The RPS Journal, June 2017

THE GRADUATES

MASTERCLASS

CHLOE DEWE MATHEWS

SHOWCASING THE NEXT GENERATION

THE 10 SECRETS OF GREAT LANDSCAPES

A PHOTOGRAPHER’S JOURNEY TO FIND FRANKENSTEIN

JUNE 2017 / VOLUME 157 / NUMBER 6 / WWW.RPS.ORG

100 YEARS OF NIKON McCURRY ON GOING TO EXTREMES FOR A PICTURE

HOW A CAMERA BECAME A FILM STAR

PLUS

SIX CLASSIC MODELS STEVE McCURRY WITH HIS NIKON FM2, SELF'PORTRAIT, IRAQ, 1991

© Tim Kemple

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OPENING SHOT

| JUNE 2017 | 401

A CENTURY OF NIKON

W COMING UP

IN FUTURE ISSUES Exploring a world of travel photography we speak to one of the greats, Honorary Fellow Sebastião Salgado; discover the bothy with Nicholas JR White; and visit the oldest surviving monastic community

PRINCIPAL PATRONS

elcome to the June issue of The RPS Journal, which will be my last as editor. I am standing down to pursue personal projects but will remain working closely with the Journal team, contributing articles and feature ideas.

I’m happy to say that I will be handing over the baton to my colleague Kathleen Morgan who, after working behind the scenes, will be stepping up as the Journal’s new editor.

An experienced journalist who has edited a number of great titles, Kathleen will be working alongside the usual team of writers and contributors to produce the Society’s monthly publication.

I for one can’t wait to see the Journal go from strength to strength in Kathleen’s capable hands.

Before I go, allow me to introduce some of the great stories we have lined up in this issue.

With Nikon celebrating its centenary this year we have a bumper feature that includes the Society’s chief executive Dr Michael Pritchard FRPS offering up a potted history of the company and some of its most significant camera models, and we hear why Steve McCurry HonFRPS has found the brand’s output so indispensable over his long career.

MAJOR PARTNERS

Those only just embarking on a career are the focus of our next feature, where we pick the best graduating students from photography courses at some of the country’s leading universities and colleges. It’s great to hear from ambitious students about what they aim to achieve in the ever-changing world of image making.

Finally Chloe Dewe Mathews – last year’s recipient of the Society’s Vic Odden Award for achievement in the art of photography by a British photographer aged 35 or under – selects her best shots. She reveals that while pursuing a career in photography is not all plain sailing, the challenges have inspired her to take bold risks.

That just leaves me to say thank you to the Society, its staff and members for the opportunity to edit such a prestigious, longrunning publication. It’s been a real privilege – and one I’ll never forget.

ANDREW CATTANACH Editor

SUPPORTING PARTNERS

VOL 157 / JUNE 2017 / THE RPS JOURNAL / 401

402 | JUNE 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-editors Sam Bartlett, Andrew Littlefield 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 11,374 (Jan-Dec 2016) ABC ISSN: 1468-8670

Cover Self-portrait, Iraq, 1991

by Steve McCurry HonFRPS

418 The entrance to Pripyat, by Charlotte Nuttall ARPS (applied photography)

CONTRIBUTORS

444

JUSTIN SETTERFIELD Big picture (p404) A freelancer named sports photographer of the year at the UK Picture Editors’ Guild Awards 2016, Setterfield's work has been widely published in the UK press and beyond RACHEL SEGAL HAMILTON The graduates (p428) A writer and editor whose main fields are photography and visual culture, Segal Hamilton has worked for clients including Vice, The Telegraph, Time Out and the British Journal of Photography GEMMA PADLEY Best shots (p450) Padley is an editor and journalist who specialises in photography. Her clients have included LensCulture, Getty Images and Magnum Photos, and she contributes to the British Journal of Photography

402 / THE RPS JOURNAL / JUNE 2017 / VOL 157

Shaolin monks training, Zhengzhou, China, 2004 by Steve McCurry HonFRPS

FEATURES

424 From Tom Soper LRPS's portfolio

428 | TOP OF THE CLASS We hear the experiences, hopes and dreams of the latest crop of photography graduates 438 | NIKON, AND ON, AND ON A celebration of Nikon's centenary, with a look at models through the ages, and an interview with brand aficionado Steve McCurry HonFRPS 448 | HELPING HANDS We celebrate the Society's volunteer stalwarts

428 After the swim by Beccy Strong

450 | BEST SHOTS What drives the creative powers of Chloe Dewe Mathews, the 2016 Vic Odden Award recipient?

CHARLOTTE NUTTALL ARPS; STEVE MC CURRY HONFRPS; BECCY STRONG; TOM SOPER LRPS

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

THE CRAFT

EVERY MONTH

459 | MUST TRY Gavin Stoker gets to grips with the £4.5k Sony a9

404 | BIG PICTURE Justin Setterfield's Laytown Races

460 | LATEST KIT A range of new gear, and Chelin Miller ARPS tries out Lomography's Petzval Art Lens

SERGEY PONOMAREV

462 | MASTERCLASS Paul Hill and colleagues give their take on landscape photography

407 | IN FOCUS Society news, views and more 417 | BOOKS Our review of titles including Magnum Manifesto 418 | DISTINCTIONS Charlotte Nuttall ARPS (applied photography) and Tom Soper LRPS 476 | SHOWCASE Jimmy Cheng LRPS

412 An image from Sergey Ponomarev: a lens on Syria, at the Imperial War Museum

480 | TIMES PAST Satsuma’s envoys by Felice Beato VOL 157 / JUNE 2017 / THE RPS JOURNAL / 403

404 | BIG PICTURE |

Laytown Races I’d wanted to go to Laytown Races for a while. On race day I noticed puddles remaining from the tide going out and felt there might be a nice reflection of the horses to be had. I talked security into allowing me to access the edge of the track prior to the last race and placed a camera on a small tripod with a remote trigger in a puddle.

I had to think quickly as security gave me only a couple of minutes.

Luckily a horse was trotting down to post so I could position the

404 / THE RPS JOURNAL / JUNE 2017 / VOL 157

By Justin Setterfield

camera to get the full reflection and some sky, and set the focus.

I triggered the camera with another I was using to shoot from the side of the track. After the race I collected the camera and was pleased to find the full field of horses reflected.

Justin Setterfield has been named sports photographer of the year at the UK Picture Editors’ Guild Awards. Visit justin-setterfield. squarespace.com

VOL 157 / JUNE 2017 / THE RPS JOURNAL / 405

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407

GO FOR IT TPOTY open for entries 408

ME AND VANESSA REDGRAVE Film role for Society member 410

WHAT NOT TO MISS The best images on display 412

INFOCUS NEWS, VIEWS, EXHIBITIONS AND MEMBER INSIGHT

Prince Harry and Christopher Jackson at Getty Images Gallery

SOCIETY MEMBER WINS PRESTIGIOUS AWARD

CHRISTOPHER JACKSON/GETTY IMAGES

Getty Images’ royal photographer completes a hat-trick at the UK Picture Editors’ Guild Awards Society member Christopher Jackson has been named royal photographer of the year for the third time, having won the category in 2010 and 2015.

His photograph of Prince George entranced by some bubbles, taken at a children’s party in Canada last year,

BOOK NOW

was part of his winning portfolio.

‘It’s incredibly special to me to have won this award again,’ he said after the ceremony in March. ‘Last year was a hectic and special year for me, with visits to places as diverse as Bhutan, Canada and Kenya with the royals. I always consider it a privilege to be able to document these moments.’

Jackson is an experienced news photographer whose HOW TO PHOTOGRAPH CHILDREN AND BABIES

work regularly appears in such publications as Newsweek, The Washington Post and The Daily Telegraph. Jackson has also worked over a long period with royal charities such as Sentebale in Lesotho and the Tusk Trust.

To see more of Christopher Jackson’s work visit christopherjackson.format.com

Christopher Jackson and his wife Natasha Archer

Why not give your skills a boost with this Society workshop on Saturday 25 June in Lacock? For more details see page 468 VOL 157 / JUNE 2017 / THE RPS JOURNAL / 407

408 | IN FOCUS |

ONLINE TALBOT ARCHIVE LAUNCHED

A new and innovative web-based resource is bringing together the complete works of photographic pioneer William Henry Fox Talbot (1800-1877).

Recently launched by the Bodleian Libraries, University of Oxford, the aim is for the Talbot Catalogue Raisonné to include around 25,000 images by 2018. These digitised images will be accompanied by notes, annotations and essays to form an important resource.

Visit foxtalbot.bodleian.ox.ac.uk

THE JOURNEY BEGINS DR LESLIE BOWCOCK HonFRPS Leslie Bowcock, who has died aged 90, was president of the Society from 19801982. Educated at Birmingham University, he qualified in medicine in 1950. A keen photographer from the early 1950s, he joined the Society in 1958, becoming chair of its Medical Group in 1969. He initiated the Society’s move from London to Bath with the establishment of the Society’s National Photographic Centre, and was president when the centre became fully operational.

408 / THE RPS JOURNAL / JUNE 2017 / VOL 157

The prize for the overall winner includes £4,000 plus £750 of Páramo outdoor clothing and membership of the Society.

The judging panel includes Eamonn McCabe FRPS and Michelle Jana Chan.

The closing date for entries is 25 September. For more information visit tpoty.com

MANDY BARKER ARPS; CLIVE ARROWSMITH FRPS

OBITUARY

The prestigious Travel Photographer of the Year (TPOTY) competition is open for entries from professional and amateur photographers.

This year’s competition includes three portfolio categories, three ‘one shot’ categories and a young travel photographer of the year award for two different age groups.

FROM ROBERT ALBRIGHT FRPS

SOMETIMES, IT TAKES TWO

Collaboration can deliver great results

A CLOCKWISE, FROM MAIN

A fisherman on Lake Bosumtwi, Ghana, and Erta Ale volcano, Danakil, Ethiopia.

All images by Joel Santos, TPOTY 2016 winner

visit to The Radical Eye, Tate Modern’s exhibition of photography from the Sir Elton John Collection, illustrated that there are some matters best delivered by collaboration. The show’s categories included portraits, experiments, documents and perspectives.

Among advocates of radical approaches, László Moholy-Nagy said: ‘The enemy of photography is convention, the fixed rules, how to do. The salvation of photography comes from the experiment,’ and the Society’s own RPS Collection is particularly rich in the period of the Linked Ring and the Photo-Secession (which developed into modernism, and which is well illustrated in The Radical Eye).

One’s own photography can often acquire a deeper resonance by being informed of previous developments in the medium. With a friend acting as model, we reimagined a set of images from the exhibition, the Corner Portraits, taken by Irving Penn in his Manhattan studio.

At the Philadelphia Museum School of Industrial Art, Penn learned the application of principles of modern art and design through exposure to magazines, exhibitions, architecture and photography.

Disappointed by his paintings, he turned to image making, although his art training led him to a new approach that

stemmed from profound reflection on earlier arthistorical models.

Examples of Society collaboration in exhibitions and competitions include those with the Royal Meteorological Society, the Royal College of Anaesthetists, and Hull City of Culture. In the awards we work with the combined royal colleges of physicians, gynaecologists and surgeons and the Photographers’ Gallery; in education with the National Media Museum (V&A forthcoming) and the University of Westminster for visual literacy; with the city of Bath (pop-up exhibitions) and PhotoLondon; and the Historical Group has a joint conference with National Museums Scotland.

In all these areas – exhibitions, curatorship, education, the history of photography, science and technology, contemporary approaches (theory and practice), documentary and experimental photography – we aim to work with others to develop the range and depth of our activities.

All this is very positive for the future.

ROBERT ALBRIGHT FRPS, Vice-president of The Royal Photographic Society

VOL 157 / JUNE 2017 / THE RPS JOURNAL / 409

WHY WE MADE SEA SORROW

Andrew Dearden tells of his film collaboration

How did you get involved?

I was invited because I’ve made films with Vanessa Redgrave and her family for quite a long time.

She is a consummate professional, absolutely lovely to work with.

Actress Vanessa Redgrave directs Sea Sorrow

DOCUMENTARY HIGHLIGHTS GLOBAL MIGRANT CRISIS

What inspired her to direct it?

Vanessa is well known as a human rights activist and this is her personal view of the current crisis, and refugees in the past. It was partly inspired by Alan Kurdi, the three-year-old Syrian whose body was found on a beach in 2015.

OBITUARIES

MAUREEN ALBRIGHT ARPS Maureen Albright, who has died aged 68, was the Digital Imaging Group regional organiser for Wessex.

With a professional background in education she was keen to encourage others to embrace the digital world.

A respected photographer, AV producer, lecturer and judge, she invited many well-known guest speakers to Aldbourne Memorial Hall in Wiltshire.

She will be remembered for her generosity in giving her time and knowledge to help those wanting to learn more.

EDGAR GIBBS FRPS

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365

PAMPAS GRASS

By Gina Socrates Elegantly swaying as if responding to an invisible orchestra, the exotic pampas grass in my garden danced majestically in the balmy breeze.

As the rays of the setting sun cast dramatic

golden threads of light upon the pampas I was inspired to grab my camera and zoom lens to freeze this moment in time.

Afterwards, I cropped the image and used levels in Photoshop to adjust the contrast.

APRIL’S MOST POPULAR ENTRIES THIS MONTH

LINES GET INVOLVED

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

By Clifford Spooner LRPS This photograph of the image’s individual colours. is of a swimming I liked the colour pool and was contrast and captured from geometry, with the an overlooking slight distortion of balcony. the swimming It was taken using a Canon 5D pool surface, MkIII with an EF which I felt added 24-105mm lens a further layer at 80mm, f/11 of interest.

The photograph at 1/500sec and featured in my ISO 100. successful Processing the Licentiate panel image involved a slight crop, and follows my transformation completion of of the original the 10-week slanted image, digital photography lowering highlights, course that was boosting clarity set up by the Society and the and some increased saturation Open University.

ENTER THE MAZE

By Linda Wride ARPS sadly defunct – This maze is an art Nikon D300 DSLR. installation at the What grabbed Boijmans Museum, my attention was Rotterdam, which I the refection of the captured using my maze in the central much-loved – now

mirrored drum structure of the courtyard, and the red surface of the drum’s interior glimpsed through

its mirrored slats.

I took many images from different angles but this was my favourite composition.

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412 | IN FOCUS |

WHAT NOT TO MISS ANGELA CATLIN: NATURAL LIGHT II Hillhead Library, Glasgow UNTIL 25 JUNE

The award-winning photojournalist revisits her 1985 book Natural Light, a collection of portraits of Scottish authors including Alasdair Gray and James Kelman (above). This exhibition features new images of sitters from the original book, plus portraits of a younger generation of Scottish writers. streetlevelphotoworks.org

23 JUNE – 8 OCTOBER

Gregory Crewdson is renowned for his emotionally charged, atmospheric and sometimes disturbing tableaux, usually set in small-town American

locations. Created with meticulous attention to detail and the technical virtuosity of a Hollywood film, the images have ambiguous underlying narratives which the viewer is invited to imagine. Cathedral of the Pines, created in 2013-14 after a five-year hiatus in Crewdson’s work, was photographed in the

HARRY GRUYAERT: WESTERN AND EASTERN LIGHT Michael Hoppen Gallery, London

AMBIT: PHOTOGRAPHIES FROM SCOTLAND Street Level Photoworks, Glasgow

UNTIL 27 JUNE

UNTIL 18 JUNE

Belgian photographer Harry Gruyaert, a Magnum Photos member for 35 years, has been influential in the use of colour as a means of expression. The work on display features his trademark complex compositions, made in locations from Moscow to Morocco. michaelhoppengallery.com

This exhibition features the diverse approaches to photographic image-making of Tine Bek, Sylwia Kowalczyk, Donnie MacLean, Blazej Marczak and Margaret Mitchell.

A separate but related exhibition, showing the work of five more artists, is at the Stills gallery in Edinburgh until 9 July. streetlevelphotoworks.org

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rural town of Becket, Massachusetts. Against the backdrop of the town’s surrounding forests, the images show people at pensive moments, seemingly lost in thought, like troubled, melancholy figures in Edward Hopper paintings. thephotographersgallery. org.uk

SERGEY PONOMAREV: A LENS ON SYRIA Imperial War Museum, London UNTIL 3 SEPTEMBER

Presented here are more than 60 colour images by Pulitzer Prize-winning Russian documentary photographer Sergey Ponomarev, selected from two bodies of work: Assad’s Syria, images of daily life in government-controlled areas of Syria in 2013-14 and The Exodus, shot at the height of the refugee crisis in 2015-16. iwm.org.uk

THE COAL COAST Side Gallery, Newcastle UNTIL 8 JULY

Sirkka-Liisa Konttinen explores the coal industry-scarred Durham coastline with images taken between 1999 and 2002.

As part of the gallery’s 40th anniversary celebrations, a reworked version of the original project will be on display, which includes an audiovisual installation. amber-online.com/collection/ the-coal-coast ALSO SHOWING

Roger Mayne

The Photographers’ Gallery, London. Until 11 June Britain in Focus: A Photographic History

National Media Museum, Bradford. Until 25 June

Iceland: An Uneasy Calm

Dimbola Museum, Isle of Wight. Until 16 July Women, Children and Loitering Men

Manchester Art Gallery Until 28 August

GREGORY CREWDSON; ANGELA CATLIN; SIRKKA!LIISA KONTTINEN; SERGEY PONOMAREV; MARGARET MITCHELL; HARRY GRUYAERT

GREGORY CREWDSON: CATHEDRAL OF THE PINES The Photographers’ Gallery, London

A FEAST FOR THE EYES

Oden's Dawn_RPS_June_17.indd 1

images for the competition’s 22 categories. Those categories included politics of food, bring home the harvest and food for celebration.

The winner of the latter category, taken by 56-yearold Bangladeshi photographer Shoeb Faruquee, was also the competition’s overall winner. He received the top prize of £5,000.

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Competition winner Shoeb Faruquee

27/04/2017 11:27

SHOEB FARUQUEE

Food photography in all its varied forms was celebrated at the 2017 awards ceremony for the Pink Lady Food Photographer of the Year, held at the Mall Galleries, London.

The competition attracted a record 8,400 entries from more than 60 countries. The judging panel, headed by the journalist and food critic Jay Rayner, selected the winning

THE WINNING SHOT

Titled Food for God, Shoeb Faruquee’s prize-winning image shows a Brahman cook stirring a cauldron of food.

He is preparing it for a group of devotees at a prayer and worship centre, who are seen through the open window.

Shooting with ambient light, Faruquee took advantage of the low-light capabilities of his Nikon D800 and used an exposure of 1/30sec at f/2.8 and ISO 800.

IN FOCUS | 415 BOOK NOW

HERITAGE FIELD TRIPS Two history-related photography field trips are being organised this month by the Society’s Archaeology and Heritage Group.

The first, on 17 June, is a visit to West Stow Anglo-Saxon village near Bury St Edmunds in Suffolk. The second, on 23

June, is an archaeology day at Towton Battlefield in North Yorkshire, a key site from 1461 in the Wars of the Roses.

For full details, see rps.org/ special-interest-groups/ archaeology-and-heritage/ events

DISTINCTION SUCCESSES

GROUP FOCUS

The Archaeology and Heritage Group, founded in 1974, focuses on a range of heritage interests and activities. They include photographing country houses, historic buildings and sites of archaeological interest, plus lectures on relevant topics and techniques. One benefit of group membership is the chance to capture locations where photography is otherwise not permitted, or when closed to the public.

A regular newsletter, Heritage Photography, is mailed to all members. The annual subscription is £15.

To join, visit rps.org/ special-interest-groups/ archaeology-and-heritage

West Stow Anglo-Saxon Village, Suffolk

JOANA KRUSE/ALAMY STOCK PHOTO; ARNHEL DE SERRA

CALL FOR ENTRIES ON BRITISH LIFE The third British Life Photography Awards is now open for entries.

Described as ‘a showcase of contemporary and imaginative images that capture the essence and spirit of British life’, it has 10 categories including rural life, British weather and historic Britain.

Judges include Society chief executive Dr Michael Pritchard FRPS, and the overall winner will receive £7,000 in Sony products.

The closing date for entries is 2 September. Visit blpawards.org

Child at agricultural show by Arnhel De Serra

12%13/04 LRPS Terri Adcock, Hertfordshire George Buckley, Buckinghamshire Pat Campbell, Dundee John Cannon, Kent Elizabeth Chang, Buckinghamshire Michael Cheeseman, Gloucestershire Liz Cooper, Wiltshire Christine Cormack, France Sue Critchlow, Lancashire Phillip Edwards, Hampshire Chris Elliott, Aberdeenshire Sheona Elliott, Aberdeenshire Jeremy Fraser-Mitchell, Hertfordshire Raymond Charles Garlick, Gillingham Tony Goodger, Berkshire Nicol Hockett, Virginia Chris Jordan, Berkshire Peter Lillywhite, Buckinghahire Raja Mahanta, West Bengal Brian McClure, Northern Ireland Stephen MckenzieWoolley, Powys Yvonne Mitchell, Dorset Chris Potter, London Rosanna Ruth Shakerley, Near Fowey Thomas Soper, Suffolk John Spreadbury, Gloucestershire Catriona Sutherland, Aberdeenshire Owen Vachell, Dorset Stephen Wright, West Yorkshire 19/04 ARPS CONCEPTUAL % CONTEMPORARY David Boys, West Sussex John Corbett, Cumbria Alan Frost, West Sussex Brian John McCarthy, Lincolnshire David McCarthy, Perthshire

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| BOOKS | 417 STEPHEN SHORE: SELECTED WORKS, 1973-1981 Aperture (£60) In 1973, Stephen Shore HonFRPS began a major body of work that was eventually published as Uncommon Places in 1982.

Selected Works 1973-81 features images from that book chosen by 16 photographers, curators and authors including Honorary Fellows Paul Graham and Thomas Struth. They offer illuminating reflections on the book’s importance as a landmark of vernacular photography and its influence on their own work.

Robert Kennedy funeral train, USA, 1968 by Paul Fusco

BEYOND THE MYTHS A candid peek behind the scenes as Magnum turns 70

© PAUL FUSCO/MAGNUM PHOTOS; © DENNIS STOCK/MAGNUM PHOTOS

MAGNUM MANIFESTO Edited by Clément Chéroux with Clara Bouveresse Thames & Hudson (£45) The extensive archives of Magnum Photos have been mined for a plethora of publications over the years, including In Our Time (1989), Magnum Stories (2004) and Magnum Contact Sheets (2011). The latest, Magnum Manifesto, marks the agency’s 70th anniversary. The book’s unique selling point is that it primarily focuses on the organisation itself: its formation, history, purpose and direction.

Editor Clément Chéroux sets the tone from the outset, describing Magnum as ‘a hotbed of egos’ whose members have developed ‘a resistance to criticism that can sometimes be quite vehement’. The range of personalities, photographic styles and opinions on what Magnum does – and should be doing – has led,

On the set of Planet of the Apes, California, 1967

he says, to ‘angry discussions that rocked, and indeed still rock, the agency’.

The book is divided into three main sections, covering 1947-68, 1969-89 and 19902017. They focus on the broad cultural shifts in these periods and the ways in which Magnum photographers responded. Each section focuses on selected photo stories from the period.

They range from the famous, such as Josef Koudelka’s Gypsies, to the lesserknown Olivia Arthur’s Stranger and include illustrations showing the context in which they were originally published.

The latter part of the book contains a fascinating selection of members’ letters, memos and articles, in which they give their views on the agency’s raison d’être and their role within it. These documents include Honorary Fellow Sebastião Salgado’s 1992 resignation letter and Philip Jones Griffiths’ blistering fax voicing his opposition to Martin Parr HonFRPS’s membership in 1994.

Although the book airs conflicts and tensions, it’s ultimately a celebration of the diversity in opinion and approach among the members and an affirmation of the group identity that has kept them united for so long. Magnum Manifesto is essential reading for anyone wanting to get beyond the myths and find out the inside story on this inspirational organisation.

RUNNING A SUCCESSFUL PHOTOGRAPHY BUSINESS Lisa Pritchard Bloomsbury Academic (£14.99) For more than 15 years, Lisa Pritchard has run her own successful artist management and shoot production agency, so is ideally placed to give advice on how to run a successful photography business.

Positive in tone and incorporating quotes from experienced professionals, her book is packed with practical information on everything from formulating a business plan and building a brand to legal obligations and insurance.

CONEY ISLAND Rob Ball Dewi Lewis (£24) Following his 2015 series on Margate’s Dreamland, Rob Ball has turned his attention to the oncepopular amusement park at Coney Island. It’s part of his ongoing project examining ‘the notion of repair and reparation in coastal communities’. As with the Margate work, Ball uses a mixture of his colour photographs and reverseimage black-and-white tintypes to explore the gap between the park’s distant heyday and its rather shabbier present.

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418 | JUNE 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

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

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

FEATURE SPONSORED BY

Emotion Through Image

Charlotte Nuttall

ARPS % APPLIED PHOTOGRAPHY

Photography has enabled me to visit parts of the world I may never have done, viewing things from a different perspective.

Through my photography and inquisitive personality I began a journey to explore abandoned buildings, travelling across both the UK and Europe and visiting prisons, mansions, mental institutions, houses and hospitals.

I had the urge to visit Chernobyl. I remember so distinctly the news of the terrible tragedy that struck there in 1986 being broadcast.

The city of Pripyat, with a population at the time of 40,000, had a number of swimming pools, several hospitals, a fairground, schools, an iconic town hall, musical theatres and a sports plaza. The wealth that once existed in that small town was truly amazing.

My portfolio incorporated images that symbolically represent children and families.

As a mum I was naturally drawn towards taking shots such as the maternity unit, the unused tiny gas masks left in the schools, the children’s books and toys scattered around the abandoned town … also the broken globe I felt represented a broken world.

The main aim of this portfolio was to capture the emotion and devastation of the disaster, but also the fact that the Chernobyl district was once thriving and clearly full of happy family memories.

The town was centred around the town hall and the fairground opposite was never used. A family festival had been planned for 1 May – six days after the nuclear disaster – to open the fairground for the families of Pripyat.

LEFT

Not so grand piano VOL 157 / JUNE 2017 / THE RPS JOURNAL / 419

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As with any urban exploration photography the conditions are never ideal for taking the perfect picture and Chernobyl was no exception. It was dark and dirty, and nothing could be touched or moved. Being unable to place anything on the floor presented a new challenge – I had to carry my camera bag constantly. In some of the buildings the floors were rotten and the light was grim, but from my image of the Not so grand piano you can see I was lucky with the light on this particular day. On one occasion our guide even refused to accompany me into one of the buildings as the radiation levels were still so high.

My best advice for anyone wanting to achieve a Distinction is to follow a subject you are passionate about. Never think you need to change what you take photographs of to please an assessor. If you do that, you may be at risk of falling out of love with photography.

STATEMENT OF INTENT

Urban exploration allows me to capture the architecture of stunning buildings but also to symbolically document history and memories that may soon be forgotten.

The district of Chernobyl has stood still since the nuclear disaster that struck in April 1986.

Over several visits I had hoped to capture poignant memories via an emotional journey that showed the remains of a once-thriving district.

When the town was evacuated on that earth-shattering day the residents were reassured they would soon return. Some 30 years later possessions are still there, imprinted with memories – toys in the nursery, books in the school, medication in the hospital and the gas masks distributed prior to evacuation.

I believe this once-thriving town deserves to be remembered, even if it is through my own eyes capturing the beauty in decay.

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ABOVE

FACING PAGE, TOP

The hospital bed

The unused dodgem cars

LEFT

The broken world

FACING PAGE, BOTTOM

Gas masks

FEATURE SPONSORED BY

Emotion Through Image

FACTFILE

I’ve been seriously interested in photography for the last three years since joining Chapel Camera Club in Derbyshire. A busy working mum, I am an HR business partner for a UK-based airline and tour operator, and photography is my escape from the world of the office

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ASSESSOR’S VIEW

TREVOR YERBURY FRPS Chair of the applied photography panel To capture the aftermath of one of the world’s most traumatic and catastrophic events is a challenge for any photographer but Charlotte has managed to convey the poignant memories of Chernobyl in a personal and emotional manner.

The viewer can visually immerse themselves in the continuing decay of this once thriving and proud city.

Charlotte allows us to place ourselves in her footprint and to be engaged with her at the moment she pressed the shutter, to feel the sense of overwhelming loss.

A very strong panel of images presented in a beautifully restrained colour palette.

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ABOVE

ABOVE

ABOVE

xxxxx

xxxxx

The doll LEFT

The doctor in dismay BELOW

The postmaster’s office

FEATURE SPONSORED BY

Emotion Through Image

ABOVE

Diving block of the old pool HANGING PLAN

‘Charlotte allows us to be engaged with her at the moment she pressed the shutter’

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424 | DISTINCTIONS |

CHARLOTTE, DAWN CYCLIST I love shooting into the rising sun and lighting the subject from the front.

As Singapore is nearly on the equator the sun rises very quickly, so it was important to scout out the location in advance, so that I knew exactly where to position Charlotte. This image was shot using a Nikon D800, Nikon 70-200 @200mm, 1/1,000sec, f/2.8, ISO 100, Profoto B1 head with umbrella

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FEATURE SPONSORED BY

Emotion Through Image

SHORT CORNER Being a hockey player myself I had visualised this shot knowing that the seconds before a short corner are always tense. This image was shot using a Nikon D4, Sigma 150-600 @ 550mm, 1/2,000sec, f/6.3, ISO 4,000

Tom Soper LRPS

Seven of these photos were taken as part of a project I set myself in January 2015 – to shoot 50 portraits of expats in Singapore from 50 different countries. I thought that a personal project would be a great way to improve my photography. My primary aim was to learn how to shoot interesting portraits of people in a short time frame,

as I felt this would prove useful when working as a portrait photographer in the UK. When I attended an advisory day, I took with me a variety of images, including wildlife, landscape, macro, abstract and portraits. The advisory day was incredibly useful because not only did I see other people’s photos but I also received some excellent advice.

The advisor noticed from my portfolio (and my reserve photos) that I have a passion

JACOB, TRIATHLETE, RELAXING This image was shot outdoors at 7am using a Nikon D800, Nikon 70-200 @150mm, 1/200sec, f/2.8, ISO 100, Nikon D800, Nikon 70-200 @150mm, and a Profoto B1 head on a mini stand with no light modifier

for portraiture, and advised me to stick to what I do best and not try to be a jack of all trades.

Having chatted to other Society members at the advisory day I knew that most people find it difficult to objectively judge their own photos. In the end I left out some of my favourite images because they didn’t work with the hanging plan.

I believe this panel is a good reflection of the skills I have learned over the last two years, specifically

shooting portraits with a single off-camera light. One of my strengths is engaging with subjects quickly to win their confidence and trust.

I always try to visualise my photos as much as possible, having researched beforehand ideas and techniques that I want to achieve. This allows me to complete a portrait shoot very quickly, which I think is important when photographing busy people.

tomsoperphotography.com

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LERTKIAT, TRUMPETER, SINGAPORE SYMPHONY ORCHESTRA Having been told not to sit on the ledge Lertkiat waited until the security guard had gone and then quickly jumped up, giving me only a few seconds to get the shot. This image was taken using a Nikon D800, Nikon 70-200 @ 102mm, 1/250sec, f/2.8, ISO 200, Profoto B1 head with umbrella

ABOVE

SPIRIT OF SOCCER There were a lot of kids playing football on this dried pitch and I kept my eye out for when any players kicked up a decent amount of dust. The position of the sun, backlighting the boys, adds some nice depth to this photo. This image was shot using a Nikon D800, Nikon 70-200mm @ 200mm, 1/2,000sec, f/2.8, ISO 160 FACTFILE BELOW

ISRAEL, TANZANIAN POLITICIAN%TO%BE This was another shot I visualised.

I had heard Gregory Heisler speak the year before and he was incredibly inspiring, so I kind of copied one of his most famous photos. This image was shot using a Nikon D800, Nikon 50mm @ 50mm, 1/6,400sec, f/1.8, ISO 100, Profoto B1 head with softbox

HANGING PLAN

‘This portfolio is a good reflection of the skills I have learned over the last two years’

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After a move to Singapore in 2010 I become a professional photographer. The majority of my work was for large international schools, as well as working for NGOs. Since returning to the UK in 2015 I have continued in the same field

XX XX

| XX | 427

MARCEL, CAMEROONIAN FOOTBALL COACH I researched some great photos of football players online and I knew exactly what I wanted from this shoot. It was important to make Marcel look dominant, so I lay on the ground and asked him to stand tall. I was very lucky with the blue sky, which contrasts with the orange net. This image was shot using a Nikon D800, Nikon 70-200 @ 160mm, 1/6,400sec, f/2.8, ISO 100, Profoto B1 head, no light modifier ASSESSOR’S VIEW

KAREN BERRY FRPS Chair of the Licentiate panel This portfolio of prints had immediate impact, which is always good at an assessment, giving the panel a good overall impression.

It is a particularly good example of variety within a theme. There is a good appreciation of light and Tom has used it well, particularly in the images of the cyclist and children playing football.

There is clear evidence of visual awareness, one of the essentials for a successful

Licentiate portfolio, and the photographer shows clear empathy with the subjects.

He has a good eye for composition and has framed the portraits well, giving thought to appropriate sympathetic backgrounds.

The portrait of the goalkeeper is a good example of thinking of a different way in which to capture the portrait and telling a story.

There was good camera work throughout and the prints were of a high quality.

The panel was pleased to recommend Tom for the Licentiate Distinction.

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428 | INSIGHT |

ALL TO PLAY FOR

Rachel Segal Hamilton discovers what motivates students graduating this year from some of the country’s leading photography courses 428 / THE RPS JOURNAL / JUNE 2017 / VOL 157

| INSIGHT | 429

BECCY STRONG 46

Plymouth University (MA) ‘Children today tend to be controlled, supervised, driven here and there, not left to make their own fun or trouble together. I’ve been exploring this idea through a project working with my 11-year-old son, Finn, and his friends after I noticed how

different they are when they’ve been hooked into their screens compared to when they’re free and in the wilder spaces around us.

I’m also working on a project with young bareknuckle Gypsy/traveller boxers – less about the fight itself and more about the raw human spirit – and

another, more narrative series responding to the fairy tale The Red Shoes with a feminist and Jungian interpretation.

Before studying photography I was a freelance documentary camerawoman and sound recordist with the BBC, for years working in Kenya, Rwanda and Uganda, with mountain gorillas and elephants. It was an incredible career but I’ve found this MA has been a turning point for me, to really help me focus on what I want to say creatively through my personal practice and my perspective as a photographer. I just want to carry on making the work I make, to be published and to keep feeling inspired to create.’

beccystrong.com

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JEAN JOHNSON!JONES 64

University of Westminster (MA) ‘My approach is experimental. From a dance background, my ideas surface through movementrelated research in a 430 / THE RPS JOURNAL / JUNE 2017 / VOL 157

studio. Photography forms part of this process. This is always an adventure, since photography wants to stop things and I want it to do just the opposite.

Much of my work investigates the representation of motion and stillness.

I’m fascinated by how movement – especially dancing – is understood and

visualised in photographs.

Typically, images depict key moments through which movement is inferred. In my work I invite, even challenge, the viewer to see differently, to flip their usual visual thinking, and instead see movement itself.

My trio of images, Dynamic Motion, is based on Rudolf von Laban’s concept of space harmony, and reveals the movement path created by dancer Claudia Tonietto.

I plan to continue to investigate the application of Laban movement analysis to photography through practice and research. My work will be expanded to include site-specific dance material as well as African dance forms.’

| INSIGHT | 431

LUKE WITHERS 22

University of South Wales (BA) ‘Photography takes me inside worlds that I may not otherwise get the opportunity to see. It lets me explore science, technology, culture and identity. I love meeting people through my practice – bellringers, radio enthusiasts, archivists, water monitors – getting excited about what they’re interested in and articulating that through photography.

My practice is documentary, often with a conceptual approach, and heavily informed by research, which is key to how we are taught at USW. My imagery varies from relatively clinical aesthetics to heavily metaphorical.

I’ve been working on a project in Gibraltar, accessing some interesting facilities including an advanced water desalination plant that the island relies on as a fresh water source. The work looks at the infrastructure Gibraltar requires due to its lack of natural resources and how these infrastructures become politicised in their distribution

throughout the disputed territory.

After graduating I’d like to continue with some of the projects I’ve started, including one in Northern Ireland, where I’m from. My hope is to pursue my interests in technology and science, perhaps through editorial or commissioned work that ultimately informs my personal work.’

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JULIEN MARTINEZ LECLERC 21

LCC, University of the Arts London (BA) ‘My inspiration changes every season.

I’ll be obsessed with, say, paintings of brothels in the 19th century, then with a texture like satin, and think how great it would be to do a series only using satin.

Someone once said my photographs were very French and fresh and it really touched me. I love the idea of working with one’s own heritage – I was born and raised in Paris – while challenging it.

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Photographing my grandparents for my exhibition Acte I: Michelle et Hubert was a high point.

They educated my eye while I was growing up and the fact they were finally in my pictures with my influences floating around them made me emotional.

My dream is to work with people who are fearless and who keep things light and stimulating.’

julienmartinezleclerc.com

| INSIGHT | 433 PRO TIPS

Three top photographers advise how to make a successful career Clive Arrowsmith FRPS

Use the best-quality camera you can get your hands on, with the highest resolution.

If you are shooting outside, you always get a better result if you shoot against the light – shooting into the light just looks flat. You’ll need to use a flash system – reflectors can make the model squint – so learn how to imitate natural light.

When taking your portfolio around potential clients make sure that you are very discerning with the images that you include.

It’s better to have four or five really good-quality images rather than loads of shots with only four or five good among them.

1

Jillian Edelstein HonFRPS

You have no choice but to stand out from the crowd – the competition is so fierce these days. Know who you are, what your brand is and be clear of what your vision is. Be vocal about your achievements – blow your own trumpet. This is something I’m not very good at, but it’s important.

The only way you can do personal projects is if you are absolutely passionate about them, and if you are then be prolific – seize the moment.

Social media is such a big deal these days, so share your images.

Finally, make sure you persevere.

2

Mandy Barker

Try to feel comfortable and confident in your style and stick to it. Avoid a scattergun approach. Concentrate on perfecting one body of work rather than lots of incomplete ideas.

When you leave the support network of university try to keep in touch with your fellow students for advice.

Social media is a brilliant way of getting your work out there and for me was the catalyst that enabled my series SOUP being seen around the world.

At the end of the day you have to take chances, learn from your mistakes, and try to believe in yourself.

3

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Bob Books design publish share Design and print your own professional photobooks. You can even share and sell in the Bob Bookshop. UK based Bob Books is an award winning print-on-demand platform and the number one choice for lay-flat photographic books.

20% off photobooks Enter code: RPS20*

bobbooks.co.uk/rps *T&C’s apply

| INSIGHT | 435

JOSEPH THOMPSON 22 Ravensbourne (BA)

‘It might take hours to reach a particular location, but that initial feeling of seeing a landscape I’ve just shot through the back of my camera for the first time makes it all worthwhile. I recently spent a month travelling

along the east coast of Australia with the latest Phase One camera and a film crew to document the landscapes, cities and people of this stretch of Australia and create a book.

While there we photographed,

interviewed and filmed the head bike designer of Deus Ex Machina, an ex-pro English surf champion living in Byron Bay, the head wine maker at Dusty Hill Vineyard and the senior wildlife manager at Wildlife Habitat. The

footage taken on the trip is now being edited into a featurelength documentary.

The project really allowed me to use all my skills in one go.

I want photography to take me around the world. I love travelling and showing people our planet using my images – it’s where I get my thrill and the urge to create strong imagery.

To be featured in the Landscape Photographer of the Year exhibition would be a dream come true.’

jthompsonphotos.co.uk

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436 | INSIGHT | MACAULEY BOWERS 18

Grimsby (Level 3 BTEC Extended Diploma) ‘I love the effect images have on people. Some feel astonished, some emotional,some mad and some have a personal connection.

My favourite thing to photograph is the details people don’t always see – those little things have a big importance.

I’m working on a personal project, photographing the majority of hunt kennels in the UK. It’s something I’m interested in. I recently got back from Scotland, having been at the Fife Foxhounds kennels, and I’ve been invited to multiple kennels, which is quite a prestigious thing. I hope to show the welfare of the hounds as it’s something that the public often questions. I’ll use some of the images

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for my final project at college.

Once I’ve finished at Grimsby, the plan is to study photojournalism and documentary photography at the University of Gloucester. I’m hoping this will help me get my foot in the door with some big companies and magazines. I’d also love to photograph at Cheltenham racecourse as I work a lot in the equestrian industry.’

mbphotoequine.co.uk

438 | CENTENARY |

NIK CELEBRATING 100 YEARS OF A HISTORY MAKER

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BY SOCIETY CHIEF EXECUTIVE DR MICHAEL PRITCHARD FRPS

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L

ABOVE

British photojournalist Don McCullin HonFRPS, captured here

by British photographer Nik Wheeler in Vietnam in 1968 LEFT

According to McCullin’s biography, Unreasonable Behaviour (2002), in 1968 his Nikon F camera stopped an AK-47 bullet intended for him

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World War Two disrupted the company’s production significantly.

Nippon Kogaku was appointed by the Japanese government as the principal supplier of optical ordnancefor the military and it grew to 19 factories and around 23,000 employees. Production included rangefinders, periscopes and lenses for aerial photography.

In 1946 the company was reorganised by the occupying powers and it was reduced to one factory and 1,400 employees, returning to producing civilian optical goods. As part of an effort to diversify production, by late 1945 or early 1946 it started investigating producing a camera with an interchangeable lens TLR and a 35mm rangefinder camera.

Originally called the Nikorette, then the Nikko, it became the Nikon I

GETTY IMAGES

ike Leica, the Nikon marque can claim a great history and a roster of well-known photographers using its cameras to create iconic images, from Steve McCurry HonFRPS to Stanley Kubrick.

This year marks the centenary of the foundation of the Nikon company, which was soon to match the stature of its rival German manufacturer.

On 25 July 1917, three Japanese optical companies merged to form Nippon Kogaku KK and for the next 30 years it concentrated on producing a range of optical equipment: binoculars, microscopes, telescopes and surveying and measuring instruments. At its formation the company consisted of 200 employees and eight German optical technicians who arrived in January 1921 and were responsible for researching and developing products.

R&D has formed an essential part of the company’s ethos ever since.

The company changed its name to Nikon Corporation in 1988 and today has some 25,000 employees, with factories in Japan and across Asia.

During the 1930s the company added camera lenses to its output under the name Nikkor, which was registered in 1932 and derived from the word Nikko, used on its microscopes. It also produced lenses in Leica’s screw (M39) thread. By 1937 the first 50mm Nikkor lenses in f/4.5, 3.5 and 2.0 had been designed, and the first Canon camera, the Hansa, of 1937, sported a Nikkor lens. Nippon Kogaku continued to produce all the lenses fitted to Canon cameras up to mid-1947.

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GETTY IMAGES

‘THE NIKON F OF 1959 WAS A LANDMARK SHIFT IN NIKON’S CAMERA RANGE. THE F WAS LIGHTWEIGHT AND WELL DESIGNED’ of 1948. A succession of rangefinder Nikon models followed, ending with the Nikon S3M of 1960. They were supported by a range of Nikkor lenses, from 21mm to 1,000mm, along with a large range of accessories.

The Nikon F of 1959 was a landmark shift in Nikon’s camera range, in recognition of the 35mm SLR being the future of photography. The F was lightweight and well designed, and was accompanied with a range of Nikkor lenses and accessories for reflex photography. The F series continues in production today as a professional 35mm camera, a direct successor to the original F. The Nikon F became the archetypal photojournalists’ camera. Its versatility found favour with the new wave of fashion photographers who had moved away from static studio shots, and with documentary and travel photography luminaries such as Linda McCartney and Bill Cunningham.

The Nikon camera has caught the eye of celebrities too, from Peter Sellers to Bruce Lee, Brad Pitt and Snoop Dogg.

And, of course, the camera has been the real star of several films, including Michelangelo Antonioni’s classic Blow-Up (1966), Francis Ford Coppola’s Apocalypse Now (1979) and Clint Eastwood’s The Bridges of Madison County (1995).

Other ranges such as compacts and underwater cameras also appeared, but it was digital photography that changed Nikon cameras significantly. An early association with Eastman Kodak Company in the early 1990s resulted in a series of co-branded professional digital cameras. The introduction of the Nikon D1 in 1999 paved the way for a series of pro digital SLR cameras, a lineage that continues today as the Nikon D5.

A century is a long time for any company to survive and there are only a handful of camera manufacturers, including Canon and Hasselblad, with 70 or more years of production behind them. Nikon seems well placed to face the next 100 years in a fast-changing commercial landscape for cameras, but one where its optics, particularly, will always be in demand.

TOP

Dennis Hopper (far right) with a Nikon on the set of Apocalypse Now (1979) ABOVE

Linda McCartney, husband Paul, their children and her trusty Nikon camera RIGHT

The Bridges of Madison County (1995)

EXCLUSIVELY NIKON You could win one of three copies of The Legend and the Legacy, a book celebrating 30 years of the famous Nikon-only seller Grays of Westminster, with contributions from Heather Angel FRPS and Joe McNally FRPS, among many others.

How to enter Send your answer to rpsjournal@ thinkpublishing.co.uk Q: Which model of Nikon camera ‘saved’ the life of Don McCullin?

WANT TO KNOW MORE? Uli Koch, Nikon - 100 Anniversary.

OstLicht, 2016.

Uli Koch, Nikon F. The Camera, The Lenses, The Accessories.

Peter Coeln GmbH, 2003.

Michael Pritchard, A History of Photography in 50 Cameras.

Bloomsbury, 2015.

Robert J Rotoloni, The Complete Nikon Rangefinder System.

Hove Foto Books, 2007.

Gillian Greenwood, Grays of Westminster: The Legend and the Legacy. Grays, 2016 VOL 157 / JUNE 2017 / THE RPS JOURNAL / 441

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LANDMARK CAMERAS FROM THE NIKON RANGE Nikon since 1979 and on the Nikon EM, the camera was wholly electronic and in some ways was a hybrid between film and digital, with complex electronics and an LCD control panel.

A special model was made for NASA and used on board the space shuttle Discovery in 1991.

NIKONOS

(1963) RIGHT The Nikonos was spawned from a project by French company La Spirotechnique, which had manufactured the aqua-lung for Jacques Cousteau.

Nikon’s first model appeared in 1963 and was an immediate hit with photographers more used to cumbersome waterproof housings.

The Nikonos offered a compact design, easy to use external controls and Nikkor optics optimised for use underwater.

The 1992 Nikonos RS brought an SLR underwater camera, but the entire series was discontinued after the Nikonos V in 2001, although there is an active second-hand market.

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NIKON SP

(1957) ABOVE The Nikon SP (the P stands for professional) was neither the last of the rangefinder Nikons nor the best-selling, with sales of some 22,348, but it is one of the more desirable collectible models.

Introduced in September 1957 – perhaps the high point of the 35mm rangefinder camera before the SLR took over – it was well placed to compete against Leica’s M3 (1954). The SP included new features such as parallaxcorrected frame lines in the two viewfinders for six lenses from 28 to 135mm, and a redesigned shutter gave speeds from 1-1/1,000 second on one dial.

TONY HURST

NIKON F4

(1988) BELOW The F4 was introduced to the market in 1988 and was very popular, selling some 230,000 units in its first three years. It was awarded European Camera of the Year (1989-90).

Designed by Giorgetto Giugiaro, who had worked with

NIKON I

(1948) BELOW The Nikon I was Nippon Kogaku’s first camera, based on the best of the Leica and Zeiss Ikon’s Contax range. The shape of the Contax body and focusing wheel were combined with Leica’s rangefinder and shutter mechanisms.

Prototyping began in late 1946 and the first batch of commercial

cameras was produced from March 1948 to August 1949.

The camera was not popular because of its non-standard frame size of 24 x 32mm.

The Nikon S of 1951 was more commercially successful, despite another unusual frame size. In 1953 the standard 35mm frame was adopted in the S2.

NIKON F

(1959) ABOVE The Nikon F was part of a long evolution of the 35mm SLR. Nippon Kogaku took a fresh approach, producing a professional camera ‘system’ supported by a range of lenses and accessories. The body

TONY HURST

NIKON D1

(1999) RIGHT Development of the D1 started in 1996 when Nikon was working closely with Eastman Kodak Company supplying bodies for Kodak’s DCS series of digital cameras between 1991 and 2004.

Instead of combining standard camera bodies with a CCD sensor Nikon’s designed from scratch. The D1’s importance is hard to overstate: the Kodak DCS cost more than $30,000 and the D1 sold for $4,995, making professional digital photography affordable.

As John Henshall FRPS concluded in his 1999 review ‘[the D1] promises the largest swathe of professional features seen in any digital camera to date’.

was designed by the graphic designer Yusaku Kamekura, and was named after its new bayonet lens mount, from Masahiko Fuketa, Nippon Kogaku’s chief designer.

The F was launched in 1959 and more than 800,000 were

produced. The 200,000th was presented to David Douglas Duncan, who had done so much to launch Nikon’s international success.

The design changed very little over its life, with the most obvious alteration being the availability of the

Photomic head (1962) with CdS metering, and the Photomic T (1965) which gave TTL metering. Popular with photojournalists, its direct viewing, easier film loading and wide range of lenses and accessories gave it an edge over the Leica.

HOW I TOOK THE PICTURES Tony Hurst reveals how he photographs his Nikon collection I’ve been a member of the Nikon Historical Society for nearly 30 years, and have photographed cameras from my own collection for its journal.

I have a Bowens unit with two side lights and one top light, diffused through translucent paper. I use mirrors to illuminate the areas that the unit cannot reach.

Lenses need to be lit separately, and are where digital technology comes in useful. I will usually composite more than one shot to create the final image, photographing the lens with a different lighting set-up from the body.

I only really photograph older models. With modern cameras the technology is wonderful, but the aesthetics are at the other extreme.

There’s little appeal to them for me.

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THE LINE OF FIRE He has endured the toughest of conditions in pursuit of human stories.

Steve McCurry tells Kathleen Morgan why his constant companion is his Nikon camera

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XXXX XXX

H

e has been shot at in Afghanistan, endured searing heat and Arctic temperatures, and navigated his way through monsoons and dust storms.

For more than three decades Steve McCurry HonFRPS has gone to extremes to capture images, some of which have become the most acclaimed in photography. And throughout there has been one constant – the Nikon camera.

Since the days of his early career, the Philadelphia-born McCurry, now 67, has put his trust in equipment made by the Japanese company celebrating its centenary this year. He used a Nikon to shoot the 1984 image that has become his most recognised – the Afghan girl who fled her Soviet-occupied homeland for a refugee camp in Pakistan. The portrait made the cover of National Geographic in 1985. McCurry was to cross secretly into Afghanistan from Pakistan to document the conflict.

‘It boils down to reliability,’ says McCurry, betraying the pragmatism that has helped him shoot breathtaking images in tough situations. ‘You don’t want to be thinking about equipment.

You want to think about the picture.’

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XXXX XXX

Environmentalists Rick Thorpe and Michael Bailey of EarthTrust examine the Al-Ahmadi oil fields, Kuwait, 1991

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Mother and child looking in through a taxi window, Bombay, India, 1993 BELOW

McCurry is speaking on the day a photograph is released showing the moment a US Army camerawoman captured her own death during an explosion in Afghanistan. The haunting image taken by 22-year-old Hilda Clayton in 2013 during the last second of her life has gone viral since being released by the American military.

The image brings back memories for McCurry and he acknowledges the fear he experienced working in war zones.

‘The most scary times are when you’re being bombed and shot at, and things are exploding around you and you realise you could be dead in the next moment,’ he says. ‘Everything in your being is screaming it is a bad idea to be here, then you realise it is too late so you might as well go ahead. If you’re going to be killed, at least you should be killed working.’

It is around 20 years since McCurry

‘YOU COULD BE DEAD IN THE NEXT MOMENT ... SO YOU MIGHT AS WELL BE KILLED WORKING’ last photographed a conflict. ‘There are other experiences I want to have in my life,’ he says. ‘It would be a pity to strike the same note over and over again.’

His most recent trips have been to Guatemala and Japan, and these days he is able to take his family with him.

Named an Honorary Fellow in 2005, his pared-back philosophy to equipment has also been a constant. ‘Who wants to cart around a bunch of strobes? he says.

‘That’s not what I do.’ Digital technologies and the evolution of Nikon cameras have liberated him from his traditional dawnand-dusk shift. He now photographs at night, and in places that would have been difficult to shoot with film.

Men perform whirling dervishes for a ceremony in Turkey, 2013 446 / THE RPS JOURNAL / JUNE 2017 / VOL 157

‘In the past you’d have to stop just after sunset but now you can go almost anywhere any time,’ he says. ‘There’s so much wonderful light at night.

‘They’re exactly the same places I photographed in the day ... a market place or a restaurant or a bar or somebody’s home or a temple or a factory, which before were impossible.

We could always photograph in those situations, but you’d need a tripod to light them.’

While his passion for photography is insatiable, when asked to choose his favourite images he selects three of his classics. The first is the portrait of Sharbat Gula, the Afghan girl he managed to track down 17 years after her photograph was published. They are still in touch, and McCurry has helped Gula and her family over the years. ‘The picture has great meaning to me and if I’m in a position to help I’m going to do that,’ he says. After troubled times, Gula is living again in Afghanistan.

Had McCurry realised how special the picture was when he captured it?

‘Her eyes, the expression – I knew this was an extraordinary look and an extraordinary little girl,’ he says.

The other images he selects are Dust storm, Rajasthan, India, 1983; and Mother and child looking in through a taxi window, Bombay, India, 1993.

If he could step on an aeroplane today, he says, he would return to Tibet or Myanmar in pursuit of Buddhist culture – and armed with his trusted Nikon.

‘I haven’t spent as much time in my own country but I’ll get round to it,’ he says.

‘There are other things I want to do first – it’s not that I’m not interested.’

Visit stevemccurry.com

PREVIOUS PAGE PORTRAIT: BRUNO BARBEY. THIS PAGE: STEVE MCCURRY

Afghan girl, Pakistan, 1984

448 | XXXX | XXXX

WHY I VOLUNTEER FOR THE SOCIETY With National Volunteers’ Week this month, two members explain how helping others across the Society allows them to get the most from their membership

GO FOR IT!

JHY TURLEY ARPS

Designer, editor and publisher of the Documentary Group’s The Decisive Moment contributing. So I contacted the group organiser, Mo Connelly, to see if she would be interested in having someone to help design the publication and make it more readable.

What are your duties?

I started out as the designer of The Decisive Moment and have since taken on the role of editor as well. I’m also on the Documentary Group’s committee.

How do you manage your life around volunteering?

Each issue of The Decisive Moment takes a month to produce and requires 35 hours of my time. I fit this around my job and my family life by using spare time in the evenings and between meetings.

My background in

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An image taken by Jhy Turley ARPS of the Documentary Group

running a design studio helps with juggling the numerous tasks.

How has volunteering benefited you?

Volunteering in the fairly unusual role of editordesigner has helped develop my skills. Being involved in

publishing The Decisive Moment and to hear that people are enjoying the journal gives me great satisfaction. The Society is a charity, so it’s good to know that my contribution is benefiting others.

jhyturley.com

CREDIT SITS IN BOX 4MM DEEP

Why did you start volunteering for the Society?

I joined the Documentary Group two and a half years ago to be part of a peer group that shared my interests, and to get feedback on my work.

Around that time, the group started producing a quarterly online publication, The Decisive Moment.

Being a trained graphic designer working for an advertising agency I was immediately keen on

National Volunteers’ Week is from 1–7 June.

Visit volunteersweek.org

| VOLUNTEERING | 449 ANN MILES FRPS

Deputy organiser for the East Anglia Region and former visual art photography panel member

CREDIT SITS IN BOX 4MM DEEP

Why did you start volunteering for the Society?

When I joined the Society I wanted the challenge of doing the Distinctions. I enjoyed that so much I knew it would be worthwhile helping others take that route.

I achieved an Associate Distinction in nature shortly after joining the Society in 2006, and following that I received my FRPS in visual art (now fine art). Then, I was invited to sit on the visual art panel by the chair, John Chamberlain FRPS.

GIVE IT A TRY

The Society’s volunteer coordinator, Nicola Young, relishes a fresh challenge

What did you focus on?

I gave about a dozen days to being a panel member.

This included attending assessments three times per year and also advisory days, where I was helping people to achieve the standard rather than just assessing their work.

As deputy organiser for the East Anglia Region I give five or six days a year. I also contribute to the Nature Group outings.

‘I enjoy the Distinctions challenge so I knew it would be worthwhile helping others’

How has volunteering benefited you?

It’s a way of life; I’m a natural organiser and I like helping people to improve their photography and be more

adventurous. I love seeing photos, and you’ve got to share the experience – that’s the joy of being an amateur.

Going to Bath for the Distinctions assessments has

been an excellent way to get to know the staff and volunteers involved. I’ve great admiration for all the work they do and I’ve made some good friends.

I am new to the world of photography, as is my role of volunteer coordinator to the Society. So I’ve learned a lot over the past six months, and I’m thoroughly enjoying my role. It involves acting as a main point of contact for volunteers at RPS HQ, providing guidance and support as required, and working to make sure that they are recognised for their contribution. Without the volunteers’ time and commitment the range of activities for members and the Society’s public presence would be significantly diminished.

The Society also benefits from the wide range of skills and experience volunteers bring with them.

There are so many different, flexible roles available, whether you have one hour or 1,000 hours to give. Volunteering is a great way for you to get more out of your membership and can be an opportunity to make a positive difference to the Society. Getting involved is easy – just visit the volunteering page on the Society website or get in touch with me for more information. rps.org/about/ organisation/volunteers NICOLA YOUNG NICOLA!RPS.ORG

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THE SEED OF DOUBT

Even after a string of successes, Chloe Dewe Mathews’ moments of insecurity are part of what drives her creativity, finds Gemma Padley

RPS award winner Chloe Dewe Mathews

FROM BANGER BOYS OF BRITAIN RIGHT

‘I took this at Wimbledon Stadium, a greyhound racing track in south London, which was also home to banger racing – where racers meet to smash up the cars they have been working on all week. It was one of several banger-racing tracks in the southeast of England, which I visited over a couple of years. I love the idea of a car that’s done up just to wreck – this idea of creation and destruction.

I would watch and document the dynamics between people in those racing communities. It was a case of wandering around, chatting to people, and photographing them. I stumbled across these guys. It looks like the man’s scratching an itch on the boy’s back, and he’s enjoying it.’

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FROM IN SEARCH OF FRANKENSTEIN ABOVE

‘Inside the nuclear bunker where I took this shot there was a bucket that had been left behind, church-like pews, and these beautiful colours, which gave quite a painterly image, although it was also a very clinical, man-made environment. I was interested in going to Switzerland because of the whole chocolate-box sense of what the country is.

C

hloe Dewe Mathews never set out to be a photographer. After undergraduate and masters degrees in fine art at the Ruskin School of Fine Art, University of Oxford, she forged a career in the film industry. While Dewe Mathews admits it was brilliant to be part of this milieu, she craved personal creative fulfilment.

‘I wanted to make my own work on a day-to-day basis, and to engage with the “real world” through documentary photography – as a way of expressing myself,’ she says.

Dewe Mathews went on to pursue the conventional route of assisting photographers for a while and gradually started shooting for herself. It was around this time (2008/09) that Dewe Mathews made two formative series with which she began to make her name: Banger Boys of Britain, about the communities that modify cars to race and destroy; and Hasidic Holiday, about

I’d been a couple of times before, and it was always quite hard to penetrate because it’s so perfect on the surface. But to read about Mary Shelley and to get under the skin of the place, to see how the internal landscape relates to the external, more fragile landscape ... I was pleased to find something that really excited me.’

Jewish families that decamp to Aberystwyth each summer.

With no formal photography training, making the work was an intuitive process, she says, and driven by trial and error. ‘I shot those series in my spare time, trying to work out how to tell stories with images … It’s funny when you look back on these things that seem resolved. At the time I was pacing up and down, tearing my hair out, thinking, “what am I doing, I don’t have a clue”.’

Despite appearing cool, calm and collected, the admission of moments of self-doubt makes Dewe Mathews all the more likeable. She is immensely personable, yet her steely resolve and focus are obvious.

Achievements to date include winning the British Journal of Photography’s International Photography Award, two nominations for the Prix Pictet, and being the 2016 recipient of the Society’s Vic Odden Award. Two years ago the Peabody Museum of Archaeology and

Ethnology at Harvard University awarded her a fellowship, which has helped fund the making into a book of Caspian, her series about the oil-rich communities in and around the Caspian Sea. Last year during a residency in Verbier, Switzerland, she created her latest project, In Search of Frankenstein, which is also being made into a book.

In Search of Frankenstein – which features images taken inside the country’s network of nuclear bunkers, alongside expansive landscapes – came about partly through research, and partly by chance, Dewe Mathews explains. Before embarking on the residency she had read about the novelist Mary Shelley and the ‘Year Without a Summer’ of 1816. Shelley had been holidaying in Lake Geneva with companions – fellow writers, including Lord Byron – when extreme global weather conditions, as a result of the eruption of Mount Tambora in Indonesia, forced the holidaymakers to TURN TO PAGE 457

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| BEST SHOTS | 453 FROM CASPIAN RIGHT

‘The series investigates how the oil industry seeps into other parts of life in the region where I was shooting [in and around the Caspian Sea].

These men, wearing makeshift protective masks and sunglasses, are Uzbek migrant workers, pictured building elaborate mausoleums for the new oil-rich.

The graves are beautiful, refined, elaborate and showy, sometimes etched with the symbols of the oil industry. This image shows how even the architecture of cemeteries is changing in response to the new wealth in the area.’

FROM CASPIAN BELOW

‘This is Albina Visilova, pictured at the Naftalan Sanatorium in Azerbaijan where people bathe in crude oil produced in the region because they believe it to be good for health. Marco Polo documented the healing properties of oil in the late 13th century, so it’s a practice that has been going on long before the oil industry.

I was interested in the idea of something we’re used to thinking of [in terms of] global trade and heavy industry, but seeing it instead in relation to health and relaxation. I went back to this place a few times. It’s quite popular, although [the treatment] may be carcinogenic to humans.’

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FROM IN SEARCH OF FRANKENSTEIN

‘I was invited to produce work in response to the glacial environment of Bagnes for a residency in Verbier, Switzerland. I explored areas including the Corbassière and Giétroz glaciers and the Mauvoisin Dam, photographing the fragile natural landscapes and combining these with images of the very robust, constructed environments of Switzerland’s nuclear bunkers.

I studied sculpture at art school, and I’ve always been interested in materials – how we project on to them or read them in different ways. In the same way I’m interested in what and how one might project on to landscape.’

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456 | BEST SHOTS | FROM SHOT AT DAWN LEFT

‘I’m always thinking about the relationship of people to their environment. Shot at Dawn focuses on sites where British, French and Belgian troops were executed for cowardice and desertion between 1914-18.

For the first time I was making work about people who didn’t exist any more; the landscape ended up representing the person’s story. With only a small amount of information about the person – their name, date and time of death – you find yourself projecting stories on to these places.

Their absence can be really powerful, making them almost more prominent in the shot because you’re asking why they’re not there and in what circumstances they became absent.’

FROM SUNDAY SERVICE ABOVE

‘This body of work is about African churches in south London, commissioned by Tate. I made a series of images and a three-screen video installation called Congregation. This is a still from the video, shot inside an ex-bingo hall on Camberwell Road.

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I was interested in how these churches – mostly former industrial spaces – have become religious spaces. The video explores the collective experience – and features wide shots with lots of people, and close-up shots showing intimate moments of reflection.’

| BEST SHOTS | 451

remain inside. It was during this time that Shelley – spurred on by her comrades – wrote Frankenstein.

Intrigued by the novel’s narrative and its creation, Dewe Mathews chose to make a body of work using the literary themes of Shelley’s novel, including the idea that humans are capable of creating something monstrous, to discuss today’s environmental and social issues – for example, the prevalence of the ‘gruesome’ nuclear bomb.

While in Switzerland she learned, through a chance conversation, about the country’s nuclear bunkers and decided to incorporate these in the work. ‘Walking around in so much space, it felt shocking to me that there should be this capacity for the whole population of Switzerland to go underground, but for it to be completely unused,’ she says. ‘It was around the time that the migration crisis was being more and more talked about, [so to learn of these empty bunkers] was quite a sobering experience.’

The desire to get beneath the surfaces of stories is a common thread in Dewe Mathews’ work, as she strives to unearth surprising narratives. ‘When you think you know about something and [get] that refreshing feeling when you realise you don’t know, and things open up again – those sorts of stories ignite something in my head and get me excited,’ she says. ‘[What appeals] is that sense of discovery, having a chance to spend time with people and to learn about the world.’

FROM HASIDIC HOLIDAY ABOVE

‘Years ago I would visit Aberystwyth in Wales every couple of weekends to see my boyfriend who was living there. One day I was chatting to someone on the seafront who asked me, “Do you know when the Jews are coming?”

I remember thinking, “what a question”, but then the person told me about the community of Hasidic Jews that holiday in Aberystwyth every summer.

I decided to document these gatherings during two summers. As far as I could see these were families having fun and enjoying a holiday, which was what I wanted to show – families on holiday, and the way the visual landscape of the promenade transforms [during that period].’

FROM THE SERIES THAMES LOG BELOW

‘I’ve been working on a long-term project about the River Thames and people’s relationship with it. In a way this work was a reaction to Caspian, which although made far away from London also relates to water and natural resources.

Returning to London,I started to think about how I could use the Thames to find stories. As I wandered up and down the river I came across lots of things going on. I took this image during an annual ceremony in which members of the Church of England do a procession to mark the Epiphany when Jesus was baptised in the River Jordan. A wooden cross is thrown into the river to symbolise the blessing of the water.’

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459

GEAR SPY News of upcoming kit releases 460

MEMBER TEST Lomography Petzval Art Lens 461

MASTER CLASS Seeing landscapes differently 462

MUST TRY

JUNE 2017 TECHNOLOGY, TECHNIQUES AND SKILLS

Sony a9

S

A new high-spec full-frame Sony camera arrives, aimed squarely at the professional photographer. Gavin Stoker asks if it can justify the £4.5k outlay

ony’s full-frame a7 series of interchangeable-lens cameras has long been revered by pros looking for a portable package that punches above its weight in terms of image quality and usability. Now the 24.2 effectivemegapixel a9 arrives, aimed at the same market.

The camera incorporates a new full-frame stacked CMOS chip. This innovation adds integral memory, sandwiched

within the sensor itself, to enable much faster processing.

Swiftness of operation can also be accredited to a 693point phase-detection AF with 93 per cent coverage, alongside a maximum 1/32,000sec shutter speed.

Features including an ethernet port for file transfer, dual SD card slots, 4K video capture, ‘4D’ focus (being able to track the action) plus five-axis in-body image stabilisation

Price: £4,500 body only Sensor: 24.2 megapixel full-frame (35.6x23.8mm) stacked CMOS sensor Lens: Optional, via Sony E mount Display: 3-inch, 1.44 million dots Weight/size: 673g body only, 126.9x95.6x63mm More: sony.co.uk Summary: Expensive yet innovative, wildlife and sports photographers will get the biggest kick out of Sony’s ultra-swift yet silent behemoth

ensure this is a camera capable of being pushed to the limit. It’s also worth noting that there is no shutter sound during 20fps mode, affording image capture hitherto unavailable.

A bunch of accessories launched alongside it – such as a vertical grip, grip extension, eyepiece cup, battery charger, shatterproof glass screen protector and multi-battery adapter kit – suggest Sony is in this for the long haul.

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460 | THE CRAFT | 1

LATEST KIT

3

2

Fuji G Mount lenses From £2,399 for the GF 23mm f/4 R LM WR

Nikon D7500 £1,299.99 body only

The medium telephoto Fujinon GF 110mm f/2 R LM WR and the ultra-wide GF 23mm f/4 R LM WR are designed to deliver the best from the GFX 50S medium format’s ultra-high 50MP resolution.

With the former offering a bright/fast f/2 aperture, there is the possibility of attractive shallow depth-of-field effects, while the focal range is the equivalent of an 87mm optic in 35mm film terms.

The 23mm prime, meanwhile, boasts a focal length equivalent to 18mm in 35mm terms.

Distortion is kept to a minimum, with detail resolved right into the edges of the frame to produce the almost ‘too sharp’ images the GFX is known for.

The D7500’s appeal is an image quality claimed to be the same as Nikon’s flagship APS-C DSLR, the acclaimed D500. Like that model it offers 20.9 megapixels and an ISO range impressively extending up to an equivalent ISO 1,640,000.

We also get a maximum shooting speed of a very respectable 8fps. Ergonomic improvements come in the shape of a 3.2-inch tilting touchscreen monitor, plus a deep grip for added stability.

In a nutshell, the D7500 will be well worth checking out by amateur photographers who are looking to up their game in terms of picture quality, but perhaps don’t need as many of the professional features that the D500 offers.

Two new lenses compatible with Fuji’s medium-format GFX 50S fujifilm.co.uk 1

460 / THE RPS JOURNAL / JUNE 2017 / VOL 157

GEAR SPY

New APS-C sensor-incorporating, enthusiast-targeted DSLR nikon.co.uk 2

Rotolight AEOS From £899.98 for the single light kit

Portable LED and flash combined with ultra-thin construction rotolight.com l Two new lenses have been announced for Fuji’s mirrorless medium-format GFX system, arriving in 2018. These will be a telephoto prime lens plus a tele converter. l Nikon celebrates its centenary this year and has 100th-anniversary editions of key products on the way.

A special version of the Nikkor 70-200E lens is promised, as is a kit comprising three lenses – the wide-angle AF-S Nikkor 14-24mm f/2.8G ED, the standard AF-S Nikkor 24-70mm f/2.8E ED VR, and the telephoto AF-S Nikkor 70-200mm f/2.8E FL ED VR.

Weighing 1.5Kg and 1cm ‘thick’, the AEOS is one of the most portable lights on the market. It’s powerful too, with a light output of 5,750 lux at three feet. Coupled with this, it’s energy efficient: able to run for three hours at 100 per cent power on a single 95W battery.

Breaking from tradition for LEDs the AEOS does not feature a conventional yoke, as this typically limits movement of the light to just 30 to 40 degrees of tilt, reducing control over light spill. Instead, Rotolight’s AEOS includes a professional-level ball head made from high-quality aluminium, thus providing complete 360-degree rotation and 200 degrees of tilt if mounted on a light stand.

3

4

Lomography’s lens is a piece of art in itself

5

MEMBER TEST

Lomography 58mm f1.9 Petzval Art Lens A contemporary take on a historical design

T Panasonic Leica DG Canon PowerShot Vario-Elmarit 8-18mm SX730 HS f/2.8-4.0 ASPH £1,049 £379.99

Premium wide zoom lens produced in association with Leica panasonic.co.uk

A small camera offering a big zoom reach canon.co.uk

Mirrorless Four Thirds system owners get a new wide zoom lens in the Leica DG Vario-Elmarit 8-18mm f/2.8-4.0 ASPH, which offers the 35mm equivalent of 16-36mm, making it useful for landscapes and street photography. Presented in metallic black, the added pitch is that this is a useful daily lens for photographers, and naturally for videographers too, given the Lumix range’s 4K capabilities. SRP is a hefty £1,049 – so we’re paying extra for that Leica branding.

Panasonic also promises that its lens line-up will soon expand with an additional 50-200mm telephoto zoom (100-400mm equivalent, when attached to one of its cameras), with price and release date yet to be set.

Whether you term it a ‘super zoom’ or travel camera, the PowerShot SX730 HS takes the jack-of-all-trades approach, wedding a 40x optical zoom to a 20.3-megapixel CMOS sensor. At 39.9mm ‘thick’ and weighing 300g, it is conveniently pocket or bagsized yet respectable in terms of specification for its class, with continuous shooting up to 5.9fps, 0.12-second AF response, full HD video at up to 60fps deploying five-axis image stabilisation, a tilting 7.5cm LCD screen that can be flipped to face the subject, plus Bluetooth connectivity.

And the fact that the lens starts out at a wide-angle 24mm means it’s ideal for cramming in those landscape shots.

4

5

his lens is based on an 1840 design of Joseph Petzval, whose lenses were extremely popular in the 19th century.

The focal lens is ideal for portrait, landscape and street photography and comes in a variety of mounts, including Canon EF and Nikon F. I used the lens at Dartmoor National Park because I wanted to create atmospheric images of church ruins, animals in the wild and portraits of local people.

What I love about this lens is that I can achieve the effect of old photographs while using a modern camera.

The lens allows you to capture a sharp centre, swirly bokeh, soft edges and heavy vignette.

The lens is completely manual and using the focusing knob requires a bit of practice, but it’s easy to get used to.

The bokeh control ring allows you to set the amount of swirl from the minimum setting

Church ruins in Dartmoor

of 1, which produces effects similar to a normal lens, to the maximum level 7, which makes the background look quite extraordinary.

Lomography’s lens uses different-size aperture blades so changing them can be a hassle, and they fall out easily. As such, I had to pay close attention while shooting in portrait orientation as the plate faces down.

Overall, this is a singular art lens that is perfect for those photographers looking to create something a little different.

AUTHOR PROFILE CHELIN MILLER ARPS A documentary photographer based in south-east England, Miller is chairman of the Society’s Archaeology and Heritage Group

VOL 157 / JUNE 2017 / THE RPS JOURNAL / 461

462 | THE CRAFT |

How to see landscapes differently

MASTER CLASS

ADD ARTIFICIAL LIGHT $NICK LOCKETT%

At night, subject matter and location are important as you have to use artificial light, so the elements of the picture can't be too far from the light source. Camera on tripod and

shutter open, the photographer fired scores of flashes for an atmospheric image of this ancient burial site, making sure, of course, his flashlights were not in shot.

Paul Hill and colleagues challenge the traditional approach taken by photographers

W

hen I wrote Approaching Photography (1982/2004) I wanted to decompartmentalise the easy genres photographers adhered to when describing their work. With ‘landscape’ I suggested the subject matter was the starting point. It is the ‘approach’ that is important. Why are you here?

What interests you? Is it the place, or a special photographic style, that you are trying to reflect? In other words, will the photographs ‘say’ anything beyond representing the surface reality of what is in front of the camera?

Nick Lockett, Maria Falconer, Martin Shakeshaft and myself aim to offer different perspectives on areas in Derbyshire and the Peak District. It is not a remote wilderness but to degrees affected by man – a living ‘beautiful’ landscape we want those on our workshops to investigate as well as celebrate.

462 / THE RPS JOURNAL / JUNE 2017 / VOL 157

GO BLACK AND WHITE $PAUL HILL%

Photography is a mark-making medium, which becomes more evident when you make blackand-white photographs. The light grey walls of the White Peak in Derbyshire dynamically traverse the countryside. The dewpond reflects light, which

makes its elliptical shape more noticeable, and the well-worn paths of sheep emphasise that this is a worked landscape.

The gap in the wall shadows lead to the grazing horse, a fortunate visual balance to the dewpond.

| THE CRAFT | 463

EXPERIMENT WITH SNOW $MARIA FALCONER%

We all get excited by snow.

Here, the photographer has lain in the snow, leaving an impression, which has been photographed from above, creating a trompe l’oeil: an

animated figure appears to be ‘dancing’. Why not experiment with the genre?

It can be fun, and often produce eye-catching and unexpected results.

DON'T CONFORM TO BEAUTY STANDARDS $MARIA FALCONER%

The life and death of nature can be reflected obliquely by something suggested rather than directly recorded – here, the removed carcass of a dead sheep. Photographers will come across dead animals if they

visit the countryside often, but rarely think this is suitable subject matter because it does not conform to traditional ideas of the picturesque. ‘Beauty’ lies in the photograph, not in what has happened.

USE YOURSELF $PAUL HILL%

As well as anchoring us to a specific place, landscape photography can enable us to explore, observe, and re-present both the external world and our internal

reactions to it. Forget the familiar photographic formulae, and respond to being in the landscape by, for example, using your own presence there.

FIND THE RIGHT VANTAGE POINT $PAUL HILL%

Light, vantage point and frame are the three most important things in photography. This is a good example of all of those elements coming together with the field of view being put on to the same two-dimensional

plane by eliminating the horizon. But you have to choose a good vantage point.

The diagonal of the snaking stone wall is bisected by the ‘virtual’ horizon of the shadows of the trees behind the camera.

VOL 157 / JUNE 2017 / THE RPS JOURNAL / 463

464 | THE CRAFT |

CAPTURE A FLEETING MOMENT $PAUL HILL%

You don’t have to go to remote or exotic places, national parks or mountain ranges to make landscape photographs. The land is the stuff under your feet, and is everywhere.

Consider looking for the unusual and odd instead of

trying to find a conventional ‘view’. This transient oil stain on a lane with its anthropomorphic shape has not been photographed before, and will disappear by tomorrow – but it's still rural, and no one will get that picture but you.

DON'T SHY AWAY FROM PEOPLE $NICK LOCKETT%

Landscape photography is not about ‘the thirds’, the conjunction of the horizon with the azure sky, or sunsets or grand vistas. People live and work in the landscape,

and help shape it via farming, forestry, and other activities. So their stories, as in this case, could be the focus for a landscape photography project.

TELL A STORY $MARTIN SHAKESHAFT%

This may be ‘a view’ in the traditional sense, but the devil lies in the detail. This valley had at its centre a highly productive coal mine until the 1980s. After its closure the landscape was reclaimed, and nature returned, except for the

REACH FOR THE SKY $MARTIN SHAKESHAFT%

Drones have had an immense impact, and photographers of the landscape have been quick to seize on the exciting visual possibilities of the bird’s eye view. Drones come with

ABOUT THE AUTHORS PAUL HILL Hill is a visiting professor of photography at De Montfort University and the University of Derby.

In 1994 he was awarded an MBE for services to photography, and the RPS Education award in 2016. hillonphotography.co.uk

NICK LOCKETT Lockett lectures in video, photography and digital imaging at De Montfort University, and works as a freelance editorial photographer. He was head of pictures for Carlton Television for 20 years. www.nick-lockett.com

464 / THE RPS JOURNAL / JUNE 2017 / VOL 157

concrete caps on colliery shafts that now seem like oversized gravestones.

An eerie memorial, and another example of how politics, and commerce, as well as nature, can dramatically change the landscape.

MARIA FALCONER A Society Fellow, Falconer is a visiting lecturer at De Montfort University who has exhibited nationally and internationally, including at numerous festivals, both in the UK and further afield. mariafalconer.co.uk

MARTIN SHAKESHAFT Shakeshaft teaches photography and visual journalism at De Montfort University. His clients have included BBC, Channel 4, Dispatches, S4C, The Independent and Newsweek magazine. martinshakeshaft.com

safety, technological and access issues, but in the right hands a different perspective can result that is aesthetically satisfying rather than gimmicky.

LEARN MORE Sign up for 'Different landscapes and rural life' (Saturday 17 June, near Buxton) or the 'Peak landscape challenge photography workshop' (Saturday 22 July, Ashbourne) to learn more from Hill, Falconer and Lockett. For more information see page 468.

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SO YOU WANT TO GAIN A ROYAL PHOTOGRAPHIC SOCIETY ASSOCIATE IN TRAVEL PHOTOGRAPHY? l Find out how the Society defines travel photography for its Distinctions l Discover what the most common faults are in submissions l Learn how to prepare your submission l Read interviews with successful applicants and see their portfolios

THE RPS DISTINC TION GUIDE / TRAVEL

Start with the Travel Distinction Guide, packed with practical tips from the experts

Travel EVERYTHING YOU

NEED TO KNOW

ABOUT GAINING

YOUR ASSOCIATE

IN TRAVEL PHO TOGRAPHY

The Travel Distinction Guide is £10 plus postage and packing.

Go to rps.org/shop

DISTIN

LEARNING CURVE What’s on offer at Society workshops 468

GOVERNANCE INSIGHTS The latest advisory board report 474

| GUIDE | 467

FENTON HOUSE EXHIBITION Jimmy Cheng LRPS’s showcase 476

GUIDE MEMBER JUN!JUL!AUG

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

Welcome to Yorkshire Explore the region through this exhibition of selected images

A

t the beginning of 2017 Yorkshirebased photographers were invited to submit images to a new competition, Showcasing Yorkshire. These images had to capture the beauty of the region, with the best shots going on to feature in a print exhibition and on The Royal Photographic Society and Welcome to Yorkshire websites. The final selection will be displayed at a number of venues, beginning at the Creative and Cultural Art Space2 in Hull as part of its City of Culture celebrations.

Prizes include gold, silver and bronze medals, certificates, Fotospeed print paper and access to a Society regional event.

The official opening of the exhibition and the presentation of awards takes place at the gallery on Friday 28 July at 6:30pm, and will be attended by representatives from the RPS, along with supporters from Welcome to Yorkshire, Fotospeed and Creative and Cultural Art Space2.

The Showcasing Yorkshire exhibition runs in Hull from 28 July to 26 August.

Top: York Station by Leeds student Zi Ye Above: Lone Tree by Susan Leonard LRPS VOL 157 / JUNE 2017 / THE RPS JOURNAL / 467

468 | GUIDE |

REGIONS

Cyanotype process workshop

`` Moira Ellice, moira.

ellice2011@btinternet.com

Sunday 11 June / 10:00-16:00

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

Meet photographers and view work in your area

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

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

EAST ANGLIA

Central Region photoforum: LRPS and ARPS (fine art)

IAN WILSON ARPS, 07767 473594 IAN(GREENMEN.ORG.UK

Regional exhibition

Sunday 11 June / 10:00-16:00

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

Until Sunday 4 June / 10:00-16:00

`` Monday to Saturday 10am to

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

5pm, Sunday 10am to 4pm

`` Apex Art Gallery, Charter Square, Bury St Edmunds IP33 3FD

WORKSHOPS

Alison Baskerville – joint EA meeting with the Digital Imaging Group

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

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

Visit to West Stow Anglo-Saxon village

Sunday 25 June / 10:00-17:00

Friday 14 July / 10:00-16:30

`` £99/£75 Society members

`` Nottingham

Art figure painting with light

`` Lacock

Introduction to Lightroom

Saturday 3 June / 10:00-17:00

members

`` £115/£90 Society

`` Buckinghamshire

`` Surrey

Different landscapes and rural life

members

Video editing (beginner to advanced) Friday 9 June / 10:00-16:30

`` £55/£41 Society members

`` Buckinghamshire

Saturday 17 June / 9:30-18:00

`` £120/£95 Society members `` Buxton

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

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 members `` Surrey

`` £85/£63 Society

Sat 10 – Sun 11 June / 10:00-17:00

`` £165/£140 Society members

`` Fully booked `` Lacock Developing personal projects and storytelling with Ben Cherry members `` Buckinghamshire

Creative techniques in Photoshop

members

`` Bath HQ Pinhole photography Saturday 1 July / 10:00-16:30

`` £76/£56 Society

Introduction to Photoshop

Monday 19 June / 10:00-17:00

Sunday 2 July / 10:00-17:00

`` £155/£130 Society

`` £95/£71 Society

`` Colerne, near Bath

`` Bath HQ

Portraiture photography and getting the most from your subject

Bring your own inkjet printer workshop

members

`` £115/£90 Society members

`` Buckinghamshire Historical architecture photography – Holme Pierrepont Hall Thursday 22 June / 10:00-16:30

`` £99/£75 Society members

`` Nottingham

members

Sat 8 – Sun 9 July / 10:00-16:30

`` £165/£140 Society members `` Bath HQ

Child portrait photography Sunday 9 July / 10:00-17:00

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

Saturday 24 June / 10:00-17:00

`` £120/£95 Society members `` Lacock

468 / THE RPS JOURNAL / JUNE 2017 / VOL 157

members

`` Chester

Practical wildlife photography

part of the Norfolk coast

`` Happisburgh community

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

Creative Group members’ day

A beginner’s guide to product photography `` £115/£90 Society members `` Amersham

How to shoot modern architecture

`` £5 `` Members are invited to bring

recent successful Distinction panels or their work in progress towards a Distinction `` Whittlesford Memorial Hall, Mill Lane, Whittlesford, Cambridgeshire CB22 4NE `` David Ryland, david_1@btinternet.com EAST MIDLANDS STEWART WALL ARPS, 07955 124000 STEWART(STEWARTWALL.COM

Saturday 15 July / 10:30-16:30

`` £120/£95 Society

EIRE

members `` At the Westcountry Wildlife Photography Centre with tutor Nigel Hicks `` Devon

MICHAEL O’SULLIVAN

Introduction to mindfulness, meditation and how this links to photography

Want to do your ‘A’ but not sure where to start?

Thursday 20 July / 10:00-16:30

`` £95/£71 Society

INFO(MOSULLIVANPHOTO.COM LONDON JUDY HICKS AND NEIL CORDELL LONDONEVENTS(RPS.ORG

Saturday 3 June / 9:00-12:00

`` £5 `` Fully booked `` Ideas Store, 321 Whitechapel Road, London E14 7JE

members `` Buckinghamshire

`` London Distinctions,

Learn to film with your DSLR

Street walk

Friday 21 July / 10:00-16:30

`` £120/£95 Society members

`` Buckinghamshire Peak landscape challenge photography workshop Saturday 22 July / 9:30-18:00

Thursday 13 July / 10:00-16:30

Art-nude photography

Saturday 15 July / 10:00-16:30

`` £95/£71 Society

Sunday 25 June / 10:30-16:30

`` £55/£41 Society

Product photography

Thursday 15 June / 10:00-17:00

`` £120/£95 Society

Photographing landscape whatever the weather, with Tony Worobiec FRPS

members

Thursday 22 June / 9:30-17:00

Two-day wedding workshop

members

members `` Bath HQ

`` Bath HQ

Saturday 24 June / 10:30-15:00

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

Sunday 25 June / 10:15-16:45

How to photograph children and babies `` £120/£95 Society

`` £115/£90 Society

Norfolk coast weekend

Saturday 17 June / 10:30-16:00

`` Visit the Anglo-Saxon village

Hear from the experts and hone your skills Friday 16 June / 10:00-16:30

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

`` £120/£95 Society members

`` Ashbourne Studio portraiture Sat 22 – Sun 23 July /10:00-17:00

`` £165/£140 Society members `` Lacock

londondist@rps.org

Saturday 10 June / 9:45-14:00

`` To be confirmed `` London Cave,

londoncave@rps.org

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

`` The Prince of Wales, 138

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

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

`` The Crusting Pipe, 27

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

| GUIDE | 469 Peter Dazeley BEM FRPS: an illustrated talk on Unseen London

Terrace, Kibblesworth, Gateshead NE11 0XN `` Gordon Bates, docne@rps.org

Thursday 22 June / 19:30-21:30

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

NORTHERN IRELAND RICHARD CORBETT, 07805 381429

London W1H 2EA

RICHARD(RICHARDCORBETTPHOTOGRAPHY.COM

A Sunday morning walk with the London Naturally Group

JAMES FROST FRPS, 01578 730466/07881 856294

`` Judy Hicks, londonro2@rps.org

SCOTLAND JAMES.FROST11(BTINTERNET.COM

Scotland Region members’ print exhibition 2017/18 – Penicuik

Sunday 25 June / 10:30-13:00

`` To be confirmed `` London Naturally,

london_naturally@rps.org

Regular meeting of the SE London Group Tuesday 27 June / 19:00-21:00

`` £5/£3 Society members `` Greenwich Gallery, Peyton Place, London SE10 8RS `` London Cave, londoncave@rps.org

Street walk Saturday 8 July / 9:45-14:00

`` London BA2 3AH `` London Cave,

londoncave@rps.org

Regular meeting of the SW London Group Tuesday 11 July / 19:00-21:00

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

Thurs 1 – Sun 25 June / 10:30-16:00

`` Penicuik Community Arts Naturally Group Sunday 30 July / 10:30-13:00

`` TBC `` london_naturally@rps.org Brighton Pride community parade Saturday 5 August / 9:00-14:00

`` RPS London and SE Region are joining together for a morning in Brighton to celebrate the 2017 Brighton Pride community parade `` Brighton Station/Hove Gardens, Queens Road, Brighton BN1 3XP `` Judy Hicks, Paul Connor, 07768 923620, londonro2@rps.org

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

Advisory day – LRPS and ARPS (all five categories) Thursday 13 July / 10:30-16:00

`` £25/£20 Society

members/£15 spectators

`` The Nikon Centre for

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

The Bookworm Club special: book launch of Route 66 Thursday 13 July / 18:00-20:00

`` Launch of Route 66 – Open

Road for Promiseland by Carol Ballenger FRPS and poet John Powls `` The Photographers’ Gallery, 16-18 Ramillies Street, Covent Garden, London W1F 7LW `` London Bookworms, LondonBookworms@rps.org

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

`` The Crusting Pipe, 27

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

A Sunday morning walk with the London

`` The Prince of Wales, 138

Upper Richmond Road, Putney, SW15 2SP `` London Web, Londonweb@rps.org NORTH WALES MARTIN BROWN LRPS, 01691 773316 NORTHWALES(RPS.ORG

Visit to Penmaenmawr Quarry

Saturday 25 November /14:00-16:00

`` The Catrin Finch Centre,

Glyndwr University, Mold Road, Wrexham LL11 2AW `` Martin Brown LRPS, as above NORTH WEST BRIAN SMETHURST, 01942 719766

of North Wales’ last remaining working quarries `` Penmaenmawr Quarry, Bangor Road, Penmaenmawr, Conwy LL34 5NA `` Martin Brown LRPS, as above

‘How to cheat in Photoshop’ with Steve Caplin

Monday 5 June / 19:30-22:00

`` Regular Contemporary

Photo forum Larkhall

M6 services, junction 27-28 M6 northbound, Mill Lane, Chorley, Lancashire PR7 5LR `` Alan Cameron, 07825 271344, alan.cameron@me.com

`` £10/£8 Society members `` Blackwood and Kirkmuirhill

‘Photographing characters’

Scottish Region members’ print exhibition 2017/18 – Falkirk

Community Wing, Lanark ML11 9SB `` James Frost FRPS, as above

`` £10 `` Three studios with models,

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

RPS North West Region members’ day 2017 Sunday 16 July / 11:00-16:00

`` Hough End Centre, Mauldeth Road West, Manchester M21 7SX `` Brian Smethurst, as above NORTHERN CAROL PALMER ARPS, CAROLMPALMER(BTINTERNET.COM

`` We will focus on our next

Gwynedd LL55 4UR

Saturday 1 July / 10:30-16:00

Sunday 11 June / 11:00-13:30

`` Electric Mountain, Llanberis,

`` Martin Brown LRPS, as above `` An afternoon in the company of Joe Cornish HonFRPS

£5 single ticket

North West meeting

`` Days Inn Charnock Richard

`` £10, RPS member £12, nonRPS member £16, student £5

Sunday 11 June / 13:30-16:15

`` £15 group season ticket/ Church, 12 Keir Street, Bridge of Allan FK9 4NW `` Dave Hunt, digscotland@rps.org

Contemporary North West meeting

Meeting of North East Documentary Group

Saturday 16 September / 10:30-16:00

DIG Scotland Centre – June 2017 meeting

`` Bridge of Allan Parish

BSMETHURST(HOTMAIL.CO.UK

Thursday 1 June / 19:00-21:30

`` £10 `` A rare opportunity to visit one

London Region and South East Region are coming together to celebrate the Brighton Pride community parade

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

Thursday 1 June / 10:30-15:00

project, Cafe Culture. Please bring along up to 12 images. If we have time we can look at other images taken by members `` Kibblesworth Village Millennium Centre, Grange

Thu 3 – Thu 24 August /10:00-17:00

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

`` Bob Black,

blackbr@btinternet.com

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

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

`` £10/£8 Society members `` An informal day to meet

members and receive constructive feedback on work `` Aberdeen Arts Centre, 33 King St, Aberdeen AB24 5AA `` James Frost FRPS, as above SOUTH EAST REGIONAL COMMITTEE SOUTHEAST(RPS.ORG

Hastings Old Town photowalk Sunday 11 June / 10:30-16:00

`` Friendly photowalk `` Rock a Nore car park, Hastings TN34 3DW

`` Bruce Broughton, 07482

275811, bruce-broughton@ hotmail.co.uk

South East Group meeting Sunday 25 June / 10:00-13:00

VOL 157 / JUNE 2017 / THE RPS JOURNAL / 469

470 | GUIDE | `` A discussion about street

photography, followed by a review of members’ work `` Tangmere Village Hall, Malcolm Road, Tangmere PO20 2HS `` Janey Devine, docse@rps.org SOUTH WALES MIKE LEWIS, 07855 309667, 01446 710770 MIKEGLEWIS101(BTINTERNET.COM SOUTH WEST MICK MEDLEY, 01626 824865/07980 073808 RPSSWREGION(GMAIL.COM

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

`` A day photographing around Golitha Falls and The Minions `` Golitha Falls, St Cleer, Liskeard PL14 6RX `` Martin and Viv Howse, 01326 221939, mghvkh@btinternet.com

through a telescope

`` Lilian’s Observatory, 36

Linden Grove, Chandler’s Ford, Eastleigh SO53 1LD `` Lilian Hobbs, 07785 264684, me@lilianhobbs.com

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

`` £15/£5 Society members `` See Lee filters being made `` Lee Filters, Central Way,

Members’ monthly meeting Sunday 4 June / 10:00-12:30

`` £2 `` Pre-planned show and tell.

Please contact David Norfolk if you want a 20-minute slot (up to six available) `` Fenton House, 122 Wells Road, Bath BA2 3AH `` David Norfolk ARPS, as above

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

Distinctions – images for screen advisory day.

LRPS and ARPS all categories

Advisory day – LRPS, ARPS and FRPS (all five categories)

`` The Royal Photographic

Wednesday 14 June / 10:30-16:00

Sunday 25 June / 10:00-16:00

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

Society, Fenton House, 122 Wells Road, Bath BA2 3AH `` Distinctions, 01225 325733, distinctions@rps.org

Summer outing – Swindon Steam Museum

Les Beauamps, Castel, Guernsey GY5 7PE `` Eric Ferbrache, rpsciorganiser@gmx.com

`` Details will be circulated

`` A geology field trip along part

Imaging the sun

`` Fenton House, 122 Wells

`` St George’s Parish Church,

`` £15/£10 Society members `` Safely photograph the sun

Field trip Torbay area

Barn Road, Goodrington, Paignton TQ4 6NG `` Rod Fry ARPS, 01803 844721, rod@rodfry.eclipse.co.uk

SW Visual Art Group members’ day Sunday 16 July / 10:30-16:00

`` £8/£5/£3 group members `` The Dolphin Hotel, Station

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

West Cornwall Group meeting Wednesday 19 July / 18:45-21:00

`` Bi-monthly meeting of the West Cornwall Group

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

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

`` Participants meet at a fixed

point and drive to each location behind Eric Houlder, our guide and organiser for the day `` Towton, opposite The Crooked Billet, Wakefield Road, Saxton, North Yorkshire LS24 9QN `` Eric Houlder, erichoulder@gmail.com

Showcasing Yorkshire print exhibition Fri 28 July – Sat 26 August /18:30-17:00

`` Yorkshire images and

photographers on display

`` Creative and Cultural Art

shortly (prebooking needed) Road, Bath BA2 3AH

Self-help group

through a telescope

Distinctions advisory day

`` £7/£3 Society members `` Creative and Cultural Art

Linden Grove, Chandler’s Ford, Eastleigh SO53 1LD `` Lilian Hobbs, 07785 264684, me@lilianhobbs.com

`` Fenton House, 122 Wells

Friday 7 July / 11:00-14:00

`` Lilian’s Observatory, 36

THAMES VALLEY MARK BUCKLEY,SHARP ARPS, 020 8907 5874 MARK.BUCKLEY,SHARP(TISCALI.CO.UK

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

Sunday 9 July / 10:00-16:30

`` David Norfolk ARPS, as above

Saturday 29 July / 13:30-15:00

Space 2, Main Deck, Princes Quay, Hull HU1 2PQ `` Robert Helliwell, 01904 500231, bobhelliwell@clara.co.uk

Sunday 23 July

Road, Bath BA2 3AH

`` Michelle Whitmore, michelle@ michellewhitmore.co.uk

SPECIAL INTEREST GROUPS

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

`` An informal day out with

a family picnic `` Fenton House, 122 Wells Road, Bath BA2 3AH `` David Norfolk ARPS, as above

Sunday 25 June / 10:00-16:00

`` 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

SOUTHERN

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

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

Space 2, Main Deck, Princes Quay, Hull HU1 2PQ `` Mary Crowther ARPS, as above

Saturday 8 July / 11:00-16:00

of Torbay

Your events

WESTERN(RPS.ORG

PAUL COX ARPS, 07748 115057 SOUTHERN(RPS.ORG

Imaging the moon

YORKSHIRE MARY CROWTHER ARPS, 07921 237962

Explore more aspects of photography and digital imaging

PHOTOBOX50(GMAIL.COM FACEBOOK: BIT.LY/RPSYORKSHIRE

Advisory day – LRPS and ARPS (natural history) Saturday 17 June / 10:30-16:30

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

ANALOGUE RICHARD BRADFORD ARPS ANALOGUE(RPS.ORG

Join the South West Region in Torbay for a geology field trip

ARCHAEOLOGY AND HERITAGE RODNEY BERNARD THRING LRPS, 01276 20725 RODNEY.THRING(NTLWORLD.COM

Visit to West Stow Anglo-Saxon village

Thursday 1 June / 19:30-22:00

Saturday 17 June / 10:30-16:00

`` £15/£10 Society members `` Fully booked `` Use a large telescope and

`` Visit the Anglo-Saxon village

take photographs of the moon

`` Lilian’s Observatory, 36

Linden Grove, Chandler’s Ford, Eastleigh SO53 1LD `` Lilian Hobbs, 07785 264684, me@lilianhobbs.com

Imaging the sun Saturday 17 June / 11:00-14:00

`` £20/£15 Society members `` Safely photograph the sun 470 / THE RPS JOURNAL / JUNE 2017 / VOL 157

at West Stow with the group

`` West Stow Anglo-Saxon

village, Icklingham Road, Bury St Edmunds, Suffolk IP28 6HG `` Mike Sasse, 01892 531179, mike.sasse@btinternet.com

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

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

Billet, Wakefield Road, Saxton,

| GUIDE | 471 North Yorkshire LS24 9QN

`` Eric Houlder,

erichoulder@gmail.com AUDIO VISUAL HOWARD BAGSHAW ARPS, 01889 881503 HOWARD.BAGSHAW(NTLWORLD.COM CONTEMPORARY PETER ELLIS LRPS, 07770 837977 WORDSNPICSLTD(GMAIL.COM

Contemporary North West meeting Monday 5 June / 19:30-22:00

`` Regular Contemporary North West meeting

`` Days Inn Charnock Richard

M6 services, junction 27-28 M6 northbound, Mill Lane, Chorley, Lancashire PR7 5LR `` Alan Cameron, 07825 271344, alan.cameron@me.com

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

`` £20/£15/£10 spectators `` Attending this advisory day will give you the opportunity to discuss your images with current panel members `` Castel Douzaine Room, Les Beauamps, Castel, Guernsey GY5 7PE `` Eric Ferbrache, rpsciorganiser@gmx.com CREATIVE MIKE COWLING ARPS CREATIVE.CHAIR(RPS.ORG

Creative Group members’ day Sunday 25 June / 10:15-16:45

`` £5 `` Members are invited to bring

either recent successful Distinction panels or their work in progress towards a Distinction. Members will also be very welcome to demonstrate techniques or ideas they wish to share with others `` Whittlesford Memorial Hall, Mill Lane, Whittlesford, Cambridgeshire CB22 4NE `` David Ryland, 01953 853040, creative.eventorganiser@rps.org DIGITAL IMAGING JANET HAINES DIGCHAIR(RPS.ORG

Alison Baskerville – joint EA meeting with the Digital Imaging Group 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@gmailcom

REPORT OF THE COUNCIL MEETING, APRIL 2017 FINANCE `` The treasurer had circulated draft year-end accounts which were subject to audit and Q4 management accounts prior to the meeting. Walter Benzie summarised them.

They showed an increase in operational income compared to 2015 and an overall operating surplus of £49,815. Income from the Journal reflected a decline in advertising yield. `` The reserves held by the groups and regions were considered too high and should be being used for the benefit of members.

Council asked the treasurer to draft a reserves policy for consideration at its June meeting which would be consulted upon with the groups and regions. `` A copy of the quarterly investment report was asked to be made available to all trustees.

RISK REGISTER `` The issue of overseas chapters and what risk they presented to the Society was discussed.

Richard Tucker provided an overview of the relationship between overseas members and chapters with the Society. The Society maintained no legal, financial or administrative connection with the chapters and the Society provided no direct support to chapters. Overseas members had the same rights as UK members.

There was a concern that the chapters represented a potential financial or reputational risk to the Society. `` Although the view was that any risk to the Society was low, council needed to consider mitigating it. One model might be to require chapters to structure themselves according to local laws with some form of limited liability. It was suggested that chapters should be reviewed annually and be asked to provide an annual report to the Society. MP005 needed to be revised, based on legal advice on their status and

the risk that the chapters represented. `` The trustees reviewed the Society’s risk register and particular consideration was given to data protection. The chief executive reported that work was already in hand to ensure the Society would be compliant with the general data-protection regulations (GDPR) in advance of 18 May 2018. There was likely to be some impact on what membership data could be made available to groups and regions.

Del Barrett agreed to revise the register document.

ADVISORY BOARD/ BY(LAWS AND RULE CHANGES `` A memo from Ian Wilson was discussed and the points within it noted, particularly the need to define whether Society committees acted in an advisory or executive role.

Council agreed that only it had executive responsibility and all other committees were advisory. `` An extended discussion took place around proposed changes to the by-laws and rules and the role of the proposed representatives committee. A number of points were agreed, based on the governance review, that would be incorporated into the changes and a final draft would be put out for a short consultation before being published with the July Journal. `` Council agreed to investigate moving the 2018 AGM to June and to hold it in conjunction with a broader event for members potentially based around workshops, lectures or other activities. Del Barrett offered to scope potential venues and a programme.

STRATEGIC PLAN `` Council had received a response from the science committee to the strategic plan. The trustees noted that ‘science’ had been removed from the Society’s governing documents in 2003. The committee had prepared a detailed

response to the published strategy document which proposed changes aimed at giving science greater prominence within the document. Council accepted most of the changes and response would be provided. The strategy document would be updated to reflect them.

Two staff meetings had been held around the operational plan but detail had not progressed due to time pressure.

EDUCATION `` A proposal to reinstate the education committee was agreed. The president would write to Andy Golding, who would be asked to work with Liz Williams on preparing a plan and budget. The chief executive noted that the call for volunteers had included responses from individuals active at different levels of education. `` Two recent exemption requests still needed clarification. Concern about the rigour applied to exemptions from overseas institutions would be referred to the education committee.

AWARDS `` A request from the awards committee to extend the Vic Odden criteria to under 35-yearolds studying photography in the UK was approved.

The resignation of Roger Reynolds from the awards committee was noted.

WEBSITE `` The chief executive reported on a technical review of the Society’s website which had been undertaken in 2016 and subsequent follow-up work. Felinesoft, the company concerned, had identified some areas of concern and recent work had dramatically improved website speed. After four years it was considered the right time to look again at the website. A road map had been prepared with a stakeholder-based review of the user experience

scheduled during the late spring. The outcome would determine the technical development which would need to be budgeted for in 2018. Council approved the first phase of the work.

ANY OTHER BUSINESS `` Robert Albright provided an update on the move of the RPS Collection from Bradford to the V&A noting, in particular, the enhanced education and publishing programme. The RPS Journal would be running a report and interview with Martin Barnes, senior curator of photography at the museum. The chief executive advised that he had a meeting scheduled with the V&A on 10 May to develop a joint programme of activities. `` National Volunteers Week was running from 1-7 June.

Nicola Young was asked to produce an update for the Journal.

NEW BUILDING `` The chief executive circulated a memo regarding progress with Holy Trinity, Bath. The Society was on a shortlist of five and had been interviewed the previous week. The outcome would be advised by mid-June.

The interview panel had wanted clarification of the views of the Society’s trustees on the proposed purchase. The trustees felt the opportunities offered by HTB were very strong but wanted to see a more detailed business case before committing more strongly to it. This would be prepared and circulated to the trustees so that a response could be provided back to the interview committee by mid-May. `` Lesley Goode, exhibitions manager, joined the meeting and explained how the exhibition programme had developed during her tenure. Council thanked her for her work over the previous 17 years and wished her well after her departure from the Society. `` Council agreed to co-opt Derek Trendell to council.

VOL 157 / JUNE 2017 / THE RPS JOURNAL / 471

472 | GUIDE | DIG Scotland Centre – June meeting

meeting to the Ainsdale dunes

Sunday 11 June / 13:30-16:15

Saturday 10 June / 10:00-16:00

`` £15/£5 Society members `` Peter Paterson FRPS will

`` Photograph early orchids and insects

`` The Ainsdale Discovery

present a session on Photoshop CC workflow `` Parish Church, 12 Keir Street, Bridge of Allan FK9 4NW `` Dave Hunt, digscotland@rps.org

Centre, The Promenade, Shore Road, Ainsdale-on-Sea, near Southport PR8 2QB `` Trevor Davenport ARPS, 01704 870284, 07831 643844, trevor43davenport@gmail.com

DOCUMENTARY MO CONNELLY LRPS, 01590 641849

TRAVEL

DVJ(RPS.ORG

KEITH POINTON LRPS, 01588 640592

Meeting of RPS North East Documentary Group Thursday 1 June / 10:30-15:00

`` We will focus on our next

project, Cafe Culture. Please bring along up to 12 images.

If we have time we can look at other images taken by members `` Kibblesworth Village Millennium Centre, Grange Terrace, Kibblesworth, Gateshead NE11 0XN `` Gordon Bates, docne@rps.org

BAGPOINT(AOL.COM

Journey through the Rocky Mountains this autumn with the Travel Group

Visit to Penmaenmawr Quarry Thursday 1 June / 19:00-21:30

Saturday 10 June / 9:30-16:30

`` A rare opportunity to visit one

`` £30 `` A one-day symposium

of North Wales’ last remaining working quarries `` Penmaenmawr Quarry, Bangor Road, Penmaenmawr, Conwy LL34 5NA `` Martin Brown LRPS, 01691 773316, northwales@rps.org

South East Documentary Group meeting

Lee Filters factory visit

Sunday 25 June / 10:00-13:00

Tuesday 20 June / 11:00-15:00

`` An discussion about street

`` Fully booked `` Lee Filters, Central Way,

photography, followed by a review of members’ work – prints or DPI `` Tangmere Village Hall, Malcolm Road, Tangmere PO20 2HS `` Janey Devine, docse@rps.org

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

HISTORICAL JENNIFER FORD ARPS, 01234 881459

KEN.MACLENNAN(BTINTERNET.COM LANDSCAPE MARK REEVES LRPS, 07968 616551

GO TO

RPS.LANDSCAPE.EVENTS(GMAIL.COM

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

Fri 2 – Mon 5 June

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

`` £248 `` A weekend of photography

`` Happisburgh community car

`` Cober Hill Hotel, Cloughton,

Nickbowman55@hotmail.com MEDICAL DR AFZAL ANSARY ASIS FRPS, 07970 403672 AFZALANSARY(AOL.COM

OVERSEAS CHAPTERS

at the Cober Hill Hotel

near Scarborough, Yorkshire YO13 0AR `` Leonard Shepherd, 01969 622043, shepherdlen@ btinternet.com

Nature Group field

Homage to Arles Fri 21 – Thu 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 Mon 2 – Thu 19 October

`` £2,250 `` Join us on an autumn

photographic adventure through the Rocky Mountains from Denver to Yellowstone National Park and back `` Denver, Colorado, USA `` Keith Pointon LRPS, as above VISUAL ART VIVECA KOH FRPS, 07956 517524 VIVECA.KOH(GMAIL.COM

SW Visual Art Group members’ day Sunday 16 July / 10:30-16:00

`` £8/£5/£3 group members `` The Dolphin Hotel, Station Road, Bovey Tracey TQ13 9NG `` Linda Wevill FRPS, linda.wevill@btinternet.com

Royal Photographic Society members around the world

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

RPS Germany Chapter exhibition – ‘Reflection’

472 / THE RPS JOURNAL / JUNE 2017 / VOL 157

WILDLIFE(GREENBEE.NET

Sat 24 – Sun 25 June / 10:30-15:00

`` Nick Bowman,

RPS.ORG/EVENTS FOR THE LATEST UPDATES

NATURE KEVIN ELSBY FRPS,

Nature Group residential weekend

park, Happisburgh NR12 0PR

IMAGING SCIENCE KEN MACLENNAN,BROWN

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

Norfolk coast weekend

part of the Norfolk coast

JENNYFORD2000(YAHOO.CO.UK

Ophthalmic OCT imaging 2017

Until Wed 19 July / 10:00-17:00

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 Olivio Argenti FRPS, info@rps-italy.org

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

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

| GUIDE | 473

See the IPE 159 exhibition. Image: Abrigo Corner by Tom Blachford

EXHIBITIONS

SALLY SMART ARPS, EXHIBITIONS ASSISTANT 01225 325724, SALLY(RPS.ORG

2017 Members’ Biennial exhibition

`` www.edinburghphotosalon.org/ `` RPS 2017/12

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45th PSNY International Salon of Photography 2017 Closing date: 24 June `` `` psnyusa.org/ `` RPS 2017/13

Until Saturday 3 June

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

`` Warrington Museum

and Art Gallery Roger Jeffery, 01925 442396, rjeffery@culturewarrington.org Friday 18 August – Thursday 21 September

`` Arts Centre, Washington RPS International Print Exhibition 159 Until Saturday 3 June

`` Barnsley Saturday 10 June – Sunday 2 July

`` Titanic Museum, Belfast

68th Midland Salon Closing date: 28 June `` `` midland-salon.com `` RPS 2017/25 The South Devon Salon Closing date: 16 July `` `` newtonabbot-photoclub.org.uk/ `` RPS 2017/19 Grace International Salon of Photography 2017 Closing date: 24 July `` `` gpcsalon.com `` RPS 2017/24

Monday 10 – Friday 21 July

`` Blue Drill Hall, Edinburgh `` Jason White, 01226 327011,

jasonwhite@barnsleycivic.co.uk

International Images for Science Exhibition Tuesday 6 – Sunday 11 June

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

PATRONAGE

Salons/exhibitions with RPS-approved patronage

10th PSA China International Exhibition of Photography Closing date: 8 June `` `` salon.psachina.org `` RPS 2017/26 6th Port Talbot International Salon of Photography Closing date: 17 June `` `` porttalbotcameraclub.org/

1st Mahfuz Ullah International Memorial Photo Contest 2017 Closing date: 5 August `` `` mmsalon.net `` RPS 2017/23 5th Danubius International Photo Art Salon ‘Best of CF’ Closing date: 7 August `` `` photoclub.voltin.ro `` RPS 2017/28 Tafklub International Salon Closing date: 12 August `` `` pssa.co.za `` RPS 2017/29 6th China International Digital Photography Art Exhibition Closing date: 15 August `` `` 2017cidpae.lsphoto.org `` RPS 2017/37

`` RPS 2017/21

Tai Po Photography Club International Salon 2017 Closing date: 20 August `` `` tppc-hk.org `` RPS 2017/27

155th Edinburgh International Exhibition of Photography 2017 Closing date: 21 June 2017 ``

Sydney International Exhibition of Photography Closing date: 28 August `` `` www.siep.org.au `` RPS 2017/14

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474 | GUIDE |

REPORT ON THE ADVISORY BOARD MEETING, 11 MARCH 2017 `` There were 33 members present.

MINUTES OF THE PREVIOUS MEETING `` The minutes of the meeting held on Saturday, 24 September 2016 were proposed by Ian Wilson, seconded by Mike Sharples, and accepted by the meeting as a true record.

INTRODUCTION FROM THE PRESIDENT `` The president introduced himself and welcomed those attending the meeting. He thanked them for making the time to attend and support the Society.

REPORT FROM THE TREASURER `` Geoff Blackwell stated that he was acting as an advocate for the treasurers and asked the regional organisers and group chairs to support them. The Society had made some minor changes to the expenses it paid to volunteers and these were reflected in the claim form on the website. In addition, a three-month time limit for claims had been introduced. `` The Society made certain demands on treasurers, including quarterly submissions which were required for its VAT return, the year-end financial return and the preparation of annual budgets, and

an up-to-date asset list.

Annual accounts needed to cover the financial year, include the previous year’s figures as a comparison and should reconcile bank and cash balances. These were not intended to be onerous but were important and needed to be submitted on time. The capitation payment to two regions had been withheld pending their budgets as they had not been holding the activities expected of them and funds would be released once activity commenced.

GOVERNANCE AND THE ADVISORY BOARD `` Jay Charnock introduced herself and explained that she and Liz Rhodes would be leading the meeting, which would focus on the role of the advisory board and discuss the proposals from the governance review, as well as council’s response for developing the board with the objective of ensuring it became a more effective body. `` Liz Rhodes reported on the background to the meeting. A group of five advisory board members was asked to submit a report to council on the future of the advisory board; separately, council had established a broader governance review; and more recently, she and Jay Charnock had submitted a paper direct to council.

`` Council had reviewed the

governance report which had been presented to the advisory board in September 2016 and had made some modifications.

In respect of the advisory board, the review had proposed appointing a representatives committee with two representatives on behalf of the SIGs and the ROs, alongside others from the standing committees. Council had modified it slightly. `` Walter Benzie thanked Douglas May for chairing the xxxxxxxxcommittee, governance xxxx which had a broader remit than just the advisory board.

The advisory board had done some good work but it had been advised by council, rather than advising council.

There was evidence in the review to support the continuation of the board. `` Del Barrett reported on the most recent consultation with the advisory board and thanked those SIGs and regions that had responded.

Most comments had been positive and supportive. The new structure was seen as a positive move and those suggestions received had been incorporated. `` Walter Benzie summarised the next steps and timelines. An extended discussion took places around the board and the proposals. The meeting agreed that the separate group chair and regional

The meeting minutes will be available on the RPS website

organisers’ meetings be continued.

ROLE OF THE VOLUNTEER COORDINATOR `` Nicola Young spoke to the meeting about her responsibilities and what she had been doing since she joined the Society in December. She was available as point of contact for the groups and regions with headquarters, and she would be leading the group and region meetings in the summer. `` A schematic was prepared during the meeting showing the Society’s governance and relationships with the proposed representatives committee. This was subsequently revised by the chief executive and a draft, subject to approval by

council if the new structure was approved by the membership, was circulated with the meeting minutes.

GROUP AND REGION MEETINGS `` Representatives from the groups and regions held separate break-out meetings. They reported back to the whole meeting.

CONCLUSION `` Walter Benzie outlined

the process for the approval of changes to the by-laws and rules and accepted that the detail needed to follow. He thanked everyone for attending. `` The meeting closed at 2:20pm. `` The minutes of the meeting will be made available on the website.

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476 | GUIDE | SHOWCASE

Streets ahead

Jimmy Cheng LRPS reveals his passion for documentary and street photography in his Fenton House exhibition

J

immy Cheng’s love of photography began after being gifted a point-andshoot camera by his mother when he was a teenager. Cheng joined the Society in September 2015 and went on to gain his Licentiate in April 2016. A member of the Documentary Group, he joined the Society hoping to meet like-minded photographers, develop new skills and swap advice on best practice.

A wedding photographer by trade, Cheng also has a keen

interest in documentary, portrait and street photography, which all feed into his exhibition on display at Fenton House throughout June. Here he discusses the motivation behind his exhibition and the impact that his travels have had on his sense of perspective and powers of observation.

What can audiences expect from this exhibition?

It places the spotlight on my interest in documentary and street photography and features photos I have captured on my

travels throughout London, Malaysia and China over the past 10 years.

The exhibition is split into three sections: one is dedicated to my black-and-white photography, a second presents my colour images and a third showcases behind-the-scenes aspects of my wedding photography.

The images offer a different perspective on everyday life because they home in on those interactions and situations that people tend to overlook when they’re checking their phones or commuting to their next destinations. Whenever I’m intrigued by certain compositions and lighting, I follow my gut.

Given that the exhibition spans a decade of your work, have you noticed your photographic approach develop?

When I started out in photography I found it very easy to feel overwhelmed by fresh environments. I tended to snap everything that grabbed my attention and usually ended up overloaded with photos.

476 / THE RPS JOURNAL / JUNE 2017 / VOL 157

ABOVE LEFT

Getting ready in the morning is an essential part of any wedding ABOVE

The use of reflection here lets us reflect on people’s dress and character LEFT

A conversation between the groom and his father outside the venue RIGHT

An iconic London scene in the rain

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

DIRECTIONAL

xxx xxxx DIRECTIONAL

xxx xxxx

The experience I’ve gained through my wedding, street and documentary work has taught me how to better edit my compositions and to be more restrained. Once you have a few years’ experience under your belt you constantly challenge yourself to see how you might improve your work.

Do any specific subjects catch your attention or do you photograph spontaneously?

I do a lot of research into any area I plan to visit and look for sample photos to make sure that I’m not simply repeating photographic approaches that have been done to death. This preparation helps me to become familiar with landmarks, subjects and streets.

I try to limit myself to specific themes for each trip and shoot using one camera and lens.

This ensures I don’t get

distracted, and helps me build the body of work that I set out to capture.

How has travelling affected your photography?

Documenting life through travel photography is a great way of challenging yourself: it places you outwith your comfort zone and forces you to adopt an alternative outlook on the world.

This is an extremely useful skill when approaching street photography and pinpointing aspects of a scene that might not be immediately apparent to the untrained eye.

This exhibition features locations in London that I walk through every day, so my experience of travel photography helped me think differently about the scenes I was capturing. Every time I hold a camera I try to capture something new.

VOL 157 / JUNE 2017 / THE RPS JOURNAL / 477

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CANON USED

Used Canon

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£1999/2799

Used Canon

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£899

NIKON USED

Used Nikon D4s body box

£3599

Used Nikon D3 body box

£999/1199

Used Nikon D800 body box

£1399

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Used Fuji

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£1099

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£249

Used Sony

A7R II body box

£1999

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 ........... £1999/2799 1D MKIV body ......................... £999 1D MKIII body ......................... £699 7D MKII body box.................. £899 7D body box............................ £499 6D body ..................................£1099 5DsR body box .....................£2299 5Ds body box ........................£2199 5D MKIII b/o box ...... £1399/1699 5D MKII body ..............................£799 5D MKI body box ......................£399 550D body box ..........................£199 70D body box .............................£499 60D body box .............................£399 50D body box .............................£299 40D body box .............................£149 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 box ..................................£169 BG-E16 box ..................................£169 EOS M3 + 18-55 .........................£329 EOS M body....................................£99 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 body.............................£29 EOS 500N/1000 body each ...£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

501CM chr + 80 F2.8 CB + A12

£1699

Used Mamiya RB67 Pro SD + 90 KL + WLF + Back

£549

Used Rollei 3.5F 6x6 White Face serviced

£1699

£499

Used Nikon 500mm F4 AIS

£1299/1499

SIGMA CAF USED 10-20 F4/5.6 HSM box .............. £219 17-50 F2.8 OS DC box............... £249 17-70 F2.8/4 DC OS.................... £249 18-125 F3.8/5.6 OS DC ............. £149 18-200 F3.5/6.3 DC..................... £149 24-70 F2.8 HSM............................ £469 28-105 F2.8/4 ...................................£69 28-135 F3.8/5.6 ...............................£99 28-200 F3.5/5.6 Asph ..............£99 50 F2.8 EX macro ................... £149 50-500 F4/6.3 EX DG OS...... £699 50-500 F4/6.3 EX DG ............ £399 70-300 F4/5.6 APO DG............£99 120-300 F2.8 EX DG .............. £799 120-400 F4/5.6 DG ................ £399 150 F2.8 EX DG OS mac ........... £549 150-500 F5/6.3 DG OS .............. £449 150-600 F5/6.3 Contemp........ £699 180 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 18-200 F3.5/6.3 VC ...... £149 TAM 18-270 F3.5/6.3 VCII .... £169 TAM 28-75 F2.8 XR Di ........... £199 TAM 70-300 F4/5.6 ........................£99 TAM 200-500 F5/6.3................... £449 TOK 100 F2.8 ATX........................ £299 Zeiss 50 F1.4 ZE box .................. £599 CANON FLASH USED ST-E2 transmitter ......................£79 MR-14EX ringflash ................. £299 430EXII......£169 550EX ....... £149 580EX box ................................ £179 580EX MKII ............................... £299 MORE ON WEBSITE WWW.MIFSUDS.COM

MBD-14 grip ............................ £149 MBD-12 grip ............................ £279 MBD-10 grip M- box ............. £129 MBD-10 grip ...............................£79 MBD-80 grip ...............................£49 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 14-24 F2.8 AFS M- box ..........£1099 14-24 F2.8 AFS box ....................£999 16-35 F4 VR box ..........................£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 18-70 F3.5/4.5 AFS .....................£129 18-105 F3.5/5.6 AFS VR ............£179 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 F3.5/5.6 G VR ................. £299 28 F1.8 AFS G ................................ £449 28-100 F3.5/5.6 AF G ....................£69 28-300 F3.5/5.6 VR...................... £599 35 F1.8 DX....................................... £149 35 F2 AFD ....................................... £199 40 f2.8 AFS Micro ................... £169 45 F2.8 DN PC-E ...................£1099 50 F1.8 AFS box...................... £149 50 F1.8 AFD.................................£99 55-200 F4/5.6 AFS ....................£79 60 F2.8 AFS .............................. £399 60 F2.8 AF ................................. £199 70-200 F2.8 AFS VRII ...........£1349 70-200 F4 AFS VR................... £899 70-300 F4/5.6 VR .................... £369 70-300 F4/5.6 AFD ................ £129 70-300 F4/5.6 G non VR..........£99

80-400 F3.5/5.6 AFS VR......£1399 85 F1.4 AFS M- box ............... £999 85 F1.8 AFD.............................. £249 85 F2.8 DN PC-E ...................£1099 105 F2.8 AFS VR...................... £579 180 F2.8 AFD M- box ............ £449 200-400 F4 AFS VRII ............£3699 300 F2.8 AFS VRII box.........£4199 300 F2.8 AFS VRI ..................£2999 300 F4 AFS E PF ....................£1299 300 F4 AFS box....................... £549 400 F2.8 AFS E FL VR M- box£8299 400 F2.8 AFS non VR...........£3999 600 F4 AFS VR .......................£5499 600 F4 AFS II non VR serviced ...................................£3999 TC17EII ....................................... £249 TC20EIII M- box ...................... £329 TC20EII.....£199 TC20E ......... £149 SIGMA NAF USED 18-200 F3.5/6.3 DC OS .............£199 24-35 F2 DG Art box .................£599

24-70 F2.8 EX DG ........................£299 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................. £399 70-300 F4/5.6 APO DG............£99 105 F2.8 EX DG............................. £199 150-500 F5/6.3 DG OS cont ... £749 150-500 F5/6.3 DG OS .............. £499 150-600 F5/6.3 DG OS Sport box ......................................£1079 170-500 F5/6.3 D......................... £299 TC-1401 1.4x converter ............ £179 1.4x converter EX DG ................ £149 2x EX DG converter.................... £149 2x EX converter...............................£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 70-300 F4/5.6 ...................................£79 OTHER NAF USED TOK 10-17 F3.5/4.5 ATX ....... £249 TOK 12-24 F4 ATX Pro .......... £329 FLASH / ACCESSORIES USED SB-24 ......................................................£49 SB-25 ......................................................£49 SB-28 ....................................................£69 SB-80DX..............................................£79 SB-600............................................... £169 SB-800............................................... £149 SB-900............................................... £249 SB-R1 kit M- box .......................... £399 SD-8A batt pack..............................£89 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-T2 body black box ...........£1099 X-T1 body black...................... £499 X-T1 body black...................... £449 X-T10 body box ...................... £299 X-E1 body black box............. £199 10-24 F4 OIS box.................... £649 16 F1.4 XF box ........................ £599 18 F2 WR ................................... £299 18-55 F2.8/4 XF ...................... £449 35 F1.4 R box ........................... £399 55-200 F3.5/4.8 R box .......... £469 56 F1.2 R .................................. £599 60 F2.4 macro box................. £429 1.4x WR converter M- box .. £239 X-T1 battery grip .......................£89 EF42 flash box......................... £129 MINOLTA/SONY DIGITAL USED Sony RX100 MKIII box............ £449 Sony A7R II body box...........£1999 Sony A7 II body ........................ £999 Sony A58 body ......................... £199 Sony VG-B30AM ..........................£69 Sony VG-C70AM....................... £139 Sony VG-CE2 .............................. £179 BRONICA ETRS 645 USED 40 F4 MC ................................... £179 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 SQA + 80 F2.8 S + WLF + 120 RFH box ........................ £329 40 F4 S ....................................... £299 50 F3.5 PS ................................. £299

35MM & MISCELLANEOUS USED CANON FD USED 24 F2........................................... £299 Used Lighting 28 F2.8 ..........................................£49 Bowens Esprit 1000 twin head kit

70-200 F2.8 IS USM LI........... £999 70-200 F2.8 USM L ................ £799 70-300 F4.5/5.6 DO IS U ...... £399 70-300 F4.5/5.6 IS USM ....... £249 75-300 F4/5.6 MKII ...................£99 85 F1.2 L USM ......................... £899 85 F1.8 M-................................. £269 100 F2.8 USM box.................. £339 100-400 F4.5/5.6 L IS U ........ £899 135 F2 L USM box.................... £779 300 F2.8 LII IS U ......................£4999 300 F2.8 LI IS U........................£2999 300 F4 L IS USM box ............... £799 400 F5.6 L USM ......................... £799 500 F4 LI IS USM.....................£4697 1.4x extender MKII box........ £249 2x extender MKII box ............. £239 Teleplus 1.5x conv ....................£79 Teleplus 2x DG conv ................£89 Kenko ext tube set DG ................£79

We carry out sensor cleaning on the premises, firmware updating and equipment hire - please enquire for details NIKON DIGITAL AF USED D4s body box ........................£3599 D4 body box..........................£2299 D3X body box .......................£1799 D3s body box ........................£1799 D3 body box.................£999/1199 D2xs body box........................ £399 D810 body box.....................£1799 D800 body box.....................£1399 D700 body box.............. £499/599 D610 body box....................... £899 D300s body ............................. £349 D300 body box....................... £299 D200 body box....................... £149 D5000 body box .................... £199 D3100 body ............................. £169 D100 body ..................................£99 D90 body .................................. £199 D60 body .................................. £149 D50 body .....................................£79 D40X b/o .....................................£99 MBD-15 grip ............................ £149

Sony VG-C77M.......................... £149 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 18-105 F4 G OSS.................... £329 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 7xi body .......................................£49 7000i body ..................................£39 600Si body ..................................£69 300Si body ..................................£19 20-35 F3.5/4.5 M- box .......... £249 24 F2.8 AF ................................. £199 24-50 F4 .......................................£99 24-85 F3.5/4.5 ......................... £149 28 F2.8.....£99 28-80 F4/5.6...£39 28-85 F3.5/4.5 ............................£99

MEDIUM FORMAT 6x45, 6x6, 6x7 & 6x9 USED

Used Hasselblad

14 F2.8 USM LII box ............£1499 16-35 F2.8 USM LII................. £899 17-40 F4 L ................................. £499 17-85 F4/5.6............................. £199 18-55 F3.5/5.6 IS .............................£99 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..................................... £599 28-80 F3.5/5.6 ............................£79 28-90 F3.5/5.6 ............................£79 28-135 F3.5/5.6 IS USM ....... £199 40 F2.8 STM ............................. £139 50 F1.4 USM............................. £249 50 F1.8 MKII ................................£69 60 F2.8 USM EFS mac ........... £249 65 F2.8 MP-E ............................ £849 70-200 F2.8 IS USM LII .......£1499

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 Winder A ......................................£20

50 F3.5 S.................................... £149 110 F4.5 PS macro ................. £399 135 F4 PS M-............................ £229 150 F4 PS ......................... £149/199 180 F4.5 PS............................... £399 200 F4.5 PS M- box ............... £199 2x PS converter M- ................ £179 135W 35mm film back M- .. £299 135N 35mm film 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 SQAI winder............................. £149 HASSELBLAD 6x6 USED 501CM chrome + 80 F2.8 CB + A12..............£1699

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 70-210 F3.5/4.5 ...............................£99 75-300 F4.5/5.6 ...............................£99 85 F1.4 G box ................................ £649 100-300 F4.5/5.6 APO ............... £179 100-300 F4.5/5.6.......................... £149 VC700 grip.........................................£39 RC1000S cord...................................£29 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 10-20 F3.5 EX............................. £259 18-35 F1.8 Art............................ £549 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 E510 body ................................ £149 7-14 F4 ED ................................ £499 9 F8 Fisheye ................................£79 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 35 F3.5.....£99 50 F2 macro . £349 90-250 F2.9 ............................£1799 EC-14 converter ........................£19 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 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 blk............ £249 OMD-EM10 body silv ........... £249 E10 body................................... £279 E-P5 body silver......................£ASK 12 F2........................................... £479 12-40 F2.8 Pro ......................... £649 12-50 F3.5/6.3 ......................... £149 14-42 F3.5/5.6 ......................... £169 17 F2.8 ....................................... £159

25 F1.8 ....................................... £269 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 ............................ £169 GX80 body ............................... £369 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 ......................... £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

501C + 80 CB + A12............£1399 45 degree prism late ............ £299 45 degree prism early .............£99 Sports viewfinder .....................£69 Chimney.......................................£89 A16 (6x4.5 120 back) chr .... £199 A12 chrome latest ................. £299 A12 late blk/chr ...................... £129 Polaroid back 100 .....................£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 boxed .. £699 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 ....................................£29 ext tube 2 ....................................£29 Ext tube 3S ..................................£29 Teleplus 2x converter ..............£49 Vivitar 2x converter..................£39 MAMIYA TLR 6x6 USED C330F body + WLF ................ £199 65 F3.5 box late ...................... £199 65 F3.5 serviced...................... £149 80 F2.8 late serviced ............. £139 180 F4.5 ..................................... £149 250 f4.5 late serviced............ £249 250 f4.5 early serviced ......... £179 Porrofinder ..................................£59 MAMIYA 6 & 7 RF 6x7 USED 6 body + 75 ...........................£1299 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. ...............................................£79 120 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 65 F4 box M- ........................... £399 90 F3.5 W M- box ................... £299 180 F4.5 W................................ £199

Pro shade.....................................£49 PENTAX 645MF USED 645 + 75 F2.8 ........................... £249 645 body + insert .................. £199 200 F4........£149 300 F4 ....... £249 1.4x converter ......................... £199 PENTAX 645AF USED AF500FTZ flash ..........................£79 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...£1699 3.5F Planar..............................£1399 2.8E ............................................. £797 Automat K4B ........................... £599

For more used equipment listings please see website www.mifsuds.com

Please contact us to determine availability before making a lengthy journey Winder B ......................................£30 CONTAX 35mm RF USED 90 F2.8 G ................................... £299 CONTAX 35mm USED 28-70 F3.5/4.5 MM ................ £169 HASSELBLAD XPAN USED Centre filter 49mm........................£129 LEICA M USED IIIf Red Dial ST serviced chrome body........................... £479 LEICA SLR USED R8 body black box................. £499 LEICA OPTICS USED Televid APO 77 body only ...... £549 Televid 77 + 20x60 ................ £649 Trinovid 10x42 ........................ £599 Ultravid 8x32 HD ................... £849 LIGHTMETERS USED Polaris ...........................................£99 Sekonic L308 BII ........................£99

MINOLTA MD USED XD7 body black ...................... £199 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 FE2 body chrome .................. £349 F3 body ..................................... £199 F2 Photomic body box ........ £399 FM2 body chrome box ........ £399 FM2n body chr box............... £299

FM2n body chr ....................... £249 FE body chrome........................£99 20 F3.5 AI .................................. £199 24 F2.8 AIS M- box ................ £249 24 F2.8 AI. ................................. £199 28 F2.8 E box ..............................£69 28-85 F3.5/4.5 AIS.................. £199 35 F2 AI box ............................. £249 35 F2.8 AIS................................ £149 35 F2.8 PC................................. £349 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 F2.5 AIS M- box .............. £299 180 F2.8 AIS ED scruffy ........ £179 500 F4 AIS................... £1299/1499 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 chrome............ £249 OM-2SP body .............................£99 OM-2n body blk or chr ........ £149 24 F2.8......£199 28 F3.5.........£49 35-70 F4 .......................................£79 35-105 F3.5/4.5..........................£79 50 F3.5 macro ............................£79 200 F4 ...........................................£79 300 F4.5..................................... £199 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 F1.4 AF ................................. £149 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 LX + prism serviced .............. £299 50 F1.4 PK ....................................£99 50 F4 macro PK..........................£99 50 F2..............................................£49 STUDIO LIGHTING USED Bowens Esprit 1000 twin head kit ..................................... £499 TAMRON ADII USED 28 F2.5 ..........................................£49 90 F2.5 SP ................................. £149

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.

480 | TIMES PAST |

FROM THE RPS COLLECTION

Satsuma’s envoys

Felice Beato’s hand-painted albumen print reveals diplomatic finesse

T

his hand-painted albumen photograph from a wet-collodion negative attests to Felice Beato’s technical skill as a photographer, as well as his abilities as a diplomat.

In 1862 a British merchant was brutally murdered by the Satsuma clan – one of the most ferocious samurai clans in Japan – over a misunderstanding about showing due respect.

After demands for reparations were ignored the British bombarded the city of Kagoshima in retaliation.

As a consequence, four Satsuma samurais were sent to Yokohama in late 1863 to meet the British and negotiate suitable compensation.

Given that the title of this photograph is confirmed by monochrome versions in other collections, there is a strong possibility these samurais were the

480 / THE RPS JOURNAL / JUNE 2017 / VOL 157

envoys sent to Yokohama to settle the matter. If so, and considering the circumstances under which the samurais posed for a European photographer, this is a remarkable image.

Beato was born in Venice in 1832 and worked as a commercial photographer.

Following in the footsteps of war photographers Roger Fenton, William Simpson and Carol Szathmari, who all documented the Crimean

War, Beato photographed the Indian rebellion in 1857 and the Second Opium War. He arrived in Japan in 1862 at a time of political upheaval.

Nonetheless, Beato integrated well into Japanese society and consequently enjoyed privileged access to regions of the country otherwise restricted to foreign visitors.

Beato worked alongside Punch sketch artist Charles Wirgman, producing portrait, cityscape and landscape studies of Japan in their studio in Yokohama. To supplement his income from commissions Beato began to sell albums of his work, which were successful locally and internationally, fetching higher prices when coloured.

Using skilled Japanese water colourists and woodblock-print painters, Beato refined the technique of hand-colouring photographs to enhance the monochrome albumen prints.

These subtle, delicately coloured photographs enriched viewers’ perceptions of Japanese life, dress and culture.

JANINE FREESTON ARPS

© THE RPS COLLECTION AT THE VICTORIA AND ALBERT MUSEUM

‘TO SUPPLEMENT HIS INCOME BEATO SOLD ALBUMS OF HIS WORK, FETCHING HIGHER PRICES WHEN COLOURED’

10

% OFF

With the coupon code

RPSLP617