Langstone, Havant, Hampshire PO9 1RD `` Paul Stone, 07432 560581 pjs28jack@googlemail.com

Lee Filters factory visit Tuesday 20 June / 11:00-15:00

`` £15/£5/free to group

members `` A rare opportunity to see Lee filters being made `` Lee Filters, Central Way, Walworth Business Park, Andover, Hampshire SP10 5AN `` Richard Ellis, landscapef16@gmail.com,

Landscape Group weekend conference Friday 3 – Sunday 5 November

`` See website for costs `` Early booking discount of £50 available until 30 April

`` The Coniston Hotel, Coniston Cold, Skipton, North Yorkshire BD23 4EA `` Mark Reeves ARPS, as above MEDICAL DR AFZAL ANSARY ASIS FRPS, 07970 403672 AFZALANSARY(AOL.COM

‘Ophthalmic OCT Imaging 2017’ Saturday 10 June / 9:30-16:30

`` £30 `` A one-day symposium of

lectures from experts in ophthalmology and ophthalmic imaging `` Clinical Tutorial Complex, 2nd floor Moorfields Eye Hospital, 162 City Road, London EC1V 2PD `` Bob Tapper, 07798 558856, medicalsecretary@rps.org NATURE

Norfolk coast weekend

RICHARD REVELS FRPS, 01767 313065

Sat 24 – Sun 25 June / 10:30-15:00

RICHARD.REVELS(TALKTALK.NET

`` £13 entry/£5 lunch `` Rollright VAG spring meeting `` The Village Hall, Main Street,

Nature Group AGM, spring meeting and exhibition

Long Compton CV36 5JS

`` rpsva@klatt.co.uk

EXHIBITIONS

Saturday 8 April / 10:30-16:00

`` The 41th annual general

meeting, spring meeting and annual exhibition opening `` Smethwick Photographic Society Clubrooms, The Old Schoolhouse, Oldbury, West Midlands B69 2AS `` Margaret Johnson LRPS, 0115 926 5893, m.jos@btinternet.com

Nature Group residential weekend Friday 2 – Monday 5 June

`` £248 `` A weekend of photography at the Cober Hill Hotel `` Cober Hill Hotel, Cloughton, Nr Scarborough, Yorkshire YO13 0AR `` Leonard Shepherd, 01969 622043, shepherdlen@btinternet.com TRAVEL KEITH POINTON LRPS, 01588 640592 BAGPOINT(AOL.COM

Return pilgrimage to Jerez Tuesday 11 – Monday 17 April

`` £1,925 `` Hotel Casa Grande, Plaza las Angustias, 3 Jerez de la Frontera, Spain `` Colin Howard, colin.howard@mac.com

LESLEY GOODE, EXHIBITIONS MANAGER 01225 325720, LESLEY(RPS.ORG

RPS International Print Exhibition 159 Saturday 22 April – Saturday 3 June

`` Barnsley Saturday 10 June – Sunday 2 July

`` Titanic Museum, Belfast (part 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

of Belfast International Photo Festival) `` Jason White, 01226 327011, jasonwhite@barnsleycivic.co.uk

2017 Members’ Biennial exhibition Saturday 1 – Thursday 16 April

`` Intu, Watford Saturday 22 April – Saturday 3 June

`` The Point, Doncaster Saturday 24 June – Saturday 5 August

`` Warrington Museum and Art Gallery

`` Roger Jeffery, 01925 442396, rjeffery@culturewarrington.org

International Images for Science Exhibition Saturday 1 – Saturday 15 April

`` Edinburgh City Art Centre Saturday 29 April – Sunday 14 May Open days 2, 3, 4 and 12 May

`` Royal Albert Hall, London Tuesday 6 – Sunday 11 June

`` Cheltenham Science Festival `` Gary Evans FRPS, gary@ rps.org

VOL 157 / APRIL 2017 / THE RPS JOURNAL / 311

312 | GUIDE |

PATRONAGE REPORT OF THE COUNCIL MEETING / 25 JANUARY 2017

The following salons/ exhibitions have RPSapproved patronage:

1st Aranyak Coochbehar International Digital Salon Closing date: 7 April `` `` aranyakcoochbehar.org `` RPS 2017/17 The 47th HKCC International Salon of Pictorial Photography Closing date: 13 April `` `` hongkongcameraclub.com `` RPS 2017/16 Sydney Harbour International Closing date: 16 April `` `` sydney-harbourinternational.org.au/

`` RPS 2017/09

94th Scottish International Salon Closing date: 17 April `` `` scottish-photographic-salon.org `` RPS 2017/22 Cheltenham International Salon of Photography 2017 Closing date: 23 April `` `` cheltenhamcameraclub.co.uk/ `` RPS 2017/18 6th Port Talbot International Salon of Photography Closing date: 17 June `` `` porttalbotcameraclub.org/ salon/salon-home.html

`` RPS 2017/21

155th Edinburgh International Exhibition of Photography Closing date: 21 June `` `` edinburghphotosalon.org/ `` RPS 2017/12 45th PSNY International Salon of Photography Closing date: 24 June `` `` psnyusa.org/ `` RPS 2017/13 68th Midland Salon Closing date: 28 June `` `` midland-salon.com `` RPS 2017/25

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

MINUTES `` The staff reports would, in future, be noted as a standing agenda item.

Decisions taken between meetings would be recorded in the minutes of the next meeting, including the ratification of Distinctions and exemptions.

FINANCE `` The treasurer reported that the Society audit would take place on 16 May and that Nick Rogers was working on the yearend accounts. He asked that council agree that regions that had not provided a budget and activity list would have their capitation payment withheld.

This was agreed. `` There was a potential new treasurer for the East Midlands Region, who was a qualified accountant. It was important that the treasurer and finance manager reviewed potential applicants.

He and Nick Rogers would be meeting four potential treasurers on 8 February in London.

MARKETING THE SOCIETY `` Amelia Christmas, marketing manager, joined the meeting. She spoke to the trustees about her role and the work that she had been undertaking across departments to help her understand the Society.

Her report provided an overview of her role, the actions that she would be implementing and the metrics that she would be using to determine their effectiveness in achieving the Society’s objectives. She highlighted a shift from paid advertising to editorial to raise awareness of the Society and cited the recent press coverage arranged relating to the Duchess of Cambridge’s membership of the Society.

312 / THE RPS JOURNAL / APRIL 2017 / VOL 157

`` Robert Albright asked about the Society’s position in the marketplace and spoke about the textbook approach to marketing.

Walter Benzie noted the need to shift members from non-participatory to participatory.

Geoff Blackwell spoke of the potential of the annual report as a communications tool.

Other aspects of the Society were reviewed including the corporate supporters, the Open University course, the website, social media and electronic communications, the International Print Exhibition as a public-facing activity, integrating the Society within the art world, and the possibility of using ambassadors within the Society. `` Amelia Christmas noted these plus the need to enhance membership benefits to add value to the membership subscription, improve communications to members, and raise the profile of the Society.

PAPER FROM CHRIS COLEMAN `` The trustees had received a report from Chris Coleman. It was generally welcomed although it was recognised that how to resource and realise some of the suggestions would need thought, but that it could form part of the Society’s operational plan. The activities for younger people were particularly interesting.

The education group would be asked to consider the report and possible collaborations with groups such as the Scouts, Duke of Edinburgh’s Award and young Rotary.

The chief executive was asked to respond.

EXTRAORDINARY GENERAL MEETING

`` The president introduced a discussion on the recent EGM. The meeting itself had been straightforward, and he had taken on the general point about utilising the Honorary Fellows and would be inviting them to participate in the Society’s activities. `` Any scheme to use the Honorary Fellows needed structure and purpose, and there was a model in the RHS ambassador scheme. The trustees needed to acknowledge that 502 members had voted in favour of radical change. It agreed that council would invite those Honorary Fellows responding to the president’s letter to a future meeting with council. Better communication of what council was doing was also needed, including making the annual report or a summary available directly to members.

PROCESS FOR BY*LAW AND RULES UPDATE `` The trustees discussed the process to update the Society’s by-laws and rules to reflect the outcomes from the governance review. It was proposed that an EGM to do this be left until the AGM to allow for clarity and discussion around the proposed changes. A suggestion was made that future AGMs could include an annual conference or event.

INTERNATIONAL PRINT EXHIBITION `` The exhibitions manager’s written report asked the trustees to consider a suggestion to change the name of the International Print Exhibition to International Photography Exhibition, and whether there was a need to produce a catalogue. They had previously sold in very low numbers and were a net cost to the Society.

`` The trustees noted that a name change would reflect better the public view of the exhibition, it would help web searches and that the initials which many people used to refer to the exhibition would remain the same.

The word ‘print’ would remain on the exhibition labels and using ‘photography’ would futureproof the exhibition if, in the future, it admitted digital submissions. Council supported the change.

It considered that the catalogue should continue to be printed, even though there was a cost to the Society, and suggested that making it easier to buy and making it available through the regions could support sales.

ANY OTHER BUSINESS `` The chief executive reported that since his written report was circulated Lesley Goode had decided to leave the Society as exhibitions manager. A recruitment process would be started to find a replacement. `` The strategy document would be reissued as a betterdesigned publication. `` The status of the Society’s chapters was discussed and would be considered as part of the risk review at the next meeting. `` Volunteer coordinator.

Nicola Young joined the meeting and spoke about her role and activity since she joined the Society the previous month.

She had started compiling records of volunteers and had been out in the regions and groups. The response to her role had been generally positive. `` The next meeting would take place on 11 April 2017 and subsequent meetings were scheduled for 11 April, 6 June, 25 July, 10 October and 5 December 2017.

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314 | DISTINCTIONS REVIEW |

Distinctions review: conclusions The Society conducted a review of its Distinctions process under the chairmanship of Robert Albright FRPS. It reported back to council last summer and a consultation on the recommendations was held with the Distinctions advisory board. The outcomes from the review are noted below

It has been agreed that attendance at Fellowship assessments will now be opened to members of the Distinctions advisory board (DAB), in addition to members of council. This is intended to counter suggestions of a secretive process and to make it clear that the Fellowship process is applied with fairness and rigour. Practical considerations will ensure that the assessors have adequate space to examine the applications and to discuss them openly and thoroughly.

The review was concerned to ensure that all Distinction applications are reviewed by the correct category panel and that the incidence of being referred to another Distinction panel is minimised.

More than 50 per cent of submissions are brought by the applicant on the day, at considerable cost savings to the applicants. Requiring them to be submitted in advance would require very substantially increased storage in Fenton House, and would require panel chairs to attend additional days at extra cost. When applicants attend from a significant distance they would still incur travel and accommodation costs, and there would be insufficient time for these to be amended. Recent steps have been taken to minimise the problem, including the availability of prior review by the RPS Distinctions team. Applicants are strongly urged to take up this option.

The review suggested that the DAB reviews with moderators how clearly the Distinction categories are being explained at advisory days, on the website and in the Journal. All instances of applicant confusion about Distinction categories should also be reviewed.

314 / THE RPS JOURNAL / APRIL 2017 / VOL 157

1. The DAB and panel chairs continually review the categories and their definitions, not just at the twice-annual DAB meetings. Articles are regularly featured in the Journal and the website is frequently updated.

2. The DAB has now set up a dedicated email address for category advice, namely category@rps.org 3. Advice on Distinctions categories is given at Distinctions advisory days; its accuracy and effectiveness is continually monitored.

4. The DAB will continue to help applicants if a submission is clearly submitted in the wrong category by referring it to an alternative category where it might have a better chance of success.

The review suggested eliminating all cases of significant inconsistency between the advice given to potential applicants at advisory days and at the subsequent Distinction assessments.

The DAB would then provide feedback to the advisors and/or the assessment panel in order to establish greater consistency.

1. The DAB reviews inconsistencies between advice given at advisory days and comments made in assessments; identified inconsistencies are reviewed and feedback given to panel members.

2. Feedback is part of the training for all panel members and further training is planned for panel chairs and deputy chairs on the provision of written feedback.

3. Inconsistencies have reduced since the printed form was introduced 18 months ago which records advice given at advisory days.

The review examined whether the moderator should be allocated additional authority to allow successful applications at the category panels to be passed directly to council for ratification.

After extensive discussion it was agreed that moderators should not be involved in

assessment discussion at the category panels. The moderator’s role is to ensure the process is correctly followed and to ensure consistency – it is not to be a part of the assessment discussions.

1. It would introduce two unofficial categories of Fellowship – one directly approved by council; the second, approved two months later, that had been considered by the Fellowship board.

2. The Fellowship board would not see a large percentage of recommended Fellowships.

3. It would be difficult to bring external assessors on to the board if they were only to review some submissions.

4. The argument that the initial category panel makes no decisions is false – they are required to decide if the application meets the criteria and if they consider it worth further consideration for Fellowship.

(2014 – Fellowship applications: 134; considered by the board: 21; recommendations to council 14.

2015 – Fellowship applications 109; considered by the board 13; recommendations to council 7) The Fellowship system is a single process incorporating three stages: the category panel, the Fellowship board and council (ratification).

The review was keen to ensure that where, in the opinion of the Fellowship board, the panel has made an error in its assessment the rationale is fully explained and remedial actions are put in place.

Category panel chairs or their representatives attend all Fellowship board meetings. It is their responsibility to provide feedback to their panel on reasons why a submission has failed.

The DAB moderator can help with this.

In addition, a copy of the feedback form to the applicant is forwarded to all panel members.

XXXXXXXXX

Currently the general membership is not allowed to attend Fellowship applications at the Distinction panels or at the Fellowship board.

ANDY MOORE LRPS

Feedback is to be regularly audited

The review asked that the consistency of the quality of feedback to failed applicants be regularly audited by the DAB and action taken as necessary to ensure that continuous improvement in quality is implemented.

It was agreed in May 2016 that requirements for A and F would be detailed on a specific form as they are for Licentiate, with feedback given on the basis of these requirements.

All candidates who are unsuccessful are already given the opportunity for verbal feedback with one of the panel members.

The review wished the DAB to explore the resource implications of further extending the number and geographical diversity of advisory days, and alternative ways of giving advice to potential applicants, including online communication both within the UK and globally.

1. The DAB makes its best endeavours to meet requests from regions – and more recently from special

interest groups – for Distinctions advisory days. The DAB will encourage these where it feels that there is a lack of activity, but organising them is the responsibility of the regional organisers. Most regions now have two per year.

2. The DAB has instigated video advisory sessions for overseas members, and in response to the low level of passes for images for screen is organising video advisory sessions for these applicants.

3. In addition to these, online advice is available for members on the website rps.org/Distinctions/advice 4. At the request of London Region, one-to-one advisory sessions have been organised.

5. Recognising the cost implications for members travelling considerable distances for advice on particular specialist categories a system has been put in place whereby members can receive specialist written advice on their specialism and more general technical advice on their submission at any advisory day.

The review examined whether there should be any overlap in personnel between the DAB and the Fellowship board.

The Fellowship board consists of seven voting members, three of whom are the nominated DAB moderators, recognising the DAB’s role as a moderating body. The DAB members are in the minority as three other board members are independent from the Distinctions process and, additionally, one represents the panel chairs.

The chair of the Fellowship board is non-voting. It is proposed that the membership of the Fellowship board rises to a maximum of nine, with the addition of two more independent assessors when candidates with the necessary experience and skills have been identified.

Robert Albright FRPS is vice-president of The Royal Photographic Society and was chair of the Distinctions review team

VOL 157 / APRIL 2017 / THE RPS JOURNAL / 315

316 | GUIDE | SHOWCASE

The lie of the land

Colin Shaw ARPS hopes his Fenton House exhibition will inspire viewers to reassess their preconceptions of landscape photography

A

keen photographer for more than 43 years, Colin Shaw ARPS gained his MA in photography at Nottingham Trent University in 2015. After completing his degree, and having known about The Royal Photographic Society throughout his career, Shaw strove to join a photographic community where he could meet like-minded individuals.

Shortly after graduation Shaw achieved his Associate Distinction through the Society’s exemptions programme, which enables candidates who have gained photographic qualifications in the last five years to apply for Distinctions without having to submit a portfolio. Shaw is an active member of the Historical and Analogue special interest groups.

Here, he reveals how his MA laid the foundations for this month’s Fenton House exhibition, Quarried, and how he hopes it encourages

316 / THE RPS JOURNAL / APRIL 2017 / VOL 157

visitors to appreciate the breadth of landscape photography.

What inspired this project?

I’ve lived in the Peak District for 14 years, so I know the landscape very well. When I started formulating my MA project I began observing the landscape more keenly and noticed how it’s dotted with subjects that are not atypical for landscape photography.

I find that the most interesting dynamic in landscape photography is the relationship between the physical environment and how humans augment it. Sometimes these adjustments are subtle but around the Peak District they are often brutal, having been shaped by hundreds of years of mining – something so different from the stereotypical, picturesque views associated with the area.

For my MA I sought to create a project that gave a fuller representation of the Peak District and its landscape.

Through my research I became fascinated by the huge quarries tucked away in the area, the symbiotic relationship that humans have with the natural environment and how we utilise earth’s natural resources to create architectural structures and manmade landscapes. It just so happens that the hills in Derbyshire are made of limestone, the very material that we rely on to construct. It’s a beautiful contradiction, really.

You exhibited images from Quarried at Buxton Museum and Art Gallery in early 2016. How did people react to it?

I was worried that people would be offended by my representation of the Peak District and my focus on quarrying. Thankfully, they weren’t. I received so much positive feedback and gained a lot of press coverage, appearing on the front page of the BBC News website one weekend. The gallery bought

ABOVE, LEFT

Ballidon quarry ABOVE

Hindlow quarry

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RPS.ORG/EVENTS FOR THE LATEST UPDATES

DIRECTIONAL

xxx xxxx DIRECTIONAL

xxx xxxx

LEFT

the whole exhibition for its permanent collection just before Christmas 2016. It’s fitting that it went to Buxton, especially as it’s right in the heart of quarry country. I couldn’t have wanted a better outcome than that.

Did you have to take a different approach preparing the exhibition for Fenton House?

Definitely. There are 30 prints in the Society exhibition so I had to redesign and augment what I had created for Buxton, which was a challenge – especially as I am a perfectionist. Visitors to Fenton House differ from my previous exhibitions, as they will have a deeper understanding of the photographic process.

As such, it will be particularly enlightening for me to see how members and staff receive the exhibition.

Dowlow quarry

What do you hope visitors will get from the exhibition?

I hope it inspires people to view landscape photography from a new perspective. Many people have the preconception that landscape photography should only depict beautiful and scenic environments but

photography should never be confined within such limited parameters. Ideally, I would really like it if the exhibition inspired people to explore projects on their doorsteps and to scrutinise the relationship between natural landscapes and their inhabitants.

VOL 157 / APRIL 2017 / THE RPS JOURNAL / 317

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Full Frame

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M6 Body £729

Plus 15-45 STM £869 Plus 18-150 STM

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Canon EOS Full Frame Cameras EOS 5DsR body ..................................£2897 EOS 5Ds body ....................................£2797 EOS 6D body ......................................£1398 EOS 6D + 24-105 f3.5/5.6 IS U STM ..£1649

Nikon D5 Full Frame

Body only price

EOS 80D Body ............................£998 EOS 80D + 18-55 STM ............. £1048 EOS 80D + 18-135 STM ........... £1249 EOS 760D Body ..........................£598 EOS 750D Body ..........................£598 EOS 750D + 18-55 STM ..............£648 EOS 750D + 18-135 STM ............£848 EOS 1300D + 18-55 IS ................£348

Nikon D500 APS-C

Body only price

£5097

£1728

Nikon D750

APS-C

£1597

Plus 24-120 f4 VR £2297

Nikon D810 Full Frame

£2398

Plus 18-55 AF-P £798 Plus 18-140 VR £989 Nikon APS-C Cameras

D7200 Body only ...............................£848 D7200 + 18-105 VR ..........................£1087 D5500 Body only ...............................£578 D5500 + 18-55 VRII ............................£648 D5500 + 18-140 VR ............................£797 D3400 + 18-55 AF-P ...........................£438

500 F4 G E AFS FL ED VR £8447

400 F2.8 G E FL ED VR £10398

£839 £1079

Canon EOS M System

EOS M3 + 15-45 ............................. £399 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 .................. £398 22 f2 STM ....................................... £198 28 f3.5 Macro IS ............................. £289 55-200 f4.5/6.3 IS STM .................. £268

CANON EF FULL FRAME LENSES 8-15 F4 L USM Fisheye. . . . . .£1097 11-24 F4 L USM . . . . . . . . . . . .£2649 16-35 F2.8 L USM MKIII . . . . .£1997 16-35 F4 L IS USM. . . . . . . . . . . £849 20 F2.8 USM . . . . . . . . . . . . . . . . £447 24 F2.8 IS USM . . . . . . . . . . . . . . £419 24-70 F2.8 L II USM. . . . . . . . .£1847 24-70 F4 L IS USM. . . . . . . . . . . £769 24-105 F4 L IS USM MKII. . . .£1049 24-105 F3.5/5.6 IS STM . . . . . .£359 28 F2.8 IS USM . . . . . . . . . . . . . . £387 35 F2 IS USM. . . . . . . . . . . . . . . . £468 40 F2.8 STM . . . . . . . . . . . . . . . . £159 50 F1.2 L USM . . . . . . . . . . . . .£1297 50 F1.4 USM . . . . . . . . . . . . . . . . £319 50 F1.8 STM . . . . . . . . . . . . . . . . . £99 70-200 F2.8 IS LII USM. . . . . .£1947 70-200 F2.8 non IS L USM. . .£1297 70-200 F4 L IS USM. . . . . . . . .£1148 70-200 F4 L USM . . . . . . . . . . . . £658 70-300 F4/5.6 L IS USM . . . . .£1247 70-300 F4/5.6 IS USM II . . . . . . £477 85 F1.8 USM . . . . . . . . . . . . . . . . £338 400 F4 DOII IS USM £6666

100 F2.8 IS L USM macro. . . £829 100 F2.8 Macro USM. . . . . . . £458 100-400 F4.5/5.6 IS LII USM £1849 200-400 F4 IS L USM . . . . . £10399 200 F2.8 II L USM . . . . . . . . . . . £698 300 F2.8 IS L USM II . . . . . . . .£5666 300 F4 L IS USM. . . . . . . . . . . .£1278 400 F2.8 IS L USM II . . . . . . . .£9499 400 F4 DO II IS USM . . . . . . . £6666 400 F5.6 L USM . . . . . . . . . . . .£1198 500 F4 IS L USM II . . . . . . . . . £7999 600 F4 IS L USM II . . . . . . . .£11348 1.4x III converter . . . . . . . . . . . . £387 2x III converter. . . . . . . . . . . . . . £366 CANON FLASHGUNS & DSLR GRIPS MR-14 EX II . . . . . . . . . . . . . . . . .£498 MT-24 EXII . . . . . . . . . . . . . . . . . .£747 430EX III RT Speedlight . . . . . .£218 600EX-RT II Speedlight . . . . . . £538 BG-E20 (fit 5D MKIV) . . . . . . . . £297 BG-E16 (fit 7D MKII) . . . . . . . . . £179 BG-E18 (fit 750/760D) . . . . . . . £115 BG-E14 (fit 80D). . . . . . . . . . . . . £137 BG-E13 (fit 6D) . . . . . . . . . . . . . . £147

8-16 F4.5/5.6 DC HSM . . . . . .£599 10-20 F3.5 EX DC HSM . . . . . .£339 12-24 F4 DG HSM Art . . . . . £1399 12-24 F4.5/5.6 II DG. . . . . . . . .£649 17-50 F2.8 EX DC OS. . . . . . . .£329 18-35 F1.8 DC HSM Art . . . . .£649 18-300 F3.5/6.3 DC mac OS .£369 20 F1.4 DG HSM Art . . . . . . . .£699 24 F1.4 DG HSM Art . . . . . . . .£649 24-35 F2 DG HSM Art . . . . . . .£759 24-70 F2.8 EX DG . . . . . . . . . . .£578 35 F1.4 DG HSM Art . . . . . . . .£649 50 F1.4 EX DG HSM Art . . . . .£599 50-100 F1.8 DC HSM Art . . . .£949 50-500 F4.5/6.3 DG OS. . . . £1099 70-200 F2.8 EX DG OS . . . . . .£899 70-300 F4.5/5.6 Mac DG . . . .£129 70-300 F4.5/5.6 APO Mac DG £179 85 F1.4 DG Art. . . . . . . . . . . . . .£999

105 F2.8 EX DG OS HSM . . . .£359 150 F2.8 EX DG OS. . . . . . . . . .£799 150-600 F5/6.3 OS Contemp £799

500 F4 IS L USM II

£7999

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

FX FULL FRAME LENSES

Nikon D5600

Full Frame

Body only

Plus 15-45 £1098

Canon EOS 77D

Canon EOS 5D MKIV

APS-C Body only

£1048

£1239

£4797

Canon EOS M5

APS-C Body only

Body only price

Body only

Canon EOS 7D MKII

14-24 F2.8 AFS G ED. . . . . . . £1638 16-35 F4 AFS VR . . . . . . . . . . £1018 18-35 F3.5/4.5 AFS G . . . . . . . .£618 20 F1.8 AFS G ED. . . . . . . . . . . .£647 24 F1.8 AFS G ED. . . . . . . . . . . .£628 24-70 F2.8 AFS G ED VR. . . . £1598 24-120 F4 AFS G ED VR . . . . . .£897 35 F1.8 AFS G . . . . . . . . . . . . . . .£438 50 F1.4 AFS G . . . . . . . . . . . . . . .£377 50 F1.8 AFS G . . . . . . . . . . . . . . .£188 70-200 F2.8 AFS E FL ED VR £2648 70-200 F4 AFS G ED VR . . . . £1178 70-300 F4.5/5.6 AFS VR . . . . . .£497 70-300 F4.5/6.3 AFP VR . . . . . .£288 70-300 F4.5/6.3 AFP non VR .£259 85 F1.8 AFS G . . . . . . . . . . . . . . .£428 105 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

15-30 f2.8 Di VC USD ..............£928 16-300 f3.5/6.3 Di II VC PZD .£428 18-200 F3.5/6.3 Di II VC..........£198 24-70 f2.8 Di VC USD ..............£799 70-200 f2.8 Di VC USD G2 .. £1349

150-600 F5/6.3 OS Sport . . £1329 500 F4 DG OS HSM Sport . £4997 500 F4.5 EX APO DG HSM. £3299 TC1401 converter. . . . . . . . . . .£249 TC2001 converter. . . . . . . . . . .£299 USB Lens dock. . . . . . . . . . . .£39.99

LOTS OF SIGMA LENSES AVAILABLE IN SONY & PENTAX AF FITS 70-300 F4/5.6 Di VC USD .......£298 70-300 F4/5.6 Di AF.................£128 85 f1.8 SP Di VC USD ...............£748 150-600 F5/6.3 VC USD G2 £1349 150-600 F5/6.3 SP VC USD ....£828 Kenko Converters 1.4x or 2x Pro 300 conv each..£159 Auto ext tube set ............. .£109.99

WE STOCK COKIN P, X AND Z SERIES KITS. PLEASE SEE WEBSITE FOR FULL DETAILS. RX10 MKIII £1399 RX100 MKV £997

X-Pro2 body ......................................£1348 X-T2 + 18-55mm .............................£1647 X-T2 body Graphite ........................£1649 X-T2 body ..........................................£1398 X-T20 + 18-55mm ...........................£1049 X-T20 body .......................................... £799 X-T10 + 18-55 ..................................... £749 X-A10 + 16-50mm ............................ £498 X100f compact camera ................£1249 X System Lenses, flash, accessories 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 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 50mm F2 R WR................................... £449 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

SYSTEM

56mm F1.2 R APD ...........................£1158 56mm F1.2 XF .................................... £797 60mm F2.4 XF .................................... £578 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 VPB-XT2 Vertical grip....................... £268 EF-20 TTL Flashgun ............................. £98 EF-42 TTL Flashgun .......................... £168 EF-X20 TTL Flashgun ....................... £168 EF-500 TTL Flashgun ....................... £449

FZ1000 £588

FZ2000 £1089

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Buy with confidence - all of our used equipment is thoroughly tested and cleaned before being offered for sale CANON DIGITAL AF USED 1DX body box ...........£2499/2799 1D MKIV b/o serviced ....... £1499 1D MKIV body .........................£999 1D MKIII body .........................£699 1Ds body ..................................£299 7D MKII body box..................£999 7D body box............................£449 6D body box............................£999 5Ds body box ....................... £2299 5D MKIII b/o box ......£1399/1699 5D MKII body ............................. £799 5D MKI body box ..................... £399 70D body box ............................ £499 60D body box ............................ £399 50D body box ............................ £299 40D body box ............................ £149 30D body box ............................ £129 20D body box ...............................£99 BG-E2............£39 BG-E2N ..........£49 BG-E4 box...£69 BG-E5 .............£49

BG-E7 ................................................£79 BG-E8.........£69 BG-E11.......... £169 Powershot G3X ......................... £499 SX50HS compact...................... £199 EVF-DC1 viewfinder ................ £149 CANON AF FILM BODIES USED 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/500N/1000 b/o ea . £29 PB-E2 drive M- box................£199 PB-E2 drive fits EOS1/3 ........£149 CANON AF LENSES USED 10-22 F3.5/4.5 USM...............£329 14 F2.8 USM LII box ........... £1499 16-35 F2.8 USM LII.................£899 16-35 F2.8 USM LI..................£699 17-40 F4 L .................................£449 17-55 F2.8 EFS IS USM .........£499

50mm F4 CF FLE

£849

Used Mamiya RB67 Pro SD + 90 KL + WLF + Back

£549

Used Rollei 3.5F 6x6 White Face serviced

£1999

£499

Used Nikon 500mm F4 AIS

£1299

SIGMA CAF USED 10-20 F3.5 EX DC................£269 10-20 F4/5.6 HSM box .......£219 17-70 F2.8/4 DC OS..................£249 18-50 F2.8 EX DC.......................£149 18-125 F3.8/5.6 OS DC ...........£149 18-200 F3.5/6.3 HSM OS...........£179 18-200 F3.5/6.3 DC......................£149 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 ........................£399 120-300 F2.8 DG OS Sport box ............................... £2199 120-300 F2.8 EX DG ..............£799 120-400 F4/5.6 DG ................£399 150 F2.8 EX DG OS mac .........£499 150-500 F5/6.3 DG OS ..............£449 150-600 F5/6.3 DG OS ..............£999 180 F3.5 EX DG HSM mac.......£399

1.4x EX DG converter ................£149 Kenko Pro 300 DG 1.4x 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 28-300 F3.5/5.6 Di VC PZD.......................................£449 TAM 28-75 F2.8 XR Di ...........£199 TAM 70-300 F4/5.6 .....................£99 TAM 200-500 F5/6.3.................£449 Zeiss 50 F1.4 ZE box ................£599 CANON FLASH USED ST-E3 transmitter box ..........£189 ST-E2 transmitter ..................... £79 MR-14EX ringflash .................£319 430EXII.......................................£169 550EX .........................................£149 580EX box ................................£179 580EX MKII ...............................£299

MBD-10 grip .............................. £79 MBD-80 grip .............................. £49 MBD-100 grip............................ £39 MBD-200 grip............................ £49 NIKON AF FILM BODIES USED F5 body .....................................£399 F4E body inc MB-23..............£399 F801 body ............................£29/59 F601 body .................................. £29 NIKON AF LENSES USED 10-24 F3.5/4.5 AFS DX .........£549 14-24 F2.8 AFS M- box ........£1099 14-24 F2.8 AFS ..................... £999 16-35 F4 VR............................ £749 16-85 F3.5/5.6 AFS VR .........£399 17-55 F2.8 AFS ............................£499 18-35 F3.5/4.5 AFD ...................£299 18-55 F3.5/5.6 AFS VR................£99 18-200 F3.5/5.6 AFS VRI ..........£299 18-300 F3.5/5.6 VR ....................£649 28 F1.8 AFS G...............................£399 24-70 F2.8 AFS box ...................£999

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 ................................£449 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 AFS box......................£149 50 F1.8 AFD................................ £99 55-200 F4/5.6 AFS ................... £79 55-300 F4.5/5.6 VR DX .........£219 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 80-400 F3.5/5.6 AFS VR..... £1599 85 F1.4 AFS M- box ...............£999 105 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 ........... £3699 300 F2.8 AFS VRI ................. £2999 300 F4 AFS E PF ................... £1299 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 II non VR serviced .................................. £3999 TC14EII .......................................£299 TC17EII .......................................£249 TC20EIII M- box ......................£329 TC20EII......£199 TC20E ........£149 SIGMA NAF USED 15 F2.8 EX DG ...............................£399 18-200 F3.5/6.3 DC OS ............£199 24-35 F2 DG Art box ................£599

24-105 F4 DG OS HSM ............£499 28-200 F3.5/5.6 early...................£69 30 F1.4 EX DC ..............................£199 35 F1.4 DG Art.............................£499 50 F1.4 EX DC M- box...........£299 50-500 F4/6.3 DG..........£399/499 70-200 F2.8 EX DG OS..........£649 70-300 F4/5.6 APO DG........... £99 80-400 F4.5/5.6 EX DG .........£399 120-400 F4/5.6 DG ................£399 105 F2.8 EX DG OS .....................£269 105 F2.8 EX DG.............................£199 150-500 F5/6.3 DG OS ..............£499 150-600 F5/6.3 DG OS Sport box .....................................£1079 500 F4 DG OS HSM sport box......................................£4399 TC-1401 1.4x converter ............£179 2x EX DG converter....................£149 1.4x or 2x EX converter 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 VC box ............£599 28-300 F3.5/6.3 XR Di................£149 60 F2 SP Di......................................£229 70-300 F4/5.6 .................................. £79 OTHER NAF USED TOK 10-17 F3.5/4.5 ATX .......£249 TOK 80-200 F2.8 ATX Pro ....£299 FLASH / ACCESSORIES USED SB-24 .....................................................£49 SB-25 .....................................................£49 SB-28. .................................................. £69 SB-80DX............................................. £79 SB-700...............................................£199 SB-900...............................................£249 SB-R1 kit M- box ..........................£399 DR-3 angle finder.......................... £59 MB-10 (fits F90) .............................. £29 MB-23 (fits F4)................................. £69 MC-30 remote ................................ £39

Why not register to receive our email newsletters? Simply send your email address to info@mifsuds.com to enrol FUJI DIGITAL USED 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 16 F1.4 XF box .......................£ASK 18-55 F2.8/4 XF ..................... £399 35 F1.4 R box .......................... £399 60 F2.4 macro box................ £429 1.4x WR converter M- box . £259 X-T2 grip................................... £229 X10 box .................................... £149 LEICA DIGITAL USED M240 body box ...................£2999 EVF2 viewfinder .................... £269 MINOLTA/SONY DIGITAL USED Sony RX100 MKIII box........... £449 Sony A7R II body box..........£2499 Sony A7 II body ....................... £999 Sony A6300 body ................... £749 Sony A58 body ........................ £169 Sony VG-B30AM .........................£69 Sony VG-C70AM...................... £139

BRONICA ETRS 645 USED 40 F4 MC ................................... £149 75 F2.8 PE ................................. £149 105 F3.5........................................£99 135 f4 PE ................................... £249 150 F3.5 E ....................................£99 150 F3.5 PE M- Box................ £149 200 F4.5 PE............................... £199 E14 Ext tube ...............................£49 E42 Ext tube ...............................£49 120 RFH ........................................£69 Polaroid Back .............................£39 Plain prism ..................................£59 Rotary prism ...............................£99 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

35MM & MISCELLANEOUS USED CANON FD USED 28 F2.8 ..........................................£49 Used Leica R8 body black box

70-300 F4.5/5.6 DO IS U ......£399 70-300 F4/5.6 L IS U ..............£849 70-300 F4.5/5.6 IS USM .......£249 75-300 F4/5.6 MKII .................. £99 85 F1.8 M-.................................£269 100 F2.8 IS USM L ..................£599 100 F2.8 USM box..................£339 100-400 F4.5/5.6 L IS U ......... £899 135 F2 L M- box......................£599 180 F3.5 L mac ..........................£799 300 F2.8 LII IS U .....................£4799 300 F2.8 LI IS U........... £2499/2999 300 F4 L IS USM box ...............£799 400 F4 DO ISII L U .................£5799 400 F5.6 L box ...........................£799 500 F4 LI IS USM....................£4499 1.4x extender MKII box........£249 2x extender MKIII box............£339 2x extender MKII box .............£239 Teleplus 2x DG conv ............... £89 Kenko ext tube set DG ............... £89

We carry out sensor cleaning on the premises, firmware updating and equipment hire - please enquire for details NIKON DIGITAL AF USED D4s body box ....................... £3799 D4 body box......................... £2299 D3X body box ...................... £1799 D3s body box ....................... £1799 D3 body box......................... £1199 D2xs body box........................£399 D2x body box .........................£349 D800 body box.................... £1399 D700 body box..............£499/599 D500 body box.................... £1549 D300s body .............................£349 D300 body box.......................£299 D200 body box.......................£149 D7100 body box ....................£499 D5000 body box ....................£199 D90 body ..................................£199 MBD-17 M- box ......................£279 MBD-15 grip ............................£149 MBD-14 grip ............................£149 MBD-12 grip ............................£279 MBD-10 grip M- box .............£129

Sony VG-CE2 ............................. £179 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 24-70 F4 ZA OSS box .........£699 FE 28-70 F3.5/5.6 OSS ..............£299 FE 70-200 F4 G OSS box .........£999 FE 90 F2.8 macro ........................£799 Samyang 100 F2.8 macro ......£229 MINOLTA/SONY AF USED Dynax 9 body......................... £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

MEDIUM FORMAT 6x45, 6x6, 6x7 & 6x9 USED

Used Hasselblad

17-85 F4/5.6.............................£199 18-135 F3.5/5.6 IS USM ............£349 20 F2.8 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.....................................£549 28-80 F3.5/5.6 ........................... £79 28-90 F3.5/5.6 ........................... £79 28-135 F3.5/5.6 IS USM .......£169 40 F2.8 STM .............................£139 50 F1.2 L USM box.................£999 50 F1.4 USM.............................£259 50 F1.8 MKII ............................... £59 50 F2.5 macro .........................£149 60 F2.8 USM EFS mac ...........£249 65 F2.8 MP-E ............................£849 70-200 F2.8 IS USM LII ...... £1499 70-200 F2.8 IS USM LI...........£999 70-200 F2.8 USM L ................£799 70-200 F4 L USM ....................£399

35-70 F3.5/4.5 ............................£59 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 300TL flash ..................................£49

28-80 F4/5.6...............................£39 28-85 F3.5/4.5 ...........................£99 35-70 F4 ......................................£39 35-70 F3.5/4.5 .................................£25 35-80 f4/5.6 ......................................£25 35-105 F3.5/4.5 ..............................£99 50 F1.7 AF .........................................£89 75-300 F4.5/5.6 ..............................£99 85 F1.4 G box ...............................£499 100-300 F4.5/5.6 APO ..............£179 100-300 F4.5/5.6.........................£149 VC700 grip........................................£39 RC1000S/L cord .............................£15 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 ...........£99 135-400 F4.5/5.6 ................... £299 150-500 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 90 F2.8 ................... £179/249 Teleplus 1.4x conv ...................£69 Teleplus 2x conv ......................£79 Kenko 1.4x Pro 300DG ........ £149 MINOLTA FLASH USED Minolta 5200i ............................£29 Minolta 5400HS........................£39 Minolta 5600HSD M- ..............£99 OLYMPUS 4/3 USED E3 body .................................... £299 E10 MKII body ........................ £349 E10 body.................................. £279 E510 body ............................... £149 7-14 F4 ED ............................... £499

11-22 F2.8/3.5 ........................ £349 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 ........................ £199 35 F3.5 .........................................£99 40-150 F4/5.6 ............................£49 50 F2 macro ............................ £349 90-250 F2.9 ...........................£1999 EC-14 converter .................... £199 EC-20 converter .................... £199 25mm ext tube.........................£99 FL-36 Flash .............................. £119 HLD-4 grip..................................£99 VA-1 angle finder .....................£99 SIGMA 4/3 USED 30 F1.4 EX DC ......................... £199 50-500 F4/6.3 EX DG HSM . £399 OLYMPUS MICRO 4/3 USED Stylus 1F................................... £299 OMD-EM1 body M- box ..... £599 OMD E-M5 MKII b/o box .... £499 OMD E-M5 body box........... £249 OMD-EM10 body .................. £249

12-40 F2.8 Pro ........................ £649 12-50 F3.5/6.3 ........................ £149 17 F2.8......£159 45 F1.8 box£199 40-150 F2.8 Pro ..................... £949 HLD-8 grip............................... £149 HLD-7 grip box ...................... £119 HLD-6 grip..................................£99 PANASONIC DIGITAL USED GH2 body ................................ £299 G6 body black........................ £299 G3 body box ........................... £129 GX7 body................................. £399 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

For more used equipment listings please see website www.mifsuds.com

135 F4 PS M-............................ £229 150 F3.5 S ....................................£79 150 F4 PS ......................... £149/199 180 F4.5 PS............................... £399 200 F4.5 PS M- box ............... £199 2x PS converter M- ................ £179 135N back ................................ £119 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 501CM chrome + 80 F2.8 CB + A12................£ASK 500CM + 80 F2.8 C + A12 ... £799 45 degree prism early .............£99 Sports viewfinder .....................£69

Chimney.......................................£89 A12 chrome latest ................. £299 A12 late blk/chr ...................... £129 Polaroid back tatty ...................£79 50 F4 CF FLE ............................ £849 150 F4 chrome serviced...... £199 Ext tube 21, 55 each ................£39 Vivitar 2x conv ...........................£49 Lens hoods various ........... £20/50 MAMIYA 645 MF USED 645 Pro TL + prism + back + 80 F2.8 + winder box ....... £499 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 ................................... £199 150 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 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 6 body + 75 F3.5 ..................£1099 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 + 90 KL + WLF + back .......................... £549 Pro S + 90 + WLF + back ..... £399 Pro S body ................................ £149 Pro S body scruffy ....................£99

Plain prism late....................... £199 WLF ................................................£79 Chimney.......................................£99 120 645V back ...........................£99 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 ................................£99 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 ..................................... £199 200 F4 ........................................ £149 300 F4 ........................................ £249 1.4x converter ......................... £199 PENTAX 67 USED 45 F4 latest M- ........................ £499 135 F4 macro late .................. £249 165 F2.8 latest M- .................. £499 200 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 ROLLEI 6x6 TLR USED 3.5F White Face serviced...£1999

Winder A ......................................£20 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 M USED 90 F2.8 early chrome............ £499 LEICA SLR USED R8 body black box................. £499 LEICA OPTICS USED Televid APO 77 + eyepiece .... £799 Televid 77 + 20x60 ................ £649 Trinovid 10x42 ........................ £599 Ultravid 8x32 HD ................... £849 LIGHTMETERS USED Polaris ...........................................£99

Sekonic L308 BII ........................£99 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 F3HP body................................ £399 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 F2.8 AIS................................ £149 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 E.......................................£59 55 F2.8 AIS................................ £199 105 F2.8 AIS macro ............... £199 180 F2.8 AIS ED scruffy ........ £179 500 F4 AIS...............................£1299 500 F8 mirror early................ £279 600 F5.6...................................£1499

TC200 ............................................£49 SC-17 TTL lead ...........................£25 DW-3 WLF find fit F3 ...............£99 DW-21 fits F4 ........................... £149 OLYMPUS OM USED OM-4T body ............................ £249 OM-1n body blk serviced ... £199 OM-2SP body .......................... £149 OM-2n body blk or chr ........ £149 24 F2.8 ....................................... £199 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 16-45 F4 .................................... £199

17-70 F4 SDM M- box .......... £299 18-55 F3.5/5.6 ............................£69 28-80 F3.5/5.6 ............................£49 50-135 F2.8 SDM.................... £379 55-300 F4/5.8 ED WR ............ £229 55-300 F4/5.8 ED box........... £199 70 F2.8 Limited ....................... £349 SIGMA PKAF USED 18-250 F3.5/6.3....................... £199 PENTAX MF USED 50 F1.4 PK ....................................£99 50 F4 macro PK..........................£99 TAMRON ADII USED 28 F2.5 ..........................................£49 90 F2.5 SP ................................. £149 VANGUARD SCOPES USED Endeavour HD65A................. £229 VOIGTLANDER USED 15 F4.5 + VF M- box .............. £269

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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.

320 | TIMES PAST |

FROM THE RPS COLLECTION

Word on the street

John Thomson’s radical depiction of living on the margins, from the publication Street Life in London

‘B

ritish energy in advertising … gives employment to many destitute individuals who would otherwise become burdens to the parish or swell the ranks of our criminal classes.’

So wrote Adolphe Smith in the text accompanying this image, in the publication Street Life in London, about people who earned their living on the

capital’s thoroughfares, including chimney sweeps and dustmen.

The publication – co-produced by Smith, a successful journalist, and photographer John Thomson – ran for 12 issues from February 1877 until January 1878.

Smith, born in Yorkshire in 1846, was a journalist who had lived in France for much of his early life.

Born in Edinburgh in 1837,

320 / THE RPS JOURNAL / APRIL 2017 / VOL 157

EXTRACT ‘There is a certain knack required in pasting a bill on a rough board, so that it shall spread out smoothly, and be easily read by every pedestrian; but the difficulty is increased fourfold when it is necessary to climb a high ladder, paste-can, bills, and brush in hand’

Thomson was apprenticed to an optician and instrument maker but also studied fine arts and chemistry at the Edinburgh School of Art. He worked in the Far East between 1861 and 1862 during which time he took photographs in Siam (now Thailand), Cambodia, Vietnam, Hong Kong and mainland China – this last resulting in the album Illustrations of China and Its People, also in the RPS Collection. Once back in the UK he set up a portrait studio in London, one of his sitters being Queen Victoria, who awarded him a royal warrant in 1881.

It is, however, for his documentary work that he is now best known. Both he and Smith were politically radical.

They were by no means the first to document poor and destitute people in Victorian times, but the combination of text and image encourages people to feel compassion for the subjects, who might otherwise be misunderstood.

The images were printed by the Woodburytype process, patented in 1866.

A photomechanical process, albeit rather cumbersome, it produced very high-quality prints in large quantities. The prints in the first six issues of the serial, held in the RPS Collection, have a clarity and quality that belies their age.

Although better known now than it was in the 1870s (Thomson’s 1921 obituaries emphasised his travel photography), Street Life in London clearly fulfils the authors’ hope of providing a ‘vivid account of the various means by which our unfortunate fellow creatures endeavour to earn, beg or steal their daily bread’.

PETER HARVEY ARPS

ROYAL PHOTOGRAPHIC SOCIETY COLLECTION

‘THE WOODBURYTYPE IMAGES IN THE SERIAL HAVE A CLARITY AND QUALITY THAT BELIES THEIR AGE’

MAKE LANDSCAPES BEAUTIFUL

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BEFORE

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– Fast recycling times (1.7s in FAST mode, 3s in DEFAULT mode).

– Head with 92 CRI dimmable daylight LED equivalent to 250w Halogen.

– Heavy duty compact head 22.5 x 14 x 23 cm weighing 2.2 kg with silent video mode.

– The most compact pack 18 x 13 x 28 cm including battery.

– Weight 4.3 kg including battery.

– Li-Ion Battery Air; 215 full power flashes, weight 1.1 kg (included).

– Li-Ion Battery HD; 400 full power flashes, weight 1.5 kg (optional).

– Both batteries include a 5v USB power output max. 1A. – Weather resistant design.

– The Creative Suite, strobo, sequence and delayed flash.

– Next generation Skyport™ offering more range, channels and control.

– USB for firmware updates .