The RPS Journal, March 2017

35TH ANNIVERSARY

COMPETITION

MASTERCLASS

EXCLUSIVE FALKLANDS PHOTOS DISCOVERED

MEMBERS’ BIENNIAL EXHIBITION WINNERS

LEARN HOW TO CREATE GREAT PHOTO ESSAYS

MARCH 2017 / VOLUME 157 / NUMBER 3 / WWW.RPS.ORG

Levon Biss

‘Why I swapped advertising for dead insects’

Now’s the time.

Buy the B1 or B2.

Get an Air remote for free.

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

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| MARCH 2017 | 161

OPENING SHOT STILL, AND MOVING, IMAGES

A COMING UP

IN FUTURE ISSUES We take a look at Jillian Edelstein HonFRPS’s best shots, explore some recent Society bursary-supported projects and delve into the magical world of pinhole photography

PRINCIPAL PATRONS

s I write this, news has come in that Burhan Ozbilici’s images of the assassination of Russia’s ambassador to Turkey, Andrei Karlov – featured in last month’s Journal – have taken first prize in the 2017 World Press Photo awards.

The judges praised Ozbilici, who was documenting the opening of an art exhibition when the murder took place, for his courage (although jury chair Stuart Franklin HonFRPS expressed reservations about the nature of the image, stating that it reaffirms the ‘uncomfortable compact between the murderer and publicity’).

While others took cover, Ozbilici stayed calm, risked antagonising the gunman and continued photographing. The images will probably go on to define his career, and the events he witnessed that day will affect him in ways that will only become apparent in years to come.

Society member Terence Laheney ARPS was a 21-year-old mechanic with the Royal Navy when he went to war in the Falklands. He took along his cameras and documented his experiences, including watching the British Navy vessel the Antelope being sunk by Argentinian forces. That and other things he witnessed have haunted him for years.

MAJOR PARTNERS

Laheney has since been diagnosed with post-traumatic stress disorder and turns to photography to help with his condition. He reveals his story to Peter Ross on page 196, alongside exclusive images from his time in the Falklands war, in this 35th anniversary year.

Also in this issue we hear how Levon Biss FRPS has moved away from photographing celebrities and high-profile advertising campaigns, and now spends most of his time taking breathtaking images of tiny insects. It’s a fascinating story, and reassuring that one can find success in personal projects.

Finally, we showcase successful images from the Society’s very own members’ biennial exhibition, while winners and finalists from the 2017 International Garden Photographer of the Year competition reveal the secrets of their trade.

ANDREW CATTANACH Editor

SUPPORTING PARTNERS

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162 | MARCH 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

196 Falklands veteran Terence Laheney ARPS shares exclusive images, and the conflict's toll

EDITORIAL ENQUIRIES Editor Andrew Cattanach andrew@thinkpublishing.co.uk 0141 375 0481 Contributing editors Fiona McKinlay, Jonathan McIntosh, Gavin Stoker, David Clark Design Matthew Ball, John Pender, Andrew Bell Sub-editor Sam Bartlett Advertising sales Molly Matthews molly.matthews@thinkpublishing. co.uk 020 3771 7233

FEATURES

Editor-in-chief Clare Harris clare.harris@thinkpublishing.co.uk Group account director John Innes © 2017 The Royal Photographic Society.

All rights reserved.

196 | PERSONAL BATTLE Falklands veteran Terence Laheney ARPS shares his exclusive images of the conflict

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.

202 | PICK OF THE BUNCH Hints and tips from International Garden Photographer of the Year competition winners and finalists

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

Cover Jewel Longhorn Beetle

by Levon Biss FRPS

178 An image of the Kelpies, near Falkirk, part of Janet Lowe LRPS's successful portfolio

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208 | BEST SHOTS A sought-after sports and advertising photographer, just why did Levon Biss FRPS become focused on capturing hugely detailed images of dead insects?

JANET LOWE LRPS; HOWARD BARLOW; BECKY MURSELL, CAUGHT IN THE RAIN

188 | A YEAR TO REMEMBER We hear from the winners and other stand-out entrants in the Members' Biennial Exhibition

188

Members' Biennial Exhibition entry Caught in the rain

by Becky Mursell

THE CRAFT

EVERY MONTH

217 | MUST TRY/LATEST KIT A range of new gear, including the Leica M10 and Impossible I-1, is put through its paces 221 | IN DEPTH Audiovisual advice from Richard Brown FRPS 222 | MASTERCLASS Ben Cherry's photo-essay expertise

STEVE LOWRY

NEW BIT OF KID NEEDED

202 A tiger lily bud by Steve Lowry from his prize-winning Portfolio entry Cut Flowers

164 | BIG PICTURE Mauro Pagliai's Val d’Orcia, Tuscany 167 | IN FOCUS The best exhibitions, plus Society news, views and competitions 177 | BOOKS Our pick of the publications 178 | DISTINCTIONS Janet Lowe LRPS, plus the Distinctions review explained 236 | SHOWCASE Mike Trendell FRPS's exhibition at Fenton House 240 | TIMES PAST The Hippopotamus at the Zoological Garden, 1852

VOL 157 / MARCH 2017 / THE RPS JOURNAL / 163

MAURO PAGLIAI / SKYPIXEL &WWW.SKYPIXEL.COM'

164 | BIG PICTURE |

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Val d’Orcia, Tuscany

By Mauro Pagliai

This little group of cypress trees is one of the most photographed subjects in all of Tuscany.

They are called ‘I cipressi di San Quirico’ and are always photographed from the ground, with the horizon in view. From the air, you can better see the regularity of the trees and their distance from other landmarks. This increases the sensation of peacefulness and loneliness – it’s a kind of raft adrift in a green sea.

Mauro Pagliai won second prize in the enthusiast beauty category of the SkyPixel drone photography competition. To read Society members’ views on drone photography, turn to page 170

VOL 157 / MARCH 2017 / THE RPS JOURNAL / 165

167

APPLY YOURSELF Four Society bursaries open 168

TO BOLDLY GO …

President leads by example 169

HIGH STAKES Members’ take on drones 170

INFOCUS NEWS, VIEWS, EXHIBITIONS AND MEMBER INSIGHT

NEC Birmingham: the place to be later this month

PHOTOGRAPHY SHOW LINE!UP ANNOUNCED JESSE WILD / PHOTO SHOW

Top photographers join major industry players and Society staff at NEC Birmingham event Billed as the biggest photography event in Europe, the Photography

WORKSHOP

Show 2017 will include talks

by Society Honorary Fellows Albert Watson, Frans Lanting and Nadav Kander.

The event, at the NEC Birmingham from 18-21 March, will also feature Clive

LEARN TO MAKE FILMS WITH YOUR DSLR

Arrowsmith FRPS, top wildlife photographer David Yarrow, and the winners of last year’s Society short film award, Ben Mankin and Will Baldy.

As ever, the Society will have a stand at the show and

RPS and Journal staff will be on hand to meet visitors.

Journal staff will be available to talk on 18-20 March.

For full details of the event, see photographyshow.com

Why not sign up for this workshop in Buckinghamshire on 19 April, costing £95 for Society members? For more information see page 226 VOL 157 / MARCH 2017 / THE RPS JOURNAL / 167

168 | IN FOCUS

An image for the Band on the Run album by Paul McCartney and Wings

Society offers financial aid for photographic and film projects

Four Society bursaries, to be used for financing still and moving image projects, are now open for applications.

The Environmental Bursary, made in partnership with The Photographic Angle, offers two one-year bursaries of £3,000 ‘to support a project that will promote environmental awareness.’

The closing date is 31 May. The Joan Wakelin Bursary, administered in partnership with The Guardian, was set up in memory of Fenton Medallist Joan Wakelin HonFRPS. It offers one £2,000 bursary for the

production of a photographic essay on an overseas social documentary issue.

Applications close mid-June.

The RPS Postgraduate Bursary, worth £3,500, is available for students either on postgraduate photography courses or undertaking research in photography. The closing date for applications is 30 June.

Finally, the Short Film Award is offered in conjunction with Watershed and DepicT! short film festival for the best cinematography in its shortlisted films. The closing date is early July.

For more, see rps.org/ competitions

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An image by last year's RPS postgraduate bursary recipient Michael Vince Kim

CLIVE ARROWSMITH; MICHAEL VINCE KIM

TIME TO APPLY FOR BURSARY FUNDING

FROM WALTER BENZIE HonFRPS

A MOMENT TO BE DECISIVE

Isn't it time you left your comfort zone?

I A groovy gang, including Pierre LaRoche, Marianne Faithfull and Ossie Clark

NPG ACQUIRES ARROWSMITH PORTRAITS Society Fellow’s work bolsters gallery's permanent collection A selection of images by Clive Arrowsmith FRPS has been purchased for the permanent collection at the National Portrait Gallery.

The photographs include portraits of George Harrison

and Paul and Linda McCartney.

Arrowsmith is also working on a new book, Lowry at home, Salford 1966, a collection of previously unpublished images of artist LS Lowry, captured at the start of Arrowsmith’s career.

It will be published in June.

READER SURVEY

WIN A HAMPER

Tell us what you think of the Journal and you could be in with a chance of winning a hamper. Go online and fill in our short and simple readers’ survey by 31 March and you will automatically be entered into a prize draw to win this luxury gift.

Visit rps.org/ readersurvey

COMING SOON Look out for exciting news about The International Photography Exhibition (IPE)

160 (formerly International Print Exhibition) on the Society's website and in a feature in April’s Journal.

Visit rps.org/ipe160

n my own personal style of photography I like to make use of shapes, designs, light and colour – while the subject matter can be anything from architecture to engineering. For this kind of photography there is not normally a critically decisive moment – the subjects do not complain and can be pondered over in a leisurely fashion and that suits my temperament.

However, a short while ago I decided that I will attend a Society workshop run by the Documentary Group.

The first part of the programme will include the fundamentals of the documentary style and what to look for in creating an interesting image. The second part involves being sent out to try to put the theory into practice. Finally, the images will be reviewed at the end of the day and critiqued.

Successful images from this genre are very people focused – the decisive moment is critical, as it involves the ability to take pictures unobtrusively. I do not really like the idea of intruding on an individual’s personal space, neither am I used to blending in to the background. This will indeed be a very great challenge to me.

So why am I doing it, you ask? I believe every one of us retreats into our comfort zone too easily and, to be truthful, I am both dreading and relishing the challenge in equal measure.

One of the joys of the Society is the number of special interest groups (SIGs) available to members. Those new to the Society have the option to join one SIG in their first year without charge. For those longerstanding members, we often forget that we are welcome to book and participate in most SIG meetings for a very modest fee – or better still, join a group.

The 14 SIGs range from analogue (film-based photography) all the way through to visual art.

I am very pleased to see that the new Landscape Group has had a very substantial number of viewings on our website and, hopefully, this will be translated into a very active group in due course. The SIGs are one of the many jewels in our crown and they fundamentally distinguish us from a camera club.

So please be bold – why not make an effort and try something different to stretch yourself. What have you got to lose?

WALTER BENZIE HonFRPS President of the Royal Photographic Society

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170 | XXXX | NEWS IN BRIEF

SENSOR INNOVATORS WIN PRIZE

Three Society Progress medal winners are among the four engineers jointly awarded the 2017 Queen Elizabeth Prize for Engineering. Medal winners Dr George Smith, Dr Eric Fossum and Nobukazu Teranishi share the £1m prize with Dr Michael Tompsett. Together, their work has led to innovations including the complementary metal oxide semiconductor (CMOS) image sensor.

MEMBERS SAY: DRONE OWNERS SHOULD BE REGISTERED

We review the results of the member survey on drones ahead of submission to government Just before Christmas, the UK government launched a consultation on drones and set out a number of possible future options regarding their use. Although drones are used for a range of different applications, photography and filming are an important reason for their ownership.

For this reason, the Society went out to its membership to canvas their views to help inform its response to the consultation.

Almost 200 members responded to the questions we posed.

Of the respondents, almost half owned a drone

and a further 30 per cent were considering buying one. As one might expect, nearly 80 percent cited photography/filming as their reason for using a drone.

The feedback on the specific areas that the government is consulting on was particularly revealing.

Fifty per cent considered that the current position on drone ownership and use needed changing. A majority took the view that both drone users and their drone should be registered, and around half thought that drone owners should have mandatory training before

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flying their drones. Almost 80 per cent took the view that drone owners should carry insurance.

Privacy, perhaps surprisingly, was not a major concern: the potential for criminal use, no control over use or users and the potential danger to people and property came first.

By the time you read this the Society’s response to the government’s consultation will have been submitted and we will report back on the outcome.

If you would like to receive a summary of all the survey results visit rps.org/drones

STUART FRANKLIN INTERVIEWED

Stuart Franklin HonFRPS, who was in Tiananmen Square, China, during the 1989 demonstrations and photographed the famous Tank Man, will be interviewed in the March issue of the Documentary Group’s publication Decisive Moment.

OBITUARY

Ian Gee FRPS, renowned portrait and wedding photographer, was an influential industry figure. He set up his portrait studio in Altrincham, using the new colour process to capture weddings and produce albums. Recognising the need for training, he co-founded the Guild of Wedding Photographers.

Its training set the highest standards of work and ethics in the discipline and its newsletters turned wedding photography into an art form.

MARTIN FRY FRPS

IN FOCUS | 171

365

COLOURFUL UMBRELLA

By Rajendran Yogarajah My camera accompanies me wherever I travel. Here, I was making my way through the mountains of Sri Lanka on a particularly rainy day and I wanted to drink something hot to keep myself warm.

Good, strong tea is very popular in the hills of Sri Lanka so I

JANUARY’S ONLINE COMPETITION WINNERS

WEATHER IMAGES GET INVOLVED Submit photographs for the next competition at rps-365.org UNPREPARED

By Spyridon Gennatas LRPS Despite warnings of terrible weather I enjoyed an evening out with some friends in Athens over Christmas – an increasingly rare occurrence as we live in four different countries.

When it started snowing heavily we left. As we ran in the

heavy snowfall I noticed one of my closest friends crossing the road and shouted to him to stop on the spot. I got my phone out and quickly took around five shots.

This was the best one.

This photograph is a memory of a beautiful night – even if it did take us ages to get home.

DANCING WILLOW Kaiyu Lu LRPS One day last summer, an unusual wind blew outside my window.

The willow leaves flowed as if they were dancing to a natural rhythm between my building and the next. I knew I had to capture the moment.

This was taken with a Nikon D3 using a Sigma 10-20mm lens at 0.4s f/25, ISO 200, and a Velbon tripod. I processed the image using ACDSee software.

I hope someone in the next building was watching; appreciating the beautiful dancing of the willow.

stopped at a roadside restaurant. Sipping my tea, I noticed a long queue of people in white clothes lined up by the side of the road.

I realised they were waiting patiently, with their umbrellas, to worship the tooth of Lord Buddha.

I grabbed my Nikon D5100, went to the third floor of the shopping complex nearby and took the shot.

VOL 157 / MARCH 2017 / THE RPS JOURNAL / 171

172 | IN FOCUS |

WHAT NOT TO MISS DEUTSCHE BÖRSE PHOTOGRAPHY FOUNDATION PRIZE 2017 The Photographers’ Gallery, London 3 MARCH " 11 JUNE

Now in its 20th year, the Deutsche Börse prize is awarded annually to a living artist who has made the most significant contribution to photography in Europe. On show is work by shortlisted artists Sophie Calle, Dana Lixenberg, Awoiska van der Molen, and Taiyo Onorato and Nico Krebs. thephotographersgallery.org.uk

17 MARCH – 25 JUNE

This major exhibition, linked to a forthcoming three-part BBC4 documentary

series of the same name, examines photography in Britain from the medium’s origins to the present day. It features iconic work by photographers including William Henry Fox Talbot, and Honorary Fellows Cecil Beaton,

Fay Godwin, Jane Bown and Martin Parr. And from 19th-century cartes-de-visite to 21st-century Instagram posts, it also includes images that have made a contribution to documenting social history. nationalmediamuseum.org.uk

UNTIL 24 MARCH

Metinides, a photographer often described as ‘the Mexican Weegee’, specialised in sensational subject matter: road and rail accidents, stabbings, shootings, fires, explosions, suicides and murders. This exhibition features around 25 prints from a career that lasted from 1948-79 and brought him many honours. michaelhoppengallery.com ALSO SHOWING

SYNGENTA PHOTOGRAPHY AWARD EXHIBITION Somerset House, London

ROGER MAYNE The Photographers’ Gallery, London

AN OLD FASHIONED PHOTOGRAPHER Flowerfield Arts Centre, Coleraine, NI

9'28 MARCH

3 MARCH " 11 JUNE

4'25 MARCH

This year the Syngenta Photography Award, founded to raise awareness of key global challenges, has a ‘Grow-Conserve’ theme. Among 92 of the best images on display are those by shortlisted UK photographers Yan Wang Preston and Robin Friend. somersethouse.org.uk

Roger Mayne (19292014) was one of the key documentary photographers of 20th-century Britain. This exhibition includes his bestknown work, capturing life in Southam Street, London, from 1956-61. Also on show are several other important projects. thephotographersgallery.org.uk

Ian Murray ARPS presents an exhibition of his film-based black-and-white photographs. The display focuses on prints of ‘faces and places’ the 82-year-old has entered in camera club competitions, shot on his favourite camera, the Mamiyaflex TLR 6x6. flowerfield.org

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The Beatles Unseen: photographs by David Magnus Proud Chelsea, London 16 March – 14 May Poetics of Light: Pinhole Photography National Media Museum, Bradford 17 March – 25 June Rock Against Racism Street Level Photoworks, Glasgow Until 9 April Wolfgang Tillmans Tate Modern, London Until 11 June

WASHING LINE, HALIFAX, 1965, JOHN BULMER; DANA LIXENBERG WILTEYSHA, 1993 © DANA LIXENBERG COURTESY OF THE ARTIST AND GRIMM, AMSTERDAM; A WOMAN GRIEVES OVER HER DEAD BOYFRIEND, STABBED IN CHAPULTEPEC PARK WHILST RESISTING ROBBERS, MEXICO CITY, 1995 © ENRIQUE METINIDES; IAN MURRAY ARPS; ROGER MAYNE; YAN WANG PRESTON

BRITAIN IN FOCUS: A PHOTOGRAPHIC HISTORY National Media Museum, Bradford

ENRIQUE METINIDES Michael Hoppen Gallery, London

PHOTOGRAPHY TOURS AND WORKSHOPS

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174 | IN FOCUS GROUP SPOTLIGHT

AUSTRALIA CHAPTER LAUNCHES PHOTOBOOK

Longest-running overseas chapter marks its 30th anniversary Forest 6 (2014) by Yan Wang Preston

CONTEMPORARY

Special interest group’s conference to be held in April

IN A NUTSHELL The Contemporary Special Interest Group’s ethos, stated in 2013, is to focus on ‘photography that conveys ideas, stimulates thought and encourages interpretation.

Crossing all conventional genres, the group concentrates on photography that expresses ideas in coherent bodies of work with a specific role’.

The Society’s Australia Chapter is the RPS’s oldest overseas chapter, having been founded 30 years ago.

To mark the occasion, a 30th-anniversary photobook has been made, featuring images by 28 chapter members.

The book was initiated and managed by Dr David Oldfield FRPS and is dedicated to Jack Lanagan ARPS, who was the chapter’s convener for 22 years until his death in July 2016. A copy of the book will be placed in the Society’s archives.

Quietly Waiting

by Graham Burstow FRPS

WHAT’S ON Group activities include the production of the full-colour Contemporary Photography and the monthly e-newsletter, Concept. Member postal portfolios circulate the UK and Europe, while subgroups hold meetings in England and Scotland. There are also regional one-day presentations with talks by contemporary photographers.

COMING EVENT On 8 April, the Contemporary Group will host its 2017 conference. Titled Tales of Two Rivers, it will feature presentations on the River Yangtze by Yan Wang Preston and the River Lea by Polly Braden. Attendees may also bring up to 10 prints of their own work for discussion and review after the talks.

The event is at the Copthorne Hotel, Birmingham, 10am-7pm. Tickets are £50 including a buffet lunch and refreshments.

Visit bit.ly/TaleTwoRivers

COMEDY PETS COMPETITION LAUNCHED Society Associate offers top prize of £2,000 and other awards for category winners

Does your pet have that winning look?

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Wildlife photographer Paul Joynson-Hicks MBE ARPS founded the annual Comedy Wildlife Photography Awards in 2015.

Now he’s launching the Comedy Pet Photography Awards. We asked him about his experiences in creating successful photographic competitions …

What motivated you to launch these awards?

I love funny wildlife images and mine have always sold really well. We had the idea for a comedy wildlife competition and wanted to use it to spread the message about the world’s conservation crisis.

We launched Comedy Pets because loads of people entered their pet pictures in the wildlife competition.

LEARN HOW TO PAINT WITH LIGHT

Why not sign up for an illuminating new workshop?

The Society has launched a new workshop that will teach participants how to paint with light using a variety of tools and techniques.

Led by tutor Claire Harper,

and held on 10 May at Amersham Studios in Buckinghamshire, the day will cover all aspects of basic light painting, including setting up your camera and focusing in the dark.

For more details see page 226

Long-Billed Hermit Hummingbird by Dr Robin Williams FRPS Discover how it’s done with tutor Claire Harper

DISTINCTIONS SUCCESSES 01/17 ASIS & FRPS Dr Ricardo Vardasca, Portugal 02/17 ASIS & FRPS Dr Bernardo Cesare, Italy Carles Mitjà, Spain

Pickford’s Tarn by Ron McKie ARPS

Were they difficult to set up?

Comedy Wildlife wasn’t especially complicated.

Getting the terms and conditions right was a bit of a mission, but we got there in the end. Now there is a lot to do to stay on top of it all.

Paul Joynson-Hicks MBE ARPS

What’s the key to creating successful competitions?

You need a subject that the world wants to see or hear about. Success is down to spreading the word. We achieved that with wildlife and we hope to do the same with funny pets.

The Comedy Pet Photography Awards closes for entries on 31 May and the Comedy Wildlife Photography Awards opens on 1 June.

For more information go to comedywildlifephoto.com and comedypetphoto.com

02/17 LRPS Ian Barker, Dorset Rona Bassett, Hampshire Terri Bethell, Surrey Roger Bracewell, Cheltenham John Cavana, Oxfordshire John Cheshire, Surrey Anthony Chivers, Buckinghamshire Stuart Cook, Grimsby Douglas Cox, Isle of Wight Tony Davies, Conwy Richard Dennis, North Yorkshire Brian Etherington, Northamptonshire Martin Gerling, Germany Marston Hart, East Sussex Judith Kelly, Bedfordshire Erika Kruse, Spain Christopher Lee, Germany Roger Lee, Sevenoaks Jeremy Madigan, Surrey Paul Mason, London Ian McCormick, County Down Steve Oakes, Kent Philip Pell, Devon David Thomas Pelling, Norfolk

Colin Perry, Dorset Mark Petherbridge, Cleveland Christine Prickett, Northamptonshire Chantal Ramard, France Jonathan Ride, Devon Paul Rigg, Wiltshire Philippa Smith, Hampshire Rob Snellgrove, Hampshire Lindsay Southgate, Cornwall Cliff Spooner, Herefordshire Ton Van Der Laan, Holland David Warner, North Yorkshire Stephen Waters, Worcestershire 02/17 LRPS Exemptions Ray-Anna Collins, Grimsby Olivia Dent, North Lincolnshire Georgia Harris, Lincolnshire Jack Key, Bournemouth Rebecca Kirwin, Grimsby Abigail Maurice, Cleethorpes Yasmin Ramsey, Grimsby Nicole Williams, Grimsby Paulina Wolska, Cleethorpes 02/17 ARPS Exemptions Sally Johnson, Hampshire Kelvin Chan Wan Li, Malaysia Richard Moore, Lincolnshire Bill Power, Cork Margaret Taylor, East Yorkshire

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BOOK REVIEWS

| IN FOCUS | 177

OLD FUTURE Erik Madigan Heck Thames & Hudson (£28) Heck, winner of the 2013 ICP Infinity Award for his fashion output, describes himself as ‘a painter who uses photography’. This, his first monograph, features work using a combination of analogue and digital techniques. While influenced by painters such as Vermeer and Chagall, Heck’s beautiful, often vivid, images are distinctively his. Old Future cements his growing reputation as an original voice in contemporary fashion photography.

NATURAL WONDERS

ERYNGIUM BOURGATII, MEDITERRANEAN SEA HOLLY, LEAF © 2016 ANN AND JÜRGENWILDE, ZÜLPICH

Remarkable plant studies by a German pioneer KARL BLOSSFELDT: MASTERWORKS Thames & Hudson (£40) Karl Blossfeldt’s collection of plant studies is now regarded as one of the most important bodies of photographic work from the early 20th century. Yet for most of the time he was making these pictures he simply considered them to be no more than teaching aids for his art students.

Blossfeldt (1865-1932) was a teacher, sculptor and selftaught photographer who, in 1898, began taking images of plants while teaching at the Institute of Royal Arts and Crafts Museum in Berlin. His aim was to allow students to study natural forms and patterns more easily than they could with actual plant specimens. He went on to develop a series of home-made cameras that could magnify objects by up to 45 times their size. Over many years he made around 6,000 plant studies.

It wasn’t until 1928, when he was 63, that a selection of his photographs was published in Urformen der Kunst (Art Forms in Nature), which became an

international best-seller. His work was praised by everyone from cultural critic Walter Benjamin to the surrealists.

Blossfeldt went on to become a professor at the Academy of Applied Arts in Berlin. In his writing, he expressed the hope that these ‘botanical documents’ would ‘reawaken a sense of nature, point to its teeming richness of form, and prompt the viewer to observe for himself the surrounding plant world.’

This book is a selection of 70 of his finest images, printed to a high standard, and including unfurling fern fronds, flower buds, seed pods, tendrils, sections of branches and individual leaves, all carefully arranged against a plain backdrop. The images’ directness and simplicity encourage the viewer to concentrate entirely on the plants’ fascinating range of shapes and patterns. Through Blossfeldt’s lens, intricate and delicate natural structures take on a powerful and almost metallic quality; the familiar is seen afresh.

DAVID CLARK

OXFORD THROUGH THE LENS Douglas Vernimmen ACC Art Books (£25) Developmental biologist Douglas Vernimmen LRPS, while working at the University of Oxford, documented his surroundings to produce this well-made book.

Vernimmen depicts all the familiar attractions around the city in monochrome and colour, as well as giving insights into the formalities and fun of academic life. This book is perfect for someone who knows the city well and wants a memento of their experiences.

THE DEMOCRATIC FOREST: SELECTED WORKS William Eggleston Steidl (£38) Selected Works comprises 68 images distilled from Eggleston’s 10-volume series The Democratic Forest (2015). In his words, ‘no particular subject is more or less important than another’ and his hugely influential work highlights the beautiful and strange in the everyday.

Including an illuminating contextualising essay by art historian Alexander Nemerov, this is a great introduction to Eggleston’s six-decade career.

VOL 157 / MARCH 2017 / THE RPS JOURNAL / 177

178 | MARCH WHAT ARE DISTINCTIONS?

Distinctions are standards of achievement recognised throughout the world

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

Janet Lowe LRPS

Achieving my Licentiate has been a positive learning experience. I made use of all the resources offered by the Society, attending an advisory day at an early stage, where I received constructive feedback.

I also enrolled on the Society’s Open University course – Digital photography: creating and sharing better images – which helped me hone my technical skills and motivated me to experiment with approaches to subject and composition.

Some of my photographs were taken for assignments during the course. It was exciting to go out with a brief and look for images that I might not otherwise have seen. During a second advisory day I received guidance on my final choice of images and on portfolio layout.

My portfolio includes photographs from seven different countries. I find travel inspirational, and having a camera makes me look at my surroundings more intensely.

I like to spend time at a location and look for unusual viewpoints and details. Using a tripod helps me to choose a composition carefully. Four of my photographs were taken in low light and I enjoy experimenting with slower shutter speeds. By contrast, for three of my photographs I had to press the shutter at just the right time to freeze the action. Getting that right was very satisfying.

RIGHT

Military Two Step: the best, and most humorous, of a series of photographs of the soldiers changing position. Nikon D60, 18-55mm lens, 1/320, f/11, ISO 400 178 / THE RPS JOURNAL / MARCH 2017 / VOL 157

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

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

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FACTFILE

A retired college principal, Janet Lowe spent most of her professional life in higher and further education. She is an active Rotarian, gardener, traveller and photographer

BELOW

RIGHT

Copper Pouring: I arrived just as this was taking place so had to react quickly.

I cropped the image tightly to draw in the viewer. Fujifilm X-E1, XF 18-55mm lens, 1/80, f/8, ISO 400

Begonias: this photograph was carefully composed to capture light, shade, symmetry, colour and detail.

Nikon D60, 18-55mm lens, 1/80, f/11, ISO 100

ABOVE

Hermitage: an unusual viewpoint in a popular location.

Fujifilm X-E1, XF18-55mm lens, 1/35, f/7.1, ISO 800, with tripod

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ASSESSOR’S VIEW

ROSEMARY WILMAN HonFRPS Licentiate panel chair Variety of approach is one of the criteria for the Licentiate Distinction and Janet Lowe’s portfolio demonstrates this

requirement very well.

Her images are taken in different lighting conditions; she has used different focal lengths and controlled depth of field appropriately.

Lowe chose a variety of subject matter which is of

interest to her, rather than trying to cover too many genres. Among the images, many of which are simple in approach, she has two shots which are quite complex, again showing her excellent creative eye. She has

definitely captured the decisive moment with the positions of the marching soldiers. Further variety is introduced in the flowerpots against the blue wall.

Throughout the portfolio Lowe’s images are

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thoughtfully composed, with attention to detail. She has avoided distracting elements such as inappropriate highlights or intrusions of unrelated content around the edges.

The portfolio is well balanced, with the use of blue in the six portrait-orientation prints creating an excellent framework for the whole layout, which is completed by four well-balanced images.

The prints were of an excellent technical quality. They were printed on A4 paper and cleanly presented on light 40x50cm mounts, adding to the overall quality of the portfolio.

With her very thoughtful and creative submission, Lowe ensured that she met all aspects of the criteria – essential to success. The recommendation for the Licentiate made by the panel members was well deserved. Our congratulations.

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HANGING PLAN

'The blue in the six portrait-orientation prints creates an excellent framework for the whole layout'

BELOW

Lisbon: a fast shutter speed froze the cyclists' movement.

Fujifilm X–T10, XF 18-55mm lens, 1/640, f/13, ISO 400

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Licentiate criteria

Requirements redrafted to facilitate better feedback

T

o be awarded Licentiate of the Society you need to show variety in approach and technique but not necessarily in subject matter, evidence of creative ability and a high technical standard appropriate to your submission, together with a comprehensive knowledge and ability in your discipline. It is essential that a range of photographic skills is demonstrated in your submission.

Applications at Licentiate level will be assessed against the following criteria:

CAMERA WORK AND TECHNICAL QUALITY Correct point of focus with appropriate depth of field. You should demonstrate that you know how to control these elements of camera craft through your choice of shutter speed and aperture when appropriate for the subject matter.

VISUAL AWARENESS You need to show a good understanding of how to use light in photography. The correct choice of source and direction, time of day (if natural) and intensity of light can greatly enhance an image. Correct use of light can create a mood or atmosphere and add impact to an image.

Composition and design bring together all the visual elements. Effective

composition directs the viewer’s attention and prompts them to look where the creator intended.

Correct choice of viewpoint and awareness of inappropriate backgrounds and distractions.

Appropriate use of colour/ monochrome medium.

Appropriate use of manipulation or post-production techniques. It is not a requirement to include manipulated images but if you do so it should add value to the image and any post-production work must be technically appropriate.

COMMUNICATION Show clarity of intent with the image and, where appropriate, a point of interest.

Demonstrate evidence of imagination and creativity to convey a mood, message or idea.

Show understanding and empathy with the subject matter.

The ability to capture the decisive moment when appropriate.

OVERALL IMPRESSION A balanced and cohesive set of images: how the images work together and are presented for assessment is important.

Appropriate choice of materials: selection of an appropriate paper surface and mount board for the image when submitting prints.

A variety of approach: it is essential to show a variety of photographic skills and techniques. Repetition of similar images must be avoided.

The selection, editing and final presentation of the images must show clear evidence that thought has been given to the layout or sequencing of the submission.

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ANDY MOORE LRPS

Suitable sharpness for the subject matter: camera shake, overenlargement of images or a low-resolution file may result in poor technical quality.

Correct exposure with appropriate control of highlight/shadow detail and tonal range.

Correct colour rendition/management for the image.

An absence of processing faults or digital defects.

184 | DISTINCTIONS |

The Fellowship process explained Roy Robertson HonFRPS clarifies the procedure for achieving the sought-after Distinction After a 16-month period, during which time the Fellowship board was the main focus of the Distinctions review, initiated in August 2015, it was reassuring to see a substantial vote of confidence from council for the board, its membership and the Fellowship process.

There was a recognition that the Fellowship process needs to be more widely understood, and hopefully this article will go some way to support this. At the same time, anyone who attends the introduction to Distinctions events held across the country will have a clearer idea of the process and standards required for Fellowship. The Distinctions section of the website also clearly sets out the process.

Since the Fellowship board was set up in 2001 at the instigation of the chairs of the specialist category panels, the Fellowship process has been a two-stage procedure.

STAGE ONE An applicant submits to the specialist category.

That panel will assess it against their category criteria as detailed in the guidelines.

STAGE TWO Should they consider it worthy of considering for Fellowship, it will go to the second stage of the process, and the applicant will receive the following email from the Distinctions department: ‘I am pleased to tell you that your portfolio is moving to Stage 2 of the Fellowship 184 / THE RPS JOURNAL / MARCH 2017 / VOL 157

process – consideration by the Fellowship board.

I should make it clear, however, that this does not guarantee success and it is the Fellowship board that is the final arbiter for all Fellowship applications.

It is very important that while your application is being reviewed, you must not post any details/comments on any social network sites. Failure to comply with this requirement may result in disqualification and loss of your application fee.

Only when you have received notification from me on either your recommendation or non-recommendation can you post on social networking sites.

This is to ensure privacy is maintained until the final ratification has been made by council.’

The specialist category panel may not recommend the submission for a variety of reasons: the submission may not fulfil the criteria, it may not indicate progression from the applicant’s Associate submission, or the panel may not deem it appropriate for Fellowship consideration.

The Fellowship board currently consists of seven experienced photographers from a wide range of photographic disciplines, plus a non-voting

ABOVE

An image from Tony Bramley FRPS's successful 'Transitional Photography' submission (conceptual and contemporary photography) RIGHT, TOP

Shadé by Andre du Plessis FRPS (applied photography) RIGHT

Snowy Egret bullied

by Laughing Gull by Mike Rowe FRPS (natural history)

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chair. Three members represent the Distinctions advisory board, which is responsible for moderating all panels to ensure consistency of standards over periods of time and across the different categories. A panel chair represents the specialist category panels. Three external members provide an additional broader range of expertise.

The intention is to expand the Fellowship board to nine members, with the additional members not coming from the Distinctions advisory board.

The board’s responsibility is to assess whether an application shows outstanding and creative photography. It is not for the VOL 157 / MARCH 2017 / THE RPS JOURNAL / 185

186 | DISTINCTIONS |

board – or any panel – to ‘like’ a submission, but to assess whether it achieves what is set out in the written statement of intent through distinguished or distinctive photographic ability.

Much is made of the percentage of successful applicants. This, however, misses the point – the standard of Fellowship is what it is, and if all applicants reach this standard, all will be successful. Throughout all levels of the Distinctions, there is now considerably more support for members working their way through the different levels.

Ultimately, Fellowship submissions are personal

projects, and by their very nature, vary widely. The successful applications we have seen in recent years illustrate the diversity of photographic practice which the Society welcomes.

Achieving a Fellowship is not easy, as anyone who has been successful will tell you, but it is a level of Distinction, internationally recognised, and the highest recognition of photographic ability that the Society provides to its members.

Roy Robertson HonFRPS, chair of the Fellowship board

An image from the Streets of Kolkata around Bara Bazar – Hazel Mason FRPS's successful travel Fellowship submission 186 / THE RPS JOURNAL / MARCH 2017 / VOL 157

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BIENNIAL 188 | EXHIBITION | MEMBERS'

Society

We reveal the winners of the Members' Biennial Exhibition alongside some of our favourites

of the

spectacular 188 / THE RPS JOURNAL / MARCH 2017 / VOL 157

WINNER

SILVER AWARD

GASCON CATTLE CLIMB THE PYRENEES Martin Castellan, France Martin Castellan is pursuing a longterm book and exhibition project to

document livestock farming in the Pyrenees, which relies heavily on subsidies. Every spring, farmers take their livestock to pastures in the mountains

where they spend June to October, away from the hot, dry lowlands where grass doesn’t grow and water is scarce.

While climbing through cloud at

around 2,000m altitude, these Gascon cattle have strayed from the main track and a stockman directs them back to the path.

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BIENNIAL 190 | EXHIBITION | MEMBERS'

WINNER

BRONZE AWARD

KRAFLA POWER STATION Paul Mann ARPS, UK Drawn to photographing architectural compositions, Paul Mann ARPS took this eerie, night-time photo of Krafla Power

Station – a geothermal power plant in Iceland, close to Krafla volcano – in December last year. He used a Canon 5D MkIII with a 24mm, tilt-shift lens and a long shutter speed.

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he Society’s Members’ Biennial Exhibition returns this year with another stellar line-up that showcases work by amateur and professional photographers.

Nearly 3,000 images were submitted to the competition from countries around the world.

‘The entries demonstrated the huge range of genres and styles of photography practised by the Society’s members, and the selectors were mindful of producing an exhibition which reflects that diversity,’ said Lesley Goode, the Society’s exhibitions manager.

The selected images represent photographers from France, Hong Kong, India, Ireland, Italy and Switzerland, as well as the UK, with an age range of 23 to 88.

This year’s exhibition also includes work by 12 of the Society’s Honorary Fellows, including Joe Cornish, Susan Derges, Bryan Adams, Harry Borden and Simon Roberts, which provides inspiration and gives members and visitors to the exhibition the chance to see the level of work that can be achieved.

The selection panel, which included Ben Brain ARPS, Tony Bramley FRPS, Maria Falconer FRPS, Andre du Plessis FRPS and Steve Smith FRPS, had the unenviable task of choosing the final images for the exhibition.

Each of the selectors had the opportunity to choose their shortlist from the entries, before coming together to view the combined shortlists and discuss why particular images were picked. For the final selection, each image had to have a majority vote.

MEMBERS' BIENNIAL

| EXHIBITION | 191

WINNER

GOLD AWARD

Finally, renowned American photographer Joe McNally FRPS chose the Gold, Silver and Bronze award winning images.

‘This is the moment, plain and simple,’ McNally said of Michael Durham FRPS’s gold-award-winning shot of a juvenile sparrowhawk catching a coal tit in flight. ‘Tack sharp, peak action, good light, well-managed background.’

Lesley Goode added: ‘Our thanks go to the selectors for giving us their time and expertise, and we are also very grateful to Fotospeed, the Fine Art Print Room and Digital Camera magazine for their support of the exhibition.’

The exhibition will be at Shire Hall Gallery, Stafford, from 4-26 March before touring.

For details see page 194 or rps.org/MB2017

PREDATOR AND PREY Michael Durham FRPS, UK Michael Durham FRPS had set up

a feeder in his garden to photograph red squirrels when there was a surprise visitor:

a young male sparrowhawk, desperate to make a meal of the smaller birds attracted by the

food. It took Durham several attempts to capture this wonderful shot of the juvenile sparrowhawk.

SHADES OF GREY Kate Maxwell, UK While working on a street photography

project, wet weather drove Kate Maxwell indoors to shelter in a

vintage market.

Hidden away in a small room upstairs was this display,

the light and the delicate fabrics evoking a sense of nostalgia and mystery.

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BIENNIAL 192 | EXHIBITION | MEMBERS'

THE DRIVER Matthew Richardson, UK To create this picture, Matthew Richardson hired model Alice Oxley and borrowed a 1940s Chevrolet.

With the shadows cast by the window frames, along with 70-year-old glass, posing a challenge, Richardson used a polarising filter and three Elinchrom lights, a Speedlight through the passenger windscreen to fill the model's face and another on the parcel shelf to light the ceiling.

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FOOTPRINT Roger Ford FRPS, UK Roger Ford’s curious photo shows a catamaran crew member with his foot against a frosted glass window. Ford was intrigued by the shape of the man’s foot and the position of his leg.

PIP AND TWIG Doug Berndt ARPS, UK Actors Siân Richards and Kara McLane Burke pose in South Queensferry, Scotland, for a publicity shot for their Edinburgh Fringe show The Convolution of Pip and Twig.

Captured on a windy Sunday morning, the image includes the impressive Forth Rail Bridge.

CAMEL RACE Sanjoy Sengupta, India Choosing a low angle to

photograph this camel race in Oman, Sanjoy Sengupta manages to

perfectly capture the energy of the event.

Sengupta, who lives and works

in Oman, spends his weekends photographing local culture and traditions.

He used his Nikon D700 with a wide-angle, 14-24mm lens.

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BIENNIAL 194 | EXHIBITION | MEMBERS'

ABSORBING Mark A Phillips ARPS, UK This image was taken in the summer of 2016 at the Parc des Ateliers

exhibition space in Arles, France, while the annual Les Rencontres de la Photographie exhibition was taking place.

Photographing in the brightness

of a midday sun, Mark Phillips decided to shoot in infrared.

This creative choice gives the person in the foreground the appearance

of sinking into the grass.

‘I love work that makes you look again and again, trying to decode the image,’ says Phillips.

EXHIBITION TOUR 4–26 March Shire Hall Gallery, Stafford 1–16 April intu Watford Harlequin Gallery, Watford 22 April –3 June The Point, Doncaster 24 June– 5 August Warrington Museum & Art Gallery DUCK PHOTOBOMBING Paul Colley ARPS, UK For a project documenting river life, Paul Colley wanted to show an unusual interaction.

These fish had learned to hang

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18 August –21 September Washington Arts Centre 30 September –12 October Hull International Photo Festival (Hull City of Culture), Creative & Cultural Arts Space 3 4 November– 7 December Royal Albert Hall, London around bridges wherever children went to feed the ducks. Colley used underwater housing for a Nikon D4 and Sigma 15mm fisheye lens; it took nearly three months to get this shot.

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LAHENEY ARPS 196 | FIRST PERSON | TERENCE

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TERENCE LAHENEY ARPS

| FIRST PERSON | 197

INSIDE MY HEAD THERE’S A

WAR ZONE

Falklands conflict veteran Terence Laheney ARPS reveals exclusive images documenting his experiences on the front line 35 years ago, and tells Peter Ross how photography has helped him cope with post-traumatic stress disorder PORTRAIT BY HOWARD BARLOW

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LAHENEY ARPS 198 | FIRST PERSON | TERENCE

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diagnosed with post-traumatic stress disorder (PTSD), a psychological condition which can be caused by experiences of combat, and which can sometimes surface after many years without any apparent problems.

This is the condition which, during the First World War, was known as ‘shellshock’ yet it is far from being a part of history. Combat Stress, a veterans’ mental health charity, has 6,000 former military personnel registered for support, and reports that referrals have increased by 71 per cent over the last five years.

Awareness of the condition is growing, but it remains poorly understood.

‘You don’t have to see your best friend killed next to you to get PTSD, but that’s what the public perceive,’ Laheney explains. ‘I was a professional, I ran a very successful school department, and then … something happened.’

Looking back, he still can’t quite get his head around how suddenly his life changed. ‘I was sat in the office and I felt my heart thumping. I thought, ‘Christ, people must be able to hear that!’ Cold sweats, pains in my chest. I thought I was having a heart attack. I had to get out of the building.’ He left the school and never went back to teaching.

His GP diagnosed PTSD; his symptoms typical. He had vivid nightmares, every night, in which he relived his Falklands experiences. He suffered depression –

‘I went to some pretty dark places’ – and anger, and had strange out-of-body experiences, a sort of hyperawareness, in which he could see and hear himself walking down the street as he did it, alive to every rustle of his clothes.

‘It got worse and worse,’ he explains.

‘Eventually, I couldn’t go to any public places. I couldn’t go on buses or trains. I couldn’t leave the farm. I found it very difficult to look people in the eye when I was speaking to them. I couldn’t string two words together.’

After a referral to Combat Stress, he began an 18-month period of therapy, which included going through his Falklands photographs and talking about his experiences. It was a way of confronting and detoxifying memories that had become poisonous. He was amazed by how vividly it came back to him. ‘It all becomes very clear,’ he says. ‘It was as if I’d been there just an hour ago.’

Laheney was a crew member on HMS Fearless, an assault ship and troop carrier which had a degree of glamour, having a few years previously appeared in the James Bond film The Spy Who Loved Me. Laheney joined the navy in 1979, fully expecting to have a peacetime career, so to find himself being sent to war by Margaret Thatcher was a surprise – although not an unpleasant one.

‘I was excited,’ he says. ‘There was no fear. Young lads of 21 have this

TERENCE LAHENEY ARPS

erence Laheney ARPS is sitting in the cosy lounge of his farmhouse in North Yorkshire, lulled by the flickering fire and ticking clock, but his mind is elsewhere – 35 years in the past and 8,000 miles south.

He is back in the Falkland Islands. ‘Inside my head,’ he says, ‘there’s a warzone.’

Laheney, now 56, was just 21 when, in 1982, he was deployed to the Falklands as part of the British operation to take them back from the invading Argentinians. He was a weapons electronic mechanic with the Royal Navy, but also an amateur photographer, and has 100 or so evocative pictures of his Falklands experiences – pictures that not only help tell the story of a war that went largely undocumented by photographers, but which have also helped Laheney recover from the trauma of that war.

Those of us examining these photographs with the luxury of distance see them as part of the historical record.

For the man who took them they are a way of accessing and processing memories – the sights, sounds, smells of battle – which he finds difficult.

For many years after leaving the military and retraining as a teacher he was untroubled by his experiences; then, three and a half years ago, he was

198 / THE RPS JOURNAL / MARCH 2017 / VOL 157

TERENCE LAHENEY ARPS it was all over. It was months later and Laheney had forgotten all about them and then suddenly, one day, there they were. ‘I’d probably have got myself shot if they’d known at the time what I was doing,’ he laughs, ‘or I’d only just be getting out of prison now.’

Anchored in San Carlos Bay, known as Bomb Alley, the Fearless came under attack from enemy aircraft. The warning would go off – ‘Red! Red! Red!’ – and Laheney manned a light machine gun, trying to scare them off. He remembers the sound of 30mm cannon fire hitting the hull, ‘like someone banging your front door with a sledgehammer’.

This was exciting, like something out of a comic. He wasn’t scared of being killed.

He felt like Superman. Reality struck, though, on 23 May 1982, when HMS Antelope was bombed. ‘There was an almighty explosion, our ship rocked, and people were screaming, ‘The Antelope’s gone up.’ I remember getting on the upper deck and seeing all the lads in the water, in darkness. It was horrendous.’

Survivors were pulled from the killingly cold water and brought on board the Fearless. ‘The following morning I woke up early and that’s what

LEFT

BELOW RIGHT

Laheney when he was an electronic mechanic with the Royal Navy

The wreckage of HMS Antelope as captured by Laheney

BELOW LEFT

A selection of Laheney’s images taken during the Falklands war

‘THERE WAS AN ALMIGHTY EXPLOSION, OUR SHIP ROCKED, AND PEOPLE WERE SCREAMING, “THE ANTELOPE’S GONE UP”’

TERENCE LAHENEY ARPS

invincibility about them.

We were fit, we’d had our training and, besides, we were British. We were going to win. You were brought up to believe that.’

HMS Fearless was the communications hub for the fleet. Laheney’s job was to maintain the teleprinters which allowed the ships to communicate, in code, with one another and with command. His role meant he had time to wander the ship with his cameras – an Olympus OM-2 and Nikon FM – taking pictures as he pleased. He wasn’t an official photographer, but his superior officer had okayed it, and no one seemed to question his presence.

The resulting collection of images show life on board, the battle at sea, and provide a portrait of newly liberated Port Stanley. What makes the pictures remarkable is their rarity. Technical limitations, censorship and the fact that only two photographers were embedded with the British fleet meant that only 202 photographs were transmitted to British newspapers from the warzone.

Given these challenges, how did Laheney get his pictures home? Simple.

He gave them to the island postmistress, who posted them back to England once

| FIRST PERSON | 199

VOL 157 / MARCH 2017 / THE RPS JOURNAL / 199

LEFT

Terence Laheney ARPS at his North Yorkshire farm, with his springer spaniel Diesel

‘THAT WAS SOMEONE’S FATHER AND SON. IT WAS THE FIRST TIME I EVER SAW A DEAD PERSON … AND THAT’S WHEN THESE THINGS HIT’ I saw,’ he says, pointing to a photograph – two dark peaks in the water, like jagged rocks which, on closer inspection, turn out to be the stern and bow of the stricken boat. ‘That’s the Antelope. That’s how quick it went down.’

The sinking of the Antelope is one of a number of incidents Laheney believes caused his PTSD. Another came when he went ashore at Port Stanley and saw the bodies of Argentinian soldiers laid out in a temporary morgue. ‘That was someone’s father and son, wasn’t it? It was the first time I ever saw a dead person. That’s when these things hit.

This isn’t Boy’s Own. This is real. You look back and you think, “Margaret, did we really have to go there?”’

It would be wrong to say that Laheney is back to his old self. But he is in a much better place than he was. An Associate of The Royal Photographic Society, taking pictures is part of how he copes. On a voluntary basis, he teaches photography to veterans at The Beacon, a supported housing charity for homeless ex-service personnel with support needs, based at the army’s Catterick garrison.

This is almost a kind of therapy for him; as a teacher who had to give up his job, passing on his knowledge of how to use a camera makes him feel he still has something worthwhile to offer. Also, being around other veterans, some of whom have sustained terrible physical

injuries, including the loss of limbs, makes him feel that his own troubles are not so bad after all.

Laheney began taking pictures as a boy growing up in the railway town of Shildon, County Durham. An unconfident child who felt like an outsider, he found the camera a sort of shield against the world. He would go into the surrounding countryside and photograph wildlife.

His life has, now, come full circle. Once again, the camera gives him protection, comfort and purpose. Uneasy at having to travel far from home, he stays as much as possible on his farm, photographing animals and his beloved wild birds – goldfinches, woodpeckers, owls. He goes for long walks with his springer spaniel Diesel, finding the dog a good listener. ‘You don’t have to pretend to be anything when you’re with animals. You don’t have to explain yourself. It’s easier.’

Given what it has cost him, does he regret, in this 35th anniversary year, that he ever went to the Falklands? ‘No. We had a job to do. I’m very proud to be British and to fly the flag.’

There is a grim irony in the fact that the man who, at 18, joined the navy in order to see the world has found himself, in his fifties, more or less confined to the 25 acres of his own property. Yet, he insists, while his horizons have shrunk in one sense, they have expanded in another. He has discovered that there is an enjoyable intensity in knowing one’s own patch extremely well. It is a feeling familiar from those childhood travels with a camera – the pleasure and solace of focus. ‘You become alive,’ he says, ‘by noticing everything around you.’

ACCESS DENIED

The Falklands was the worst-reported war since the Crimea says author Julian Barnes, who from April 1982 was the Observer’s television critic.

Of some 30 accredited journalists and TV crews embedded with the British military, only two were photographers. The world’s most celebrated living war photographer,

Don McCullin, was refused access to the conflict.

‘It seems unusual that someone like me, who had more experience of being in wars than anyone else who went to the Falklands, wasn’t allowed to go,’ McCullin told the Journal.

‘Maybe my experience was the reason they never granted permission. At the time, I thought it was

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censorship, but I had no evidence to back that up.’

In a Guardian article in 2002, Barnes describes the British fleet’s televised departure as ‘the last sunny, honest, unspun images we [got] for some time … ‘, adding: ‘While our armed forces defeated the Argentinians, the Ministry of Defence was putting to rout the British media.’

HOWARD BARLOW; ALAMY

Don McCullin HonFRPS reveals why he thinks he wasn’t accredited for the Falklands

PHOTOGRAPHY 202 | TECHNIQUE | GARDEN

How to take prize-winning garden images Winners and finalists from the International Garden Photographer of the Year competition reveal the tricks of their trade 2

1

3

DAWN BLIGHT

Sheffield Park Pentax K-1, f/2.8 24-70mm lens, 1/60sec, f/7.1, ISO 100 1 After setting up the tripod and composing the image I noticed the sun had illuminated Sheffield Park House

beautifully, along with its reflection in the water and the nearby trees. The ducks moved into position on cue.

2 My main concern was making sure the top of the trees were kept in shot and I tried my best to include as

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much of their reflections as possible. I also wanted to accommodate the house and trees on either side to allow me to crop further if necessary.

3 The movement of the mallards from left to right helps the viewer.

To find out more about International Garden Photographer of the Year, including how to enter and exhibition tour dates, visit igpoty.com

1

2

4

3

BRANDON YOSHIZAWA

Lone Juniper Nikon D750, Nikkor 14-24 f/2.8. Stars: f/2.8, 15sec, ISO 6,400. Foreground: f/14, 10sec, ISO 320

1 I took this shot in Joshua Tree National Park, California,

using two exposures. The foreground was taken after sunset with a small amount of ambient light. The camera was left in position and the sky was shot once it was dark and the Milky Way rotated to the right of the juniper tree.

2 This photograph took planning to ensure the Milky Way lined up directly over the juniper. I used an app called Stellarium to predict the exact direction of the Milky Way. 3 I wanted to ensure that the root structure was

incorporated into the picture as the foreground leading lines.

4 The rock is much larger than the juniper, but getting down low gives you the perspective that the tree is larger. It also gives you the chance to catch the details of the roots.

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PHOTOGRAPHY 204 | TECHNIQUE | GARDEN

STEFANO COLTELLI

San Quirico d’Orcia, Siena, Italy Nikon D800E, Nikon AF-S Nikkor 70-200mm f/2.8G ED VR II lens, 1/50sec, f/8, ISO 200

always try to follow the rule of thirds, composing important elements according to a grid that separates the photograph into nine equal parts.

3 I used a graduated neutral-density filter, which is necessary to balance the light intensity of the sky with the hills.

4 I edited the photo using basic adjustments – exposure, brightness, contrast, clarity and saturation.

1 During spring, the hills in this region are green and you often encounter fog.

Early one morning I shot this beautiful sunrise over the hills of Tuscany.

2 In my landscape images I

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CAROLYNE BARBER

Epping Forest, Essex Fujifilm X-E1, XF18-55mm, f/8, 1/3sec, ISO 200

1 Autumn mornings in Epping Forest can give rise to the most magical conditions, with mist and soft diffused sunlight coming through the trees.

2 I was captivated by the mist but couldn’t find a good composition, then this scene appeared among some birch trees. Technically, all I had to do was compose the picture and press the shutter.

3 I wanted maximum depth of field, requiring a smaller aperture and longer shutter speed, so I used a tripod to ensure the camera remained still. The mist slightly softened the trees in the background, which gave a painterly effect.

4 The part that caught my eye was the heart-shaped opening in the trees – a window through which you could see wisps of trees and branches far beyond.

And there are some beautiful splashes of orange and green gently framing the scene.

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KASIA NOWAK

Berry Jewel Case Nikon D800, Tamron 90mm macro lens, 1sec, f/22, ISO 100

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1 This was taken in the street where I live. I spotted these cobweb-clad berries when returning home from an unfruitful walk with my camera. I jumped at the opportunity to take some detail shots of this bush.

2 The berries looked like a collection of jewels neatly placed in a box. I wanted to capture their natural beauty and also the whole range of autumn colours.

3 I used my macro lens to get close to the subject and fill the frame. A tripod was essential to steady the camera during the long exposure, and allowed for a fairly low ISO and narrow aperture, improving detail and giving the maximum possible depth of field.

4 I made sure that the most vibrant splashes of colour were spread evenly throughout the frame and I composed the main berry alongside three yellow leaves in accordance with the rule of thirds.

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PHOTOGRAPHY 206 | TECHNIQUE | GARDEN

SIMON HADLEIGH! SPARKS

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Autumn morning at Syon House and Gardens Sony a6000, 19mm Sigma prime, f/4, 1/4,000, ISO 320 1 This is where I live and work and, on occasion – especially on misty mornings – I have my camera with me. The lake and trees have always lent themselves to nice photos, particularly when the sun is low during misty autumn and spring sunrises.

2 Standing at one end of the bridge, all the elements of the picture came together. The mist, the water and the low autumnal sun work well in a vertical frame and give it a three-dimensional feel.

3 Even a 19mm lens would not have achieved these results, so I stitched together three images to create this vertical panorama.

4 I always like to include sky and cloud. The gap in the trees revealed the low sunlight which was catching the remains of a thick mist. The cloud trail was a bonus.

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JOIN THE NATURE GROUP

If you enjoy photographing nature and are interested in meeting like-minded people, why not join the Society’s Nature Group – one of the largest and most active of all the special interest groups. Find out more at bit.ly/NatureGroup

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Portfolio winners

Every year, the Society supports the IGPOTY portfolio category.

Here are 2017’s top three photographers

1st PLACE

Steve Lowry Cut Flowers My portfolio Cut Flowers consists of a series of cross and longitudinal sections of common garden flower buds.

The initial stage in the project was to photograph stained microscope slides of each bud. I used an Olympus BX41, with my Nikon D300 attached by a MicroCam microscope adapter.

As the buds are relatively large in microscopic terms they were photographed in four sections that were then stitched together using Photoshop. Next, I made a selection of the background and filled this with white. Each image was then completed by applying minimal sharpening.

2nd PLACE

Tommaso Renzi White Winter Trees These are part of a long-term project where I photograph snowy landscapes. I live in Italy where snow is not so common, so I often trek into the Apennine Mountains.

Here the amount of snow can vary a lot from year to year.

So, capturing snowy landscapes can be challenging, but for this portfolio I simply used the built-in flash of the camera to enhance the snowflakes.

3rd PLACE

Anna Laurent Dispersal I At first glance, my close-up photographs of fruits and seeds could be mistaken for works of abstract art. In fact, each portrait captures a phase in a plant’s life cycle,

| BOOK NOW | SOCIETY GARDEN WORKSHOPS |

based on close study of a species’ dispersal behaviour.

I photograph the specimens in a muslin light tent with a six-point lighting system.

To see the full portfolios visit bit.ly/IGPOTYPorfolio

Sign up for Learning from History – Photographing Plants and Gardens, and Plant and Garden Photography. For more information see rps.org/learning

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BISS FRPS 208 | BEST SHOTS | LEVON

SMALL WONDERS Levon Biss FRPS has shot advertising campaigns and A-listers, but in a new direction is photographing insects measured in millimetres, finds David Clark RIGHT

A shield bug that was collected by Charles Darwin.

For more information see page 210

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LEVON BISS FRPS

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BISS FRPS 210 | BEST SHOTS | LEVON

SHIELD BUG 2016 ‘This shield bug, an insect from the Oxford University Museum of Natural History collection, was photographed for my Microsculpture project. It was collected in Australia by Charles Darwin, during his famous 1836 expedition on board the HMS Beagle. This insect is tiny, about 4mm long.

It was one of the last insects I shot for the project and for me it was a really nice way to end.

It was a real privilege to shoot something so historically significant and have it in my studio. It felt like a validation of the project.’

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he photographers with the longest and most successful careers are those who are the most curious,’ says Levon Biss FRPS. ‘That’s the key to it. Curiosity is what moves you to take a better picture, or on to the next project.’

Biss’s own curiosity has taken him down an unusually varied path which has included major advertising campaigns, celebrity portraiture, documentary work and fine art.

His small, compact studio in a converted farm building a few miles from his west Berkshire home includes an IT workspace and a small wooden table, surrounded by lights modified with snoots and home-made diffusers.

This is where the 41-year-old photographer has shot the tiny insects that have made some very big pictures.

On the table, his tripod-mounted DSLR is fitted with a microscope objective and is pointing towards an inch-long, exotic-looking wasp, long since deceased. On nearby shelves is an assortment of equipment, family photos and an old Olympus OM-10.

‘That was my first camera,’ says Biss. ‘It was actually my dad’s, but he let me play around with it in my mid-teens. I come from an artistic family and as a child was

always sketching. I was originally planning to be an illustrator, but as soon as I started taking pictures, that was it, I’d got the bug.’ After a foundation course in art and design he undertook a three-year photography degree at Kent Institute of Art and Design.

A year after graduating he was taken on as a junior photographer by a London-based marketing agency, RPM. His boss was established sports photographer Lee Farrant and much of the work was sport-related.

‘I was wise enough to realise it was a great opportunity, so I worked my hardest,’ he recalls. ‘I went to work two hours early and stayed late every day to do my own photography, and after two years I had a decent portfolio. By the time I was 25, I was shooting international advertising campaigns for Umbro.’

While exciting and financially rewarding work, at the same time Biss was keen to try something different. ‘We came up with the idea of documenting the game of football in its entirety, from kids in the mountains of Peru to David Beckham playing for England,’ he says.

After being commissioned by Umbro to shoot the project, he spent the next 13 months photographing football in 28 countries. The resulting book, One Love, published in 2006, was a success and a travelling exhibition of its images was seen by more than one million people.

After leaving RPM, Biss did more

LEVON BISS FRPS

documentary work, mixed with global campaigns for companies including Adidas. However, in recent years he has seen big changes in the advertising industry. ‘Photographers now have far less control over the final image,’ he says. ‘I’ve shot a few campaigns where I’m essentially a machine operator.

Sometimes the final results are nothing like I ever shot or planned to shoot.’

By chance, a new project took Biss’s career in another direction. In 2014, his young son brought in a ground beetle from the garden and they looked at it through a child’s microscope. Although it wasn’t an unusual species, Biss was taken aback by its beauty.

‘I wondered if I could transfer all my experience of lighting and studio work into photographing something that was 5mm long, and still have control over it,’ he says. ‘I wasn’t necessarily interested in the entomology; I was just fascinated by the way insects looked, their textures and colours. If you look at them as objects, they’re absolutely mesmerising.’

To achieve maximum impact Biss, using microscope objectives, shot each insect in as many as 30 different sections. Each section was lit differently to make them look as good as possible.

As depth of field is extremely shallow at high magnification, he used a ‘focus stacking’ technique. His camera would take a picture, automatically move forward 10 microns, and take another.

Thousands of shots were blended in post-production to produce a pin-sharp image of each section. Finally, the 30 sections were combined to produce a final photograph, made up from more than 8,000 separate images.

After showing some of these images to staff at the Oxford University Museum of Natural History, he was invited to photograph specimens from its extensive collection. When he had captured 37 of them, his Microsculpture project was complete and the photographs subsequently displayed in an exhibition at the museum. Prints were up to three metres wide and showed the insects in astonishing detail. The exhibition is currently on tour in Europe, where some prints will be eight metres wide.

These extraordinary images have altered the direction of Biss’s career; now 80 per cent of his work involves very small subjects. One commission involves him travelling to Bolivia, where he will spend 25 days shooting in the jungle on an insect-based project.

‘If we can pull it off, it will make Microsculpture look like child’s play,’ he says. ‘There will be complications, but as a photographer you’ve got to keep on pushing and you don’t know where it will lead. It’s about having confidence in your ideas and creativity. My work is now going off in lots of different directions and each one is a new adventure. That’s the exciting thing.’

| BEST SHOTS | 211

JEWEL LONGHORN BEETLE 2016 ‘This is one of the best-selling images from the Microsculpture project. I think it’s popular because people can’t believe this is the real colour of the insect. The beetle is from Nigeria and it’s around 16mm long. I like it because when you get up close you can see that it has a furry texture, which most people don’t expect in an insect.

At the end of the day it’s just a simple photo, but I really like the fact that people can look at images like this and see the beauty of these creatures.’

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BISS FRPS 212 | BEST SHOTS | LEVON

USAIN BOLT London, 2012 ‘I took this shot for the Sunday Times magazine, shortly before the London Olympics [where Bolt would retain his 100m sprint title in 9.63s, the second-fastest time ever].

It was taken in Twickenham, south-west London, in bright sunlight. I had the idea of using a big lighting rig with a fast flash duration to freeze movement and give a dark background. It took about five hours for me to set up the shot and test it, then we had Usain for about 20 minutes. I was only allowed to do four frames of him in total – he couldn’t do any real action because his body’s too precious.’

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LEVON BISS FRPS

BOCA JUNIORS v RIVER PLATE Argentina, 2005 ‘This was one of the first shots I did for my One Love project.

It was taken at a derby match between two rival soccer teams, Boca Juniors and River Plate, in Buenos Aires.

There are five games in the world football fans should see in their lifetime and this is one of them. However, I hadn’t planned for it to have quite such a hostile atmosphere.

It’s not secure or safe, so I couldn’t go around with my cameras or get many pictures.

This shot captures the one celebratory moment at the game where everyone comes together and enjoys it.’

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SOWETO TOWNSHIP Johannesburg, 2005 ‘When I was shooting the One Love project, I went to the back streets of a Soweto township in Johannesburg and came across this scene. The team had just won a game and had washed their kit. They were really happy and celebratory, and it was very refreshing to see. For me, it shows how sport can be a real source of pleasure and a distraction from the hardships of real life. I lit the scene with a small Quantum light, which I had on a TTL (through the lens) system, and I paid a guy on the street to hold it for me.’

PHILADELPHIA PHILLIES Florida, 2011 ‘In 2011, the Philadelphia Phillies baseball team had the four top pitchers in the league and I was asked to shoot them for the New York Times magazine. I went to their training camp in Florida. I didn’t want to do a traditional,

formulaic sports portrait. I looked at pictures of them in action and thought we could do something like Leonardo da Vinci’s Vitruvian Man drawing.

They thought I was a quirky Englishman, getting them to pose like this, but when they saw the picture they were blown away.’

‘FOR ME, IT SHOWS HOW SPORT CAN BE A REAL SOURCE OF PLEASURE AND A DISTRACTION FROM THE HARDSHIPS OF REAL LIFE’

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BISS FRPS 214 | BEST SHOTS | LEVON QUENTIN TARANTINO London, 2014 ‘Tarantino is very enthusiastic and charming, with quite a childlike quality. His films are known for being violent and I wanted to reference that in the portrait, as well as alluding to him being a film director. I gave him an old cine camera and asked him to hold it, but he saw through me straight away. He said: “I’m not going to stand here holding this like a gun.”

So I had to gently push things forward during the shoot, to the point where it did look quite like a gun. But he saw the picture in the end and loved it.’

HOTEL ROOM Boston, 2000 ‘When I was about 25, I was just finding my feet in photography and I used to make prints and sell them in pubs. This was one of them.

It’s part of a series of images called Light & Line, which was my first body of personal work of any substance.

The photographs were all very graphic and based on the way light falls on subjects, and the shapes it creates. This one was shot in a hotel room in Boston, Massachusetts.’

AUTHOR PROFILE A British photographer who has been shooting campaigns for international brands for almost 20 years, Levon Biss also created the bestselling football book One Love. Currently on a European tour, Biss’s Microsculpture project combines his passion for nature and macrophotography. See more of his work at levonbiss.com

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RICKY GERVAIS 2011 ‘I’ve worked with Ricky a lot.

He’s an amazingly creative character and a hard one to control in a shoot, because he likes to take over every time and be in complete control.

When I was commissioned to photograph him for the Observer, he phoned us to

discuss the concept of the shoot and we came up with the idea of showing him as a military dictator who has slightly lost the plot.

It was a self-parody, but he got into the role quite heavily.

We planned on shooting for an hour but he stayed for three hours, so we did lots of different versions.’

LEVON BISS FRPS

| BEST SHOTS | 215

TERRY GILLIAM London, 2015 ‘This picture is from one of my favourite shoots. Terry Gilliam is someone I greatly admire and I find him a real inspiration.

I was commissioned to photograph him for Wired magazine, and my assistant and I met him at an old theatre in Highgate, London. The shoot lasted less than half an hour, then we sat around talking shop and drinking coffee for over an hour. I like this picture because it’s nice and balanced, and it gets across something of his crazy character.’

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MUST TRY

MARCH 2017

THE LATEST TECHNOLOGY, TECHNIQUES AND SKILLS

Leica M10

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Aimed at the purist and harking back to analogue days, Leica has unveiled its latest ‘M’ digital rangefinder. Gavin Stoker gets to grips with the new generation

he ethos behind the M10 is that perfection is achieved when there’s nothing left to take away. Wags may suggest this is a clever bit of ‘spin’ to explain the lack of video capture, but not us. While not quite as minimalist in appearance, or as fussy in operation, as the Leica TL, the M10 is arguably the smallest full-frame system camera available, here offering 24 megapixels.

In the hand you sense that dimensions have been slimmed down to match the depth of analogue film cameras. Yet it

still feels substantial, while also being splashproof.

Whether solid enough to justify a typically ‘premium’ £5,600 price Society members should judge for themselves, but both black or silver body choices are attractive and well constructed from magnesium alloy with solid brass top plates, and just the right amount of resistance to controls.

An ISO dial allows access up to ISO 50,000, while there are just three physical buttons on its backplate next to the 3-inch TFT LCD – for live view, playback and menu. And it’s

Price: £5,600 Sensor: 24MP 24x36mm CMOS sensor Lens: Optional, via M-mount Display: 3-inch, 1,036,800 dots Weight/size: 660g with battery, 139x38.5x80mm More: leica-camera.com Summary: Stripped-back controls, designed to ape analogue film cameras, but new 24-megapixel sensor, redesigned menu and wi-fi offer a ‘best of both worlds’ approach

the first M-series camera to feature wi-fi.

Leica’s rangefinders have traditionally been about reportage photography, and the M10 is no exception. We enjoyed the 30 per cent larger field of view through the viewfinder and improved eye relief, although, like the TL, an adjustable ‘Visoflex’ viewfinder is an optional extra.

There are currently some 26 lenses in the Leica M family, although another huge bonus for existing Leica owners is that they can take a Leica lens from 1956 and stick it on the M10.

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218 | THE CRAFT | LATEST KIT 2

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Canon PowerShot G9 X Fujifilm X100F MkII £449.99 From £1,249

GEAR SPY

Panasonic Lumix GX800 £499 with 12-32mm lens

Retro-appeal in a premium 1-inch sensor-incorporating compact canon.co.uk

Premium enthusiast model ‘reimagines’ five-year-old original fujifilm.co.uk

GF-series cameras replaced with the keenly priced new GX CSC panasonic.co.uk

Following current trends, this is one of the most obviously retro Canon PowerShots we’ve seen – with a 1-inch 20.1-megapixel CMOS sensor and continuous shooting speeds of up to 8.2fps, due in part to Digic 7 processor as found in its DSLRs. While design is traditionalist, the LCD is a touchscreen. With a 3x optical zoom and 28mm wide-angle lens, the aluminiumbodied MkII version is 25 per cent slimmer than its previous iteration. The f/2 lens allows for creative shallow depth-of -field effects, while videographers have the use of full HD clips.

This would work well as a feature-packed back-up compact for an existing Canon DSLR (or CSC) owner, which at 206g in weight will slip into a pocket.

Claiming the highest image quality yet in Fuji’s X100 series comes the X100F – with a 24.3-megapixel APS-C sensor, a pixel count 1.5x that of the X100T (commendable for a camera of its size and dimensions) plus the opportunity to use full HD video and conversion lenses.

The build quality is solidly excellent yet the X100F feels portably lightweight in hand (or pocket). While for a CSC this is not cheap, it’s comparable to rivals, with plenty of options to dial into manual settings and tweak the appearance of images, including selecting Fuji’s ‘film simulation’ digital effects.

We were also able to achieve detailed low-light imagery hand held, with the hybrid viewfinder delivering a naturalistic viewpoint.

Panasonic is aiming to lure anyone who has not yet bought into compact system cameras via its keenly priced offering which, styling aside, has a 16-megapixel sensor and the ability to shoot 30fps 4K-video.

Available in four colours, the GX800, which replaces the GF series, is also notable for a flipup 1,040K-dot LCD (with automatically implemented ‘self shot’ mode) and built-in wi-fi.

Maximum ISO 25,600 sensitivity allows for competent low-light work, while a new ‘background control’ mode lets users specify whether they want their backgrounds clear or defocused.

This makes most sense when viewed as an affordable second camera, or for someone trading up from a smartphone.

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Fujifilm has finally given a price for its 50-megapixel medium-format digital GFX camera: £6,199 body only, or £7,600 with a 63mm lens. An optional adapter allows the use of Hasselblad lenses, plus there is an adapter that allows the fixed viewfinder to be transformed into one that swivels and tilts.

In terms of directly compatible lenses, Fuji’s development ‘roadmap’ includes further ‘GF’ optics in the 110mm f/2, 23mm f/4 and 45mm f/2.8.

We’ve had a play with a pre-production GFX and can report image quality’s stunning – almost too sharp.

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NICKY ROCHUSSEN 4

MEMBER TEST

Impossible I-1

Well-crafted update of a classic

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Fujinon XF50mm f/2 R Epson SureColor WR lens £449 SC-P5000 £1,795 New fixed focal length compact lens for X-series Fuji cameras fujifilm.co.uk

High-end, 17-inch, 10-colour printer for fine-art work etc epson.co.uk

Weather-sealed, at 10 points – like, handily, Fuji’s topend X-T2 and X-Pro2 system camera models – this compact mid telephoto lens offers Fuji converts the equivalent of 76mm in 35mm film terms, plus speedy autofocus when twinned with an X-series camera.

Its fast/bright f/2 aperture can deliver subtle ‘bokeh’ effects, while AF is near silent thanks to an inner focusing system and stepping motor. Getting hands on, its aperture and focusing rings provide precise click stops.

With a metal exterior the lens weighs 200g, so fits comfortably in a pocket, thereby offering the creativity but not the bulk.

For use in the cold, wet and dust, it comes in a choice of silver or black to match the camera body on which it is deployed.

Prefer to do your printing in-house? Epson’s most notable new release is this beast of a machine that can handle anything from panoramic prints and A2+ posters to fine-art sheet media, including poster board.

The 17-inch, 10-colour printer replaces the Stylus Pro 4900 and features UltraChrome HDX inks, 1.5x denser than the previous iteration. A wider contrast ratio and optically clearer images are also promised.

For versatile media handling, it autoswitches between its high-capacity front paper cassette (holding 100 sheets of premium media or 250 sheets of ‘standard’) and roll-media feeder.

Its roll-media spindle enables the production of panoramas and roll print up to 30.5m. We’ll not get bored of it anytime soon.

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ith its slick minimalist design and matte black finish, the new I-1 is a handsome piece of engineering that feels good in your hands and is solidly built.

The integrated flash ring and LED lights used to depict the remaining film and battery life are a clever feature, but it drains the internal battery fairly quickly as a few days between uses left the camera with minimal power.

Shooting on Impossible Project film provides a long sought-after replacement for the now near-extinct Polaroid 600 stock, giving the smartphone generation the chance to fall in love with instant photography in colour, black-andwhite and duochrome options. Plus, with its offer of a manual-control mobile app, it cleverly integrates both aspects.

Testing the I-1 in the frantic world of fashion and grooming made for a tough assessment.

Often rushing between locations, the inevitability of occasional bustle made the detachable

Shaun Gordon at The Gentleman’s Grooming and Lifestyle Show

glass viewfinder atop the camera feel quite exposed. Although secured magnetically and fast to reattach, when the next shot might appear momentarily I didn’t remove it in case of missing an opportunity.

I think being in a calmer, more controlled environment with less changeable light would’ve improved my results.

Overall this camera is a lot of fun. It has real potential to produce great imagery, looks fantastic and Instant film will always be a seemingly addictive medium.

Unfortunately, with the steep price of film, experimentation and improvement come at a cost. You have to be prepared to love each image for what it is; an abstract snapshot in time.

AUTHOR PROFILE CHRIS POLLARD Pollard has worked in the fashion industry as a photographer, graphic designer and creative.

See his work at chrispollardcreative.com

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CALL FOR ENTRIES

© CAROLYN MENDELSON, ALICE, GOLD AWARD

INTERNATIONAL PHOTOGRAPHY EXHIBITION 160 OPEN SUBMISSION AWARDS AND CASH PRIZES REDUCED ENTRY FEE FOR MEMBERS EXHIBITION TOURS 2017/18 CLOSING DATE: 24 MAY 2017 rps.org/ipe160

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AV sequences that captivate

MASTER CLASS

Richard Brown FRPS explains how to construct alluring audio visual works

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n an effective AV sequence pictures should flow smoothly from one to another to tell a visual story, so the content and composition need to be thought about in a different way to single images. Ideally each picture will have a pleasing transition into the next, the ultimate being a so-called ‘third image’.

2. HAVE A PLAN For a sequence such as And Never Cackled, a documentary about the codebreakers at Bletchley Park, initial research is essential. Visiting a location armed with a list of desirable shots to illustrate the planned story means you approach the project in an organised fashion. For example, a casual visitor would never think of seeking out and photographing a pile of electronic junk, which was needed to cover a crucial moment in the story.

Compose two pictures so that during a dissolve dark areas on the outgoing image are replaced by light areas on the incoming one, and vice versa, to produce a ‘third image’. From Death of Steam

1. TAKE MANY PICTURES It’s important to have an extensive range of images to choose from, including linking shots which can be used to show progress from one part of the sequence to the next.

Look out for unusual content and viewpoints which may enhance the visual message.

Be fairly ruthless with editing – expect to have many images unused at the end.

Think about using your own props to create an image

AUTHOR PROFILE

RICHARD BROWN FRPS An internationally acclaimed audio visual producer, lecturer and judge, Brown first became an AV Distinctions panel member in 1980. He now sits on the multimedia panel

3. THINK LIKE A PRODUCER Don’t restrict yourself to simply capturing scenes that exist. Be prepared to generate your own content when needed. To illustrate a line in the script about Alan Turing’s hay fever, I took a borrowed

gas mask and set it on one of the old bikes I knew from research were there. Likewise, an imaginary letter from the War Office features in the story. Designed in Photoshop, I printed it and photographed a friend holding it.

JOIN THE AV GROUP

To find out more about the Society’s Audio Visual Group, view galleries, explore coming events and discover how you can join, visit bit.ly/AudioVisualGroup

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Perfect your photo essay

MASTER CLASS

Ben Cherry reveals the key components of a strong narrative

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used to get frustrated that I had taken some nice images but couldn’t link them well enough when entering portfolio or storytelling competitions – having thought I could simply shoot a location or situation, then tie together images afterwards.

What dawned on me is that I needed to think about these things in or before

the moment. What story do I want to tell? How do I want to tell it? What shots do I need and how will they link together? You can’t expect to figure all of that out in advance, particularly if you’re in a situation that is quickly evolving.

However, there are some essentials to consider if you want to leave with the component parts of a coherent story.

1. WIDE ESTABLISHING SHOT

Where are you? How do you convey that to your audience and place them in that context so they can better understand the images that follow?

Imagine a Hollywood film – each scene generally opens with an establishing shot to give the viewer a context for what then happens. A wide shot of a quiet town as tumbleweed blows across, building up to a shoot-out; or a view of the White House before a character meets the American president.

2. SUBJECT FOCUS

What is your main subject? What do you want your photo story to be based around? This could be conveyed in a single image or a series of images. You could place your subject within the scene or use a close-up portrait which isolates

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them from the surroundings. An environmental portrait often works best for me – I like to use a shallow depth of field to keeps the viewer’s focus solely on the subject, while keeping the setting present in the shot.

| THE CRAFT | 223 3. TELL THE STORY

4. LASTING IMPRESSION

What is the take-home message from your photo story? It doesn’t have to be profound; it could be about a family member’s birthday party or taking your dog to the park.

What is the final image you want the viewer to be left with, to leave a lasting impression? Usually this is a special moment reflecting something only made possible by that which has come before. It could be a moment of peace or relaxation after the preceding events; an escape or a victory; a moment of closure or a new beginning.

The many factors in a story that must be told On Ostional beach in Costa Rica there are monthly mass turtle landings. Thousands of olive ridley sea turtles, particularly in the wet season, come ashore to lay their eggs.

The spectacle attracts tourists from around the world.

The eggs are a traditional

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food source, with communities allowed to harvest a proportion of the eggs.

Simultaneously, a range of conservation efforts is in place to protect the turtle population, which is generally in decline. This is close to the hearts of locals because of

the turtles, and the growth in tourism and its positive effect on the economy.

The crowds, though, can cause problems by making the beaches too busy for the turtles, while other factors include illegal poaching and stray dogs digging up nests.

AUTHOR PROFILE BEN CHERRY Environmental photojournalist and Fujifilm ambassador Ben Cherry has worked on projects including Flight of the Swans for the Wildfowl & Wetlands Trust

Sign up for Ben Cherry’s ‘Developing personal projects and storytelling’ workshop on Thursday 16 March at Amersham Studios, Buckinghamshire. For more information see page 226 VOL 157 / MARCH 2017 / THE RPS JOURNAL / 223

SRB

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MEMBER Springboard to success Join the Travel Group in Surrey for a day of inspiring talks and activities

S

pringboard to success, a special event arranged by the Travel Group, returns to the Runnymede-on-Thames Hotel in Egham, Surrey, on 25 March.

The group is honoured to welcome internationally renowned travel and landscape photographer Joe Cornish HonFRPS as the event’s keynote speaker.

Cornish’s images, techniques and tips are a must for anyone seeking inspiration on how to improve their own photography.

Attendees will also hear from the 2015 Vic Odden Award and 2016

Joan Wakelin Bursary-winning photographer Matilda Temperley on her travel photography projects.

The Travel Group AGM will take place on the day and Society president Walter Benzie HonFRPS will present the awards for the annual projected image competition.

The hotel is near to several photo opportunities including Windsor Castle, the Magna Carta Memorial and the River Thames.

Places cost £45 for RPS Travel Group members and there is a special reduced room rate arranged for attendees. Please see the Society website for more details.

| GUIDE | 225

GUIDE

YOUR RPS EVENTS ! COURSES PROGRAMME

MAR!APR!MAY

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

Above: Between the Bergs by Andrew Gasson ARPS Left: In the Nursery by Jon Allanson LRPS Below: the scenic location of the Runnymedeon-Thames Hotel

VOL 157 / MARCH 2017 / THE RPS JOURNAL / 225

226 | GUIDE |

WORKSHOPS

Hear from the experts and hone your skills

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

`` £95/£71 Society members

`` In this new workshop

you’ll first learn how to use different sorts of deliberate camera movement, with and without flash, to produce interesting, more creative images `` Bath HQ

Child portrait photography

digital camera `` £85/£63 Society

Studio portraiture Sat 25 – Sun 26 March / 10:00-17:00

`` £165/£140 Society

Sunday 5 March / 10:00-17:00

`` £120/£95 Society members

`` This workshop is ideal if

you want the skills to take beautiful and natural images of children. Your tutor will be award-winning portrait and social documentary photographer Saraya Cortaville `` Buckinghamshire

The landscape photographers’ calendar workshop

Introduction to Photoshop Sunday 26 March / 10:00-17:00

`` £95/£71 Society members

`` Bath HQ

Saturday 1 April / 10:00-16:30

`` £95/£71 Society members

`` Learn how to use

`` Bath HQ

Photoshop’s precision cutting and retouching techniques within a non-destructive workflow `` Bath HQ

Photoshop essentials for creative photographers

Professional Photoshop colour control with Tim Daly

Thursday 9 March / 10:00-16:30

Sunday 2 April / 10:00-16:30

`` £115/£90 Society

`` £95/£71 Society

Sunday 5 March / 10:30-16:30

`` £55/£41 Society members

members `` Buckinghamshire

Night shoot Saturday 11 March / 18:00-22:00

`` £35/£26 Society

members `` Explore the wonders of night-time photography at this hands-on workshop `` Bath Abbey

Shooting for stock Monday 13 March / 10:30-16:30

`` £65/£48 Society

Learn child portrait photography on 5 March in Buckinghamshire

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

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

`` £99/£75 Society members

`` Nottinghamshire

members

Coastal landscapes – Lyme Regis

Developing personal projects and storytelling with Ben Cherry

`` Bath HQ

`` £190/£165 Society

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

`` Bath HQ

Thursday 27 April / 10:00-16:30

Mon 8 – Tue 9 May / 10:00-16:00

members

Paint with Light Wed 10 May / 10:00-16:00

`` £95/£71 society members

`` £95/£71 Society

`` Buckinghamshire

`` Buckinghamshire

Pinhole photography

Macro and art photography

Creative techniques in Photoshop

`` £75/£56 Society

Thursday 13 April / 10:00-16:30

Friday 28 April / 10:00-16:30

`` £55/£41 Society `` Buckinghamshire

`` £115/£90 Society

members

Saturday 13 May / 10:00-16:30

Learn to film with your DSLR Wednesday 19 April / 10:00-16:30

Professional Photoshop retouching with Tim Daly

own photographic business

members

members `` Bath HQ

members `` A workshop for beginners that covers all you need to know about taking great images in a studio environment `` Wiltshire

`` £85/£63 Society

Sunday 23 April / 10:00-17:00

Saturday 25 March / 10:00-17:00

`` £120/£95 Society

members `` Learn the skills to walk into any scenario (wedding, model shoot, live event, promo, corporate) and be able to adapt and think quickly in order to get the best shots `` Buckinghamshire

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

`` £115/£90 Society members

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

`` £120/£95 Society

members `` This workshop is about approaches to portraiture on location `` Derbyshire

Learning from history – photographing plants and gardens

members

`` Buckinghamshire Advanced Lightroom: how to organise your library with keywords, metadata and GPS

members

`` Bath HQ Theatrical and creative dance lighting Saturday 13 May / 10:00-17:00

`` £120/£95 Society members

`` Surrey

`` £95/£71 Society

Introduction to Lightroom

`` Bath HQ

`` £95/£71 Society

Cinematic Hollywood beauty lighting made simple

`` Bath HQ

Saturday 29 April / 10:00-16:30

members

Saturday 13 May / 10:00-16:30

members

`` £120/£95 Society

A beginners’ guide to product photography

`` This course with

`` £115/£90 Society

Saturday 29 April / 10:00-17:00

members

International model Carla Monaco will show you how to use lighting to get stunning and beautiful results `` Surrey

Thursday 18 May / 10:00-16:30

members

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

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

`` £165/£140 Society members

`` Fully booked `` Wiltshire Advanced Lightroom creative editing techniques

`` £140/£115 Society members

`` Surrey

Studio portraiture Saturday 20 May / 10:00-17:00

`` £165/£140 Society members

`` Wiltshire

Saturday 22 April / 10:00-16:30

Sunday 30 April / 10:00-16:30

`` £55/£41 Society

`` £95/£71 Society

Introduction to Photoshop

`` £95/£71 Society

`` Bath HQ

`` Bath HQ

`` £95/£71 Society

`` Dorset

Art nude photography

`` Bath HQ

`` £120/£95 Society

Creative dance lighting photography

`` £120/£95 Society

Introduction to the creative eye

`` Buckinghamshire

`` £120/£95 Society

Introduction to your

`` Surrey

`` Bath HQ

Saturday 8 April / 10:00-17:00

Thursday 16 March / 10:00-17:00

members

members

members

Saturday 22 April / 10:00-17:00

Saturday 8 April / 10:00-17:00

members

226 / THE RPS JOURNAL / MARCH 2017 / VOL 157

members `` Wiltshire

Introduction to your digital camera

members

Sunday 21 May / 10:00-17:00

members

`` £95/£71 Society

Two-day Photoshop workshop

`` Bath HQ

`` £165/£140 Society

Running your

`` Bath HQ

Saturday 6 May / 10:00-16:30

members

Sat 27 – Sun 28 May / 10:00-17:00

members

| GUIDE | 227

REGIONS

Meet photographers and view work in your area

‘Starting out: arriving at a Fellowship’ by Jill Pakenham FRPS Thursday 13 April 19:30-22:00

`` £3 `` Smethwick Photographic

– ARPS 1:1 advice Sunday 19 March 10:30 / 17:30

`` A chance to review your

potential ARPS submission with a panel member (limited places available) `` The Photography Show 2017, The NEC, Birmingham B40 1NT `` Simon Vercoe, 01225 325742, si@rps.org

MIKES.SHARPLES(VIRGIN.NET

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

‘The big picture show’

by Ron Tear ARPS

‘East African national parks’ by Ian Whiston

Thursday 9 March / 19:30-22:00

Thursday 20 April 19:30-22:00

`` £3 Society members `` Smethwick Photographic

`` £3 `` Smethwick Photographic

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

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

‘An evening with Laurie Campbell’ by Laurie Campbell

‘Ways of seeing’ by Cathy Roberts

`` £20/£15/£10 spectators `` Fully booked for participants

CENTRAL MIKE SHARPLES ARPS, 07884 657535

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

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

Saturday 4 March / 10:30-16:30

Thursday 16 March / 19:30-22:00

`` £3 Society members `` Smethwick Photographic

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

‘Beyond the summit’ by Chris Palmer FRPS Thursday 6 April / 19:30-22:00

`` £3 Society members `` Smethwick Photographic

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

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

`` £50 `` This is the Contemporary

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

Thursday 27 April 19:30-22:00

`` £3 `` Smethwick Photographic

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

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

`` £3 Society members `` Smethwick Photographic

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

Distinctions at The Photography Show 2017 – LRPS 1:1 advice

but space available for spectators `` Foxton Village Hall, Hardman Road, Foxton CB22 6RN `` Ian Wilson ARPS, as above

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

Print with confidence

potential LRPS submission with a panel member (limited places available) `` The Photography Show 2017, The NEC, Birmingham B40 1NT `` Simon Vercoe, 01225 325742, si@rps.org

Distinctions at The Photography Show 2017

ellice2011@btinternet.com

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

`` A day focused on American

natural history, with National Geographic photographer Dan Hartman and Roger Reynolds HonFRPS. This is the 2017 regional sponsored lecture and entry is free `` Foxton Village Hall, Hardman Road, Foxton CB22 6RN `` Ian Wilson ARPS, as above EAST MIDLANDS STEWART WALL ARPS, 07955 124000 STEWART(STEWARTWALL.COM

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

`` £20/£15/£10 spectators `` Whatton Jubilee Hall, Church Street, Whatton in the Vale NG13 9EL `` Stewart Wall, as above

Sunday 2 April / 10:30-15:30

`` £10/£7 Society members `` Foxton Village Hall and Sports Pavilion, 2 Hardman Road, Cambridge CB22 6RN `` Ian Wilson ARPS, as above

EIRE MICHAEL O’SULLIVAN INFO(MOSULLIVANPHOTO.COM

RPS Creative Group annual exhibition

JUDY HICKS AND NEIL CORDELL

Sat 8 – Mon 17 April / 10:00-16:00

LONDONEVENTS(RPS.ORG

LONDON

`` Wingfield Barns, Church

Launch of the London Urbanicity Group’s latest book: Living London

Road, Wingfield, Diss IP21 5RA

`` Moira Ellice, moira.

ellice2011@btinternet.com

Saturday 18 March / 11:00-17:30

`` A chance to review your

IP33 3FD

`` Moira Ellice, moira.

Wednesday 29 March/TBC

Regional exhibition selection and AGM

`` Invitation and details to be issued very shortly

`` The Croatian Embassy, 21

Sunday 9 April / 10:30-16:30

`` Foxton Village Hall, Hardman Road, Foxton CB22 6RN `` Ian Wilson ARPS, as above

Conway Street, Fitzrovia, London W1T 6BN `` londonevents@rps.org

Regional exhibition

Living London exhibition

Wed 3 May – Sun 4 June / 10:00-16:00

Thu 30 March – Fri 21 April / 11:00-14:00

`` Apex Art Gallery, Charter

`` Free `` Exhibition of images

Square, Bury St Edmunds

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

Breathing London project Until Monday 17 April

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

The Central Region will hear from Yan Wang Preston who will present images from her Mother River project Image: Y61 by Yan Wang Preston

London Region street walk Saturday 11 March / 9:45-14:00

`` Regular monthly meeting for

members and guests interested in street photography `` London – to be confirmed `` London Cave, londoncave@rps.org

VOL 157 / MARCH 2017 / THE RPS JOURNAL / 227

228 | GUIDE | Regular meeting of the SW London Group

London Region street walk

Tuesday 14 March / 19:00-21:00

Saturday 8 April / 9:45-14:00

`` The Prince of Wales, 138

`` Regular monthly meeting for

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

The Bookworm Club Wednesday 15 March / 18:30-21:00

`` The Crusting Pipe,

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

Adobe Lightroom for landscape photographers Saturday 25 March / 9:45-16:15

`` £80/£60/£50 group

members `` Fully booked `` Whitechapel Idea Store, 321 Whitechapel Road, London E1 1BU `` Richard Ellis, landscapef16@ gmail.com , sre868@gmail.com

Historical Group AGM – annual lectures Saturday 25 March / 13:45-15:45

`` £10/£5/free to group members

`` Guest speakers will present on aspects of photographic history (open to all) `` V&A seminar room 5, Victoria and Albert Museum, London SW7 2RL `` Janine Freeston (chair), 01865 516136, janinefreeston@aol.com

Morning in Richmond Park with the London Naturally Group Sunday 26 March / 10:30-13:00

`` The group presents an

informal Sunday stroll in Richmond Park. All details to be confirmed, but please note this date in your diary `` London – to be confirmed `` London Naturally, london_naturally@rps.org

members and guests interested in street photography `` To be confirmed `` London Cave, londoncave@ rps.org

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

`` The Prince of Wales, 138

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

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

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

`` Geoff Blackwell ARPS,

gblackwell@fastmail.fm NORTH WALES MARTIN BROWN LRPS, 01691 773316 NORTHWALES(RPS.ORG

Saturday 27 May / 11:00-15:30

Conservation, 233 Stanstead Road, Forest Hill SE23 1HU

Regular meeting of the SE London Group Tuesday 28 March / 19:00-21:00

`` £5/£3 non-members `` Please note new date, the last Tuesday of the month

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

`` London Cave, londoncave@ rps.org

Our final Breathing London workshop with Robert Canis – back to spring again Monday 3 April / 17:30-19:30

`` £25/£20 Society members `` To be confirmed `` Breathing London Team, greenlondon@rps.org

228 / THE RPS JOURNAL / MARCH 2017 / VOL 157

`` £15 group season ticket/

`` £20/£15/£10 Spectator `` LRPS and ARPS (all five

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

`` North Shields, Low Lights

Photoforum Lasswade

NORTHERN GERRY ADCOCK ARPS, 01661 830882 GERRY(GERRYADCOCK.CO.UK

Northern Advisory day Sunday 5 March 2017 / 10:30 - 16:30

categories)

Clifford’s Fort, Fish Quay, North Shields, NE30 1JA `` Bob Gates ARPS, bob@ robertgates.eu, 01225 325733

Sunday 9 April / 10:30

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

members and receive constructive feedback on work `` Midlothian Camera Club, 7 Polton Road, Lasswade EH18 1AB `` James Frost FRPS, as above

NORTHERN IRELAND RICHARD CORBETT 07805 381429 RICHARD(RICHARDCORBETTPHOTOGRAPHY.COM SCOTLAND JAMES.FROST11(BTINTERNET.COM

`` £5 group members `` Centre for Photographic

Sunday 2 April / 13:30-16:15

AFZALANSARY(AOL.COM

Sunday 30 April / 10:30-13:00

Historical Group visit to the Centre for Photographic Conservation, Forest Hill, London

park, near Dunoon, Argyll PA23 8QU `` David Fiddes, daudistrachur@gmail.com

DIG Scotland Centre – April 2017 meeting

NORTH WEST

JAMES FROST FRPS 01578 730466/07881 856294

Nunhead Cemetery `` To be confirmed `` London Naturally, london_ naturally@rps.org

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

DR AFZAL ANSARY ASIS FRPS, 07970 403672

London Naturally Group `` A Sunday morning walk in

members

`` Benmore Botanic Garden car

Dunfermline spring weekend 2017 Saturday 20 May – Sunday 21 May

Scottish members’ exhibition, print selection and region AGM

`` See website for costs `` Carnegie Conference Centre, Halbeath Rd, Dunfermline KY11 8DY `` James Frost FRPS, as above

Saturday 4 March / 10:30-16:00

`` £8 `` Join in the selection of the

Scottish members’ exhibition

SOUTH EAST

`` Bridge of Allan Church Hall,

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

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

`` £15/£5/free to group

SOUTHEAST(RPS.ORG, SOUTHEASTWEB(RPS.ORG

The Scotland Region has lined up eight speakers for its spring weekend event in Dunfermline

South East Region advisory day – LRPS Saturday 4 March / 10:30-17:00

`` £20/£15/£10 spectators `` Kings Centre, 27 Edison Road,

| GUIDE | 229 Eastbourne, East Sussex BN23 6PT `` Paul Connor, rps. sussexarearep@gmail.com

07432 560581, pjs28jack@googlemail.com

`` £75/£70/£65 group

`` Mick Medley, as above

DIG Southern Centre: ‘Altered reality … better than the real thing’ by Adrian Lines ARPS; ‘Going solo’ by Jane Lines LRPS

Advisory day – LRPS and ARPS

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

how to use filters correctly to improve your landscape images `` MB Tempora (Dutch barge), Welshback, Bristol Floating Harbour, Bristol BS1 4SP `` Mark Reeves, rps.landscape. events@gmail.com

vivien939@btinternet.com

Evening lecture with Andrew Cooper Friday 31 March / 19:00-21:30

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

`` £20/£15/£10 spectators `` Detling Village Hall, Pilgrim’s

Way, Detling, Maidstone ME14 3EY `` Colin Smith LRPS, colinsmith118@btinternet.com SOUTH WALES MIKE LEWIS, 07855 309667, 01446 710770 MIKEGLEWIS101(BTINTERNET.COM

Nash Point and the Heritage Coast Saturday 8 April / 10:00-16:00

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

Brecon Beacons photography walk

`` £10/£5 Society members `` The Dolphin Hotel, Station

Road, Bovey Tracey TQ13 9AL

Sunday 21 May / 10:30-16:00

Sunday 23 April / 10:30-16:00

`` £10 spectators `` Categories TBC `` The Dolphin Hotel, Station

Road, Bovey Tracey TQ13 9AL `` Martin Howse ARPS, 01326 221939, mghvkh@btinternet.com

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

`` The Copper Room,

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

Field trip Plymouth

Saturday 22 April / 9:00-14:00

Saturday 20 May / 10:00-16:00

`` An informal photography

`` A day photographing some of

walk in the beautiful Brecon Beacons `` Car park of the former Cross Inn, Llanddeusant, Carmarthenshire SA19 9YG `` Peter Douglas-Jones, 07776 141409, peter@douglas-jones.biz

the historical sites of Plymouth

`` Mutton Cove car park, James Street, Plymouth PL1 4LB `` John Widdows, 01752 781555, johnwiddows@ btinternet.com SOUTHERN DAVID ASHCROFT LRPS, 07710 302684 SOUTHERN(RPS.ORG

Waterfalls along the Rivers Nedd, Pyrddin, Mellte and Hepste

Special access Stonehenge dawn shoot

Saturday 6 May / 10:30-16:00

Sunday 12 March / 6:30-8:00

`` The Angel Inn, Glynneath,

`` £48/£43/£38 group

near Neath, West Glamorgan SA11 5NR `` Peter Douglas-Jones, 07776 141409, peter@douglas-jones.biz SOUTH WEST MICK MEDLEY, 01626 824865/07980 073808 RPSSWREGION(GMAIL.COM

Biannual weekend away Fri 3 – Sun 5 March / 16:00-14:00

`` Tudor Arms Freehouse,

Shepherds Patch, Slimbridge GL2 7BP `` Mick Medley, as above

West Cornwall Group meeting Wednesday 15 March / 18:45-21:00

`` Bi-monthly meeting of the

West Cornwall Group `` The Copper Room, Heartlands, Robinson Shaft, Dundance Lane, Pool, Redruth TR15 3QY `` Vivien Howse, 01326 221939,

members

`` Learn from a professional

members `` Stonehenge, just off the A303, near Amesbury SP4 7DE `` Mark Reeves, 07968 616551, rps.landscape. events@gmail.com

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

`` £20/£15/£10 spectators `` The Fishbourne Centre,

Blackboy Lane, Fishbourne, Chichester PO18 8BE `` David Ashcroft LRPS, 07710 302684, southernsecretary@ rps.org

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

`` £15/£5/free to group

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

Members’ monthly meeting – ‘Anatomy of the photobook’

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

Sunday 12 March / 10:00-12:30

`` £7 `` Fenton House, 122 Wells Road, Bath BA2 3AH

`` John Law ARPS, mail@johnlaw.net

Members’ monthly meeting – March

THAMES VALLEY

Sunday 12 March / 10:00-16:30

MARK BUCKLEY,SHARP ARPS, 020 8907 5874

`` £2 `` Fenton House, 122 Wells

MARK.BUCKLEY,SHARP(TISCALI.CO.UK

DI Group Thames Valley: Paul Sanders – ‘Pictures on a page and the mind’s eye’

Road, Bath BA2 3AH

`` David Norfolk ARPS, as above Advisory day – LRPS and ARPS

Sunday 26 March / 10:00-15:30

`` £15/£12/£8 group

Saturday 8 April / 10:00-16:30

`` £20/£15/£10 spectators `` Fenton House, 122 Wells

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

Road, Bath BA2 3AH

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

Members’ monthly meeting – April

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

Sunday 9 April / 10:00-16:30

`` £2 `` Fenton House, 122 Wells Road, Bath BA2 3AH

`` David Norfolk ARPS, as above

Sunday 23 April / 10:00-15:30

`` £15/£12/£8 group members

Highnam meeting

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

`` £5 `` Show and tell, and talk from

`` Woosehill Community Hall,

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

`` £15/£12/£8 group members `` An open event organised by the Digital Imaging Group Thames Valley Centre `` Woosehill Community Hall, Emmview Close, Woosehill, Wokingham RG41 3DA `` Alan Bousfield ARPS, digthamesvalley@rps.org WESTERN DAVID NORFOLK ARPS, 07771 515273 WESTERN(RPS.ORG

Workshop – using filters to improve your landscape photography Saturday 11 March / 9:00-16:00

Sunday 30 April / 10:00-13:00

Your events

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

Martin Cooper LRPS

`` The Parish Room, Highnam Community Centre, Newent Road, Highnam, Gloucester GL2 8DG `` David Norfolk, as above

Members’ monthly meeting – May Sunday 7 May / 10:00-16:30

`` £2 `` Fenton House, 122 Wells Road, Bath BA2 3AH

`` David Norfolk ARPS, as above YORKSHIRE MARY CROWTHER ARPS, 07921 237962 PHOTOBOX50(GMAIL.COM FACEBOOK: BIT.LY/RPSYORKSHIRE

Yorkshire print exhibition 2017 Closing date 31 March

`` Free to enter `` See website for details `` Mary Crowther ARPS, as above

VOL 157 / MARCH 2017 / THE RPS JOURNAL / 229

232 | GUIDE |

REPORT OF THE COUNCIL MEETING / DECEMBER 2016 `` Council agreed to move

to six meetings each year and reaffirmed that all trustees need to be involved in all decisions.

A protocol would be established for taking decisions electronically.

Del Barrett agreed to investigate electronic document sharing services. The chief executive would look at bringing in a teleconferencing system.

He would also prepare and circulate a meeting plan for 2017 with the key trustees’ activities shown. `` Matters arising.

November 2016. Stone King was asked for clarification of the role of trustees to either sustain the organisation or to represent members, and on the relationship of the trustees to the organisation and the membership. `` Some concern was expressed over anonymised minutes.

The president was asked to summarise action points during the meeting. In future, draft minutes would be sent to all trustees. `` The chief executive was asked to circulate outstanding actions on the actions register. `` The president asked David Cooke to circulate his view of the Society’s educational needs.

FINANCE `` The treasurer noted that the 2017 budget had been circulated at the November meeting in London. He acknowledged that there had been limited time for review. He reported that cash flow was satisfactory and that Nick Rogers was currently working on the year-end accounts. He asked that all expense claims be submitted by 31 December 2016.

MARKETING

`` Amelia Christmas,

communications manager, was thanked for her detailed report on the

Society’s marketing and communications channels. She would be invited to the next meeting to discuss this in more detail. It was important for the Society to define where it saw its target markets for membership, based on research and data to drive its recruitment strategy and priorities. Comment was made that the report contained no success metrics. The chief executive commented that many of the actions in the report would form part of the operational strategy that was being developed, and they would contain reporting metrics.

DISTINCTIONS REVIEW `` An update on the Distinctions review was provided. Robert Albright and Walter Benzie had met with Roger Reynolds and Roy Robertson and the report had been discussed and recommendations reviewed. These had been summarised and sent to the DAB. The November DAB meeting had reviewed the report and recommendations. Robert Albright was asked to prepare a short report for publication to the membership. A draft will be circulated to council and to Roger Reynolds before publication. `` A view was expressed that Distinctions should, in future, be subject to more gradual reviews by the DAB. The DAB minutes were reviewed.

GOVERNANCE `` Council agreed its final positions on the governance review recommendations. The chief executive was asked to review and draft the appropriate changes to the by-laws and rules for review by Stone King, prior to approval by the membership at an EGM. The trustees reviewed a memo from Liz Rhodes and Jay Charnock on the Society’s governance, noting the overlap

232 / THE RPS JOURNAL / MARCH 2017 / VOL 157

between the governance review and their work.

They would be asked to organise the March advisory board meeting.

It agreed to co-opt Liz Rhodes to the advisory board. The new volunteer coordinator would be asked to work with them on the regular group and regions meetings.

EXTRAORDINARY GENERAL MEETING `` A complaint had been received around lobbying over the EGM proposal.

Del Barrett was authorised to go back to the complainant and to report that council had addressed the matter and action had been taken.

RPS COLLECTION

`` Subject to some minor

changes, which the chief executive would refer back to the V&A, the draft memorandum of understanding between the Society and the V&A was approved on the basis that it met the Society’s objectives for the RPS Collection.

A final draft would be referred to Stone King for confirmation that the Society was in no worse a position than with the existing agreement with the National Media Museum.

ANY OTHER BUSINESS `` The trustees congratulated the Australia Chapter on its 30th anniversary and reviewed an anniversary book the Society had received from it. `` It was agreed that future Society awards recipients would be given

honorary membership of the Society. They would be required to renew this annually. `` A report from Brian Steptoe on the Society’s photobook competition was considered. Council supported the idea of continuing with the competition and asked the chief executive to review the resources needed to do so. He noted that it would be included in the draft operational plan and a final decision would be taken in the context of other actions and the available staff resources. `` The chief executive reported that Jo Macdonald would be away for up to six weeks. A temporary replacement would be sought for her receptionist role but the science and awards committees would need to find alternative minute takers until her return.

The chief executive would handle the administration over this period. `` The treasurer reported that there would be a financial briefing for potential replacement treasurers in London and Bath in the new year.

There were three potential candidates. `` Vanessa Slawson noted the availability of Bath College’s Ralph Allen building in Bath. The chief executive noted that it had already been considered but was felt to be too large and impractical for the Society’s needs. He reported that Alastair McGhee had proposed a building in Reading that would be inspected.

Advisory day – LRPS Saturday 11 March / 10:30-16:30

`` £20/£15/£10 spectators `` The region has organised a

Licentiate Distinctions advisory day in Wakefield `` New Brookhouse Club, 221 Barnsley Road, Wakefield WF1 5NU `` Robert Helliwell ARPS, 01904 500231, bobhelliwell@clara.co.uk

Members’ day/ regional AGM Saturday 8 April / 10:30-16:30

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

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

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

`` Robert Helliwell,

01904 500231, bobhelliwell@clara.co.uk

SPECIAL INTEREST GROUPS

Explore more aspects of photography and digital imaging ANALOGUE RICHARD BRADFORD ARPS ANALOGUE(RPS.ORG ARCHAEOLOGY AND HERITAGE RODNEY BERNARD THRING LRPS, 01276 20725 RODNEY.THRING(NTLWORLD.COM AUDIO VISUAL HOWARD BAGSHAW ARPS, 01889 881503 HOWARD.BAGSHAW(NTLWORLD.COM

Great Yorkshire AV Day Sunday 9 April / 10:30-16:00

`` £12/£10 Society members `` A great day of audiovisual entertainment

`` Leeds Trinity University,

Brownberrie Lane, Horseforth, Leeds LS18 5HD `` Bryan Stubbs, 0113 266 1448, bryan@stubbsav.com CONTEMPORARY PETER ELLIS LRPS, 07770 837977 WORDSNPICSLTD(GMAIL.COM

Philip Field ARPS’s image from the Members’ Biennial

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

`` £50 `` Jubilee Suite, Copthorne

ENTER IPE 160 The International Photography Exhibition (formerly the International Print Exhibition) is now open for submissions, with a Hotel, Paradise Circus, Birmingham B3 3HG `` Avril Harris, 07990 976390, avrilrharris@blueyonder.co.uk CREATIVE BARRY COLLIN LRPS CREATIVECHAIR(RPS.ORG

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

`` Wingfield Barns, Church

Road, Wingfield, Diss IP21 5RA `` Moira Ellice, moira. ellice2011@btinternet.com DIGITAL IMAGING JANET HAINES DIGCHAIR(RPS.ORG

DI Group AGM Sunday 5 March / 10:00-16:00

`` See website for details `` Smethwick Photographic

Society, The Old School House, Churchbridge, Oldbury B69 2AS `` Janet Davies, digsecretary@rps.org

DI Group Thames Valley: Paul Sanders – ‘Pictures on a page and the mind’s eye’ Sunday 26 March / 10:00-15:30

`` £15/£12/£8 group members `` Paul Sanders: the journey from picture editor of The Times to landscape photographer `` Woosehill Community Hall, Emmview Close, Woosehill, Wokingham, Berkshire RG41 3DA `` Alan Bousfield, digthamesvalley@rps.org

A creative journey with Jane Kearney Sunday 2 April / 10:30-16:00

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

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

`` £15 group season ticket/

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

reduced entry fee for members. You could be in with a chance of winning a cash prize.

Find out more by turning to page 220, or by visiting rps.org/ipe160 Print with confidence Sunday 2 April / 10:30-15:30

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

Pavilion, 2 Hardman Road, Cambridge CB22 6RN `` Ian Wilson ARPS, 07767 473594, ian@greenmen.org.uk

Western Region advisory day – LRPS and ARPS Saturday 8 April / 10:00-16:30

`` £20/£15/£10 spectators `` Fenton House, 122 Wells

Road, Bath BA2 3AH Michelle Whitmore, michelle@ michellewhitmore.co.uk

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

`` £15/£12/£8 group members

`` Woosehill Community Hall,

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

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

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

DIG Southern Centre: ‘Altered reality … better than the real thing’ by Adrian Lines ARPS; ‘Going solo’ by Jane Lines LRPS Sunday 21 May / 10:30-16:00

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

discussing concepts and techniques for creating successsful exhibition and competition images `` Greyfriars Community Centre, 44 Christchurch Road Ringwood BH24 1DW `` Barry Senior HonFRPS, 01425 471489, digsouthern@rps.org VOL 157 / MARCH 2017 / THE RPS JOURNAL / 233

234 | GUIDE | DOCUMENTARY MO CONNELLY LRPS, 01590 641849 DVJ(RPS.ORG HISTORICAL JENNIFER FORD ARPS, 01234 881459 JENNYFORD2000(YAHOO.CO.UK

Historical Group AGM Saturday 25 March / 11:30-12:15

`` Victoria and Albert Museum,

V&A Seminar Room 5, Cromwell Road, London SW7 2RL `` Janine Freeston (chair), 01865 516136, janinefreeston@aol.com

Historical Group AGM – annual lectures Saturday 25 March / 13:45-15:45

`` £10/£5/free to group

members `` Guest speakers will present on aspects of photographic history (open to all) `` Victoria and Albert Museum, V&A seminar room 5, Victoria and Albert Museum, London SW7 2RL `` Janine Freeston (chair), 01865 516136, janinefreeston@aol.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

Historical Group field trip to the Centre for Photographic Conservation, Forest Hill, London

KEN MACLENNAN,BROWN

RPS.LANDSCAPE.EVENTS(GMAIL.COM

Workshop: using filters to improve your landscape photography

Saturday 25 March / 9:45-16:15

`` £80/£60/£50 group members

`` Fully booked `` Whitechapel Idea Store,

`` £75/£70/£65 group `` MB Tempora (Dutch barge),

Around Loch Eck

Saturday 11 March / 9:00-16:00

members

Welshback, Bristol Floating Harbour, Bristol BS1 4SP `` Mark Reeves, rps.landscape. events@gmail.com

Special access Stonehenge dawn shoot Sunday 12 March / 6:30-8:00

`` £48/£43/£38 group members

`` The Landscape Group has

secured a limited number of places for an early-morning shoot at Stonehenge `` Stonehenge, just off the A303, near Amesbury SP4 7DE `` Mark Reeves, 07968 616551, rps.landscape.events@gmail. com

`` £45/£35 group members `` Landscape photographer and

The Landscape Group has arranged special access to Stonehenge for a dawn photo shoot

Adobe Lightroom for landscape photographers

321 Whitechapel Road, London E1 1BU `` Richard Ellis, landscapef16@ gmail.com, sre868@gmail.com

Saturday 25 March / 9:30-17:00

Saturday 27 May / 11:00-15:30

IMAGING SCIENCE

LANDSCAPE MARK REEVES LRPS, 07968 616551

Joe Cornish HonFRPS speaking at Travel Group event

`` £5 `` Centre for Photographic

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

KEN.MACLENNAN(BTINTERNET.COM

Honorary Fellow Joe Cornish will be speaking at an event organised by the Travel Group `` Runnymede-on-Thames Hotel, Windsor Rd, Egham TW20 0AG `` Richard Lewis, travel@rps.org

Saturday 22 April / 9:00-14:00

`` Car park of the former Cross Inn, Llanddeusant, Carmarthenshire SA19 9YG `` Peter Douglas-Jones, 07776 141409, peter@douglas-jones.biz

Waterfalls along the Rivers Nedd, Pyrddin, Mellte and Hepste Saturday 6 May / 10:30-16:00

Saturday 1 April / 10:00-16:00

`` £15/£5/free to group members

`` Benmore Botanic Garden

car park, near Dunoon, Argyll PA23 8QU `` David Fiddes, daudistrachur@gmail.com

Bolton Abbey and the River Wharfe Wednesday 5 April / 9:30-16:30

`` £15/£5/free to group members

`` Riverside, woodland and ruins `` Cavendish Pavilion Cafe, Bolton Abbey, Skipton, Yorkshire BD23 6AN `` Jim Souper, Jim_Souper@ msn.com

Nash Point and the Heritage Coast Saturday 8 April / 10:00-16:00

`` An informal photography walk

`` The Angel Inn, Glynneath,

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

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

`` £15/£5/free to group members

`` A field trip to some of the most scenic locations of Hampshire and south-west Sussex `` The Ship Inn car park, Langstone Road, Langstone, Havant, Hampshire PO9 1RD `` Paul Stone, 07432 560581 pjs28jack@googlemail.com MEDICAL DR AFZAL ANSARY ASIS FRPS, 07970 403672 AFZALANSARY(AOL.COM NATURE RICHARD REVELS FRPS, 01767 313065

on the coast of South Wales

RICHARD.REVELS(TALKTALK.NET

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

AGM and annual exhibition

`` Nash Point car park, St Donas,

Brecon Beacons photography walk

Saturday 8 April / 10:45

`` See website for more details `` Smethwick PS Clubhouse, The Old Schoolhouse, Churchbridge, Aldbury, West Midlands `` Richard Revels, as above TRAVEL KEITH POINTON LRPS, 01588 640592 BAGPOINT(AOL.COM

Springboard to success Saturday 25 March

`` £45/£35 group members `` Runnymede-on-Thames

Hotel, Windsor Road, Egham TW20 0AG `` Richard Lewis, travel@rps.org

Travel Group AGM Saturday 25 March / 16:15-17:00

`` Runnymede-on-Thames

Hotel, Windsor Road, Egham TW20 0AG `` John Speller, j.speller525@ btinternet.com

Return pilgrimage to Jerez Tuesday 11 – Monday 17 April

`` £1,925 `` Hotel Casa Grande, Plaza las Angustias,

234 / THE RPS JOURNAL / MARCH 2017 / VOL 157

| GUIDE | 235 3 Jerez de la Frontera, Spain

`` Colin Howard, colin.howard@ mac.com

Homage to Arles 21 July – 27 July

`` £2,050 `` Hotel Amphitheatre, 5 Rue

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

Rocky Mountain Gold 2017 – photo tour 2-19 October

`` £2,250 `` Denver, Colorado,

United States of America VISUAL ART VIVECA KOH FRPS, 07956 517524 VIVECA.KOH(GMAIL.COM

Visual Art Group exhibition

Saturday 22 April – Saturday 3 June

`` Barnsley `` Jason White, 01226 327011,

jasonwhite@barnsleycivic.co.uk

2017 Members’ Biennial Exhibition Saturday 4 – Sunday 26 March

`` Shire Hall Gallery, Stafford Saturday 1 – Thursday 16 April

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

`` The Point, Doncaster International Images for Science Exhibition Until Sunday 12 March

`` Derry Millennium Centre Wednesday 15 – Saturday 18 March

`` Big Bang Fair, NEC, Birmingham

Friday 17 – Sunday 19 March

`` The Photography Show, NEC, Until Wednesday 22 March

`` The Hive, Worcester

Until Saturday 11 March

Saturday 1 – Saturday 15 April

`` Annual exhibition `` Croydon Library, Katherine

`` Edinburgh City Art Centre

Street, Croydon CR9 1ET `` David Wood, wood.david.j@ virgin.net

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

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

St Mary Street, Cardiff CF10 1GD

`` David Wood,

wood.david.j@virgin.net

EXHIBITIONS

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

RPS International Print Exhibition 159 Until Saturday 11 March

`` Taunton

Saturday 29 April – Sunday 14 May Open days 2, 3, 4 and 12 May

`` Royal Albert Hall, London `` Gary Evans FRPS, gary@ rps.org

PATRONAGE

The following salons/ exhibitions have RPSapproved patronage:

11th International Salon – Circuit ‘With Love to Women’ 2016 Closing date: 15 March `` `` galleryprostir.com `` RPS 2016/76 German International DVF-Photocup 2017 Salon BadenWüttemberg Closing date: 19 March ``

OVERSEAS CHAPTERS

`` AUSTRALIA Elaine Herbert ARPS, eherbert@alphalink.com.au `` BENELUX Richard Sylvester richard.sylvester @skynet.be Advisory day – Brussels (TBC) Saturday 4 March / 10:00-16:00

Rue Royale 2, Brussels

`` CANADA John Bradford, jb.rps@cogeco.ca `` CHINA BEIJING

`` germanphotocup.de `` RPS 2017/04

Birmingham

German International DVF-Photocup 2017 Salon Hessen Closing date: 19 March `` `` germanphotocup.de `` RPS 2017/04

Visit the picturesque town of Arles with the Travel Group this July

Sydney Harbour International Closing date: 16 April `` `` sydney-harbour-

German International DVF-Photocup 2017 SalonNiedersachsen Closing date: 19 March `` `` germanphotocup.de `` RPS 2017/04

international.org.au/

`` RPS 2017/09

94th Scottish International Salon 2017 Closing date: 17 April `` `` scottish-photographic-salon.org `` RPS 2017/22

32nd International Photosalon STROM Closing date: 25 March `` `` fotostrom.eu `` RPS 2017/15 1st Aranyak Coochbehar International Digital Salon 2017 Closing date: 7 April `` `` aranyakcoochbehar.org `` RPS 2017/17

The 47th HKCC International Salon of Pictorial Photography 2017 Closing date: 13 April `` `` hongkongcameraclub.com `` RPS 2017/16

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

Cheltenham International Salon of Photography 2017 Closing date: 23 April `` `` cheltenhamcameraclub. co.uk/

`` RPS 2017/18

Royal Photographic Society members around the world

Yan Li, yanli88@yahoo.com `` CHINA CHONGQING `` CHINA WESTERN Wei Han (Richard), oolongcha @hotmail.com `` CHINA SHANGTUF Guo Jing, shangtuf@yahoo.com.cn `` CHINA QUANZHOU Xiaoling Wang, hgudsh@163.com `` DUBAI Mohammed Arfan Asif ARPS, dubai@rps.org `` GERMANY Chris Renk, germany@rps.org

RPS German Chapter info@rps-italy.org JAPAN TOKYO exhibition: ‘Reflection’ `` Friday 19 May / 9:00-18:00

Altes Stadtbad, Hagen, Berliner Straße 115, Hagen

`` 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,

`` SRI LANKA Romesh de Silva, romesh@access.lk Yoshio Miyake, `` SWISS CHAPTER yoshio-raps@nifty.com `` MALAYSIA Richard Tucker ARPS, Michael Chong ARPS, tucker42@bluewin.ch TAIWAN michaelcsc1985@gmail.com `` `` MALTA Joanie Fan Hui Ling ARPS, Ruben Buhagiar, djpassionfoto@ info@rubenbuhagiar.com gmail.com `` NEW ZEALAND `` USA ATLANTIC Mark Berger, CHAPTER rps@moothall.co.nz Carl Lindgren, `` SINGAPORE lindgren.carl @gmail.com `` USA PACIFIC Steven Yee Pui Chung FRPS, CHAPTER peacock Jeff Barton, @sandvengroup.com rps@vadis.net VOL 157 / MARCH 2017 / THE RPS JOURNAL / 235

PROMOTION 230 | FUJIFILM | ADVERTISING

Stuart’s photo-homage to D-Day heroes More than 70 years on, stories of those who took part in D-Day continue to inspire. Stuart Wood FMPA was determined to play his part in honouring this heroic but now dwindling band of survivors

F

or those born after the Second World War it’s difficult to imagine the horrors that confronted a previous generation.

While young men and women these days have all the everyday worries that come with modern living, such as landing a job, making ends meet and getting on the housing ladder, those who were their age 75 years ago were facing a far sterner test, an ultimate battle for freedom.

They faced supreme sacrifice to liberate Europe.

Those who survived the storming of the beaches of Normandy and all the other activities that supported it all those years ago are old men and women now, most well into their nineties, but

Stuart Wood FMPA

their experiences can never fail to inspire.

Stuart Wood considers them to be his ultimate heroes and, as such, he was determined to do his bit to ensure that this diminishing band would never be forgotten. “I thought my contribution would be a selection of portraits of D-Day

Photographs from Stuart’s documentary essay on D-Day veterans. Above, Nanza Hughes; right, Ernest Turner

veterans,” he says, “that would include both men and women and representatives from all of the armed forces. My aim was to produce around 20 or so images and pull them together in an exhibition and a book that would raise funds for the National Memorial Arboretum.

“I wasn’t looking to make any money out of the project, not even expenses because, to me, that would have felt wrong.

Instead my reward would be the chance to meet some of these remarkable people face to face and to spend some time listening to their recollections.”

Stuart’s regular lab is One Vision, and they were only too happy to get involved from the outset, agreeing to produce the necessary exhibition prints, which will all be output on

Fujifilm’s iconic Crystal Archive DPII professional paper.

“We use this media for virtually everything we print,” says One Vision Imaging’s product and marketing manager Adam Scorey. “As a pro lab it’s crucial we offer top-quality and consistent results, and that’s what Fujifilm paper gives us: beautiful colours and deep contrast.

“Exhibition printing is nothing new for us and we’re regularly involved in some really big shows, such as the Comedy Wildlife Photography Awards and the Pink Lady Food Photographer of the Year competition.

“We can’t wait to see Stuart’s amazing imagery printed and framed when the venue’s been finalised.”

Fujifilm telling your stories in the national photo press: every month specially commissioned interviews and features on new work, exhibitions, books and specialist imaging services have been put in the press spotlight by Fujifilm.

One Vision Imaging, Stuart’s choice for printing and framing his Fujifilm DPII Pro prints. See http://bit.ly/fujifilmDPII

Looking for leads

It wasn’t the easiest of projects to get moving because Stuart had no personal connections with veterans and was struggling to find his first subject. Eventually, however, through his local branch of armed forces charity SSAFA, he came across Charlie, an old soldier who lived near him in Derby. A meeting was set up and then Stuart had to explain his idea and persuade Charlie to be part of it. “I just told him that I wanted to do him justice in his picture and that was enough,” says Stuart.

With the project finally under way Stuart trawled the internet for leads and got in touch with regiments to see if they could help in his search.

What finally opened up things for him was a meeting with George Batts, the chairman of the Normandy Veterans Association, who was not only the subject of a portrait but a man with a treasure trove of contacts. “I had to win him over and convince him that I was genuine,” recalls Stuart, “but once I did he simply asked me to give him a shopping list of the people I was looking for and he put me in touch with them. Things really started moving after this.”

From the outset Stuart’s plan was to photograph everyone as an individual and to arrive for his sitting with a deliberately blank canvas, so that he could react in real time to what he found. “In my job I often have to work like that,” he says, “and it’s just a case of being able to think on your feet.

“This worked out

spectacularly in the case of Ernie, an ex-artilleryman I’d sourced through my local paper. I went to his house in my usual way and was scanning every room to see if there was something I could use, when he suddenly invited me outside to see his air raid shelter. I didn’t know what to expect, but there was indeed a shelter there, now requisitioned for gardening uses, and I knew immediately this would work perfectly as a setting.”

For Stuart the real joy of the project was meeting a wide variety of people who had amazing experiences to share and he listened enthralled as one lady, found through the blind veterans’ association, described how she was an air operating officer for flight control during the Battle of Britain. “She was actually in the room when Churchill famously asked how many reserves we had and was told there were none,” Stuart says in awe. “Someone who witnessed history in the making and here they were, sitting in front of my camera.”

With his project now complete Stuart is proud to have played his own small part in honouring the heroes of D-Day, and the body of work that has resulted will ensure that the extraordinary stories they had to tell will live on.

More information: www.stuart-wood.com www.stuartwoodweddings.com www.onevisionimaging.com http://bit.ly/fujifilmDPII

Has a Fujifilm product featured in YOUR current success? If so, we want to know – contact us now! editor@iconpublications.com

SHOWCASE 236 | GUIDE | MEMBER

A window on church art

Mike Trendell FRPS hopes his exhibition at Fenton House will shine a light on more than 1,000 years of art in English parish churches

S

ince joining the Society in 1980, Mike Trendell FRPS has enjoyed a life spanning a huge variety of photographic subjects.

Trendell achieved his FRPS in 2009 and today he remains an active member of the Society’s Archaeology and Heritage Special Interest Group.

Over the last two years Trendell has been motivated by his passion for history and culture to complete his latest project documenting 1,000 years of Art in the English Parish Church, which is on show at Fenton House throughout March.

Here, Trendell reveals the inspiration behind his project, what to expect from the exhibition, and how he hopes it will encourage visitors to discover the often overlooked parish art that surrounds them.

What inspired this project?

Throughout my career I’ve photographed old priories

and abbeys, National Trust properties and many churches – both inside and out. After looking through my collection of photographs I realised I was in the beginning stages of a really interesting new project.

I shifted my focus to the art I had captured in churches over the years.

Then I began stitching the project together by arranging the photographs previously taken, and in the last couple of years I’ve been out and about photographing more churches.

Why is it important for you to focus on parish art?

The art I have photographed stretches from Saxon times to the 20th century and is considered by many to be of greater significance than any other art to be seen on the continent.

Art in the English Parish ABOVE

Pew end, Walpole St Peter LEFT

Misericord from St Laurence’s Church, Ludlow

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

236 / THE RPS JOURNAL / MARCH 2017 / VOL 157

Church takes various forms, including Saxon carvings in stone, 20th-century stained glass, wall and wood paintings, and memorials.

Much of it is of national importance and it is vital that it is preserved for future generations to enjoy.

While many people appreciate art in their local area, I feel it is really important that a wider public recognises the art that these churches have to offer.

What are the highlights of the exhibition?

There’s a fine Celtic cross from Eyam in Derbyshire, a superb stone carving of an eagle from Brixworth in Northamptonshire – one of the most important remaining Saxon churches in the country – and marvellous carvings from a wonderful little Norman church, Kilpeck in Herefordshire.

I’ve tried to present as broad a spectrum as possible to

ABOVE

15th-century angel head, Stratton Strawless, Norfolk TOP RIGHT

Side column showing oriental warriors, Kilpeck Church ABOVE RIGHT

Image of St Michael, St Helen’s Church, Ranworth

encourage people to go off and explore the art in these parishes themselves.

What do you hope visitors get from the exhibition?

The aim of this exhibition is to show visitors some of the wonderful works in our churches both large and small.

Art can be serious, historical, colourful and amusing, and I hope this exhibition inspires visitors to go out and explore.

VOL 157 / MARCH 2017 / THE RPS JOURNAL / 237

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SIGMA CAF USED 10-20 F3.5 EX DC................£269 10-20 F4/5.6 HSM box .......£219 18-50 F2.8 EX DC.......................£149 18-125 F3.8/5.6 OS DC ...........£149 18-200 F3.5/6.3 HSM OS...........£179 18-200 F3.5/6.3 DC......................£149 24-70 F2.8 HSM..........................£469 28-135 F3.8/5.6 ............................£99 50 F2.8 EX macro .....................£149 50-500 F4/6.3 EX DG ............£399 70-200 F2.8 EX DG ...............£399 120-300 F2.8 DG OS Sport box ............................... £1799 120-300 F2.8 EX DG ..............£699 120-400 F4/5.6 DG ................£399 150 F2.8 EX DG OS mac .........£499 150-500 F5/6.3 HSM ................£499 150-600 F5/6.3 DG OS ..............£999 170-500 F5/6.3 APO DG...........£299 180 F3.5 EX DG HSM mac.......£399

1.4x EX DG converter ................£149 Kenko Pro 300 1.4x conv........... £99 Kenko ext tubes............................. £79 OTHER CAF USED TAM 10-24 F3.5/4.5 Di II ......... £199 TAM 18-270 F3.5/6.3 VCII ......£169 TAM 28-300 F3.5/5.6 Di VC PZD.......................................£449 TAM 28-75 F2.8 XR Di ...........£199 TAM 70-300 F4/5.6 .....................£99 TAM 90 F2.8 .................................£249 TAM 150-600 F5/6.3 USD ......£599 TAM 200-500 F5/6.3.................£449 Zeiss 50 F1.4 ZE box ................£599 CANON FLASH USED ST-E3 transmitter box ..........£189 ST-E2 transmitter ..................... £79 MR-14EX ringflash .................£319 430EXII.......................................£169 550EX.....£149 580EX box...£179 580EX MKII ...............................£299

MBD-100 grip............................ £39 MBD-200 grip............................ £49 NIKON AF FILM BODIES USED F4S body inc MB-21..............£349 F4E body inc MB-23..............£299 F65 body ..................................... £39 F801 body ............................£29/59 F601 body .................................. £29 NIKON AF LENSES USED 10-24 F3.5/4.5 AFS DX .........£549 14-24 F2.8 AFS M- box ........£1099 14-24 F2.8 AFS ..................... £999 16 F2.8 Fisheye AFD .......... £499 16-35 F4 VR............................ £749 16-85 F3.5/5.6 AFS VR .........£399 17-55 F2.8 AFS ............................£449 18-35 F3.5/4.5 AFS ....................£479 18-35 F3.5/4.5 AFD ...................£299 18-55 F3.5/5.6 AFS VR................£99 18-105 F3.5/5.6 AFS VR ...........£169 18-135 F3.5/5.6 AFS G .............£169 18-200 F3.5/5.6 AFS VRI ..........£249 20 F2.8 AF......................................£279 24-70 F2.8 AFS box ...................£849

24-85 F3.5/4.5 VR ........................£329 24-120 f4 AFS VR .........................£699 24-120 F3.5/5.6 AFD ..................£199 28 F1.8 AFS G ................................£479 28-100 F3.5/5.6 AF G ................... £69 28-300 F3.5/5.6 VR......................£599 35 F2 AFD .......................................£199 35-70 F3.3/4.5 AF .......................... £59 40 f2.8 AFS Micro ...................£169 50 F1.8 AFD................................ £99 55-200 F4/5.6 AFS ................... £79 55-300 F4.5/5.6 VR DX .........£219 60 F2.8 AFS ..............................£399 60 F2.8 AF .................................£199 70-200 F2.8 AFS VRII .......... £1349 70-200 F2.8 AFS VRI ..............£899 70-200 F4 AFS VR...................£899 70-300 F4/5.6 VR ....................£369 80-400 F3.5/5.6 AFS VR..... £1599 85 F1.4 AFS M- box ...............£999 85 F1.4 AFD..............................£499 85 F1.8 AFD..............................£249 85 F3.5 DX M- box .................£269 105 F2 AFD...............................£649

105 F2.8 AFS VR......................£579 105 F2.8 AFD ...........................£399 135 F2 AFD box ......................£799 180 F2.8 AFD M- box ............£449 200 F4 AF ..................................£999 200-400 F4 AFS VRII ........... £3699 200-500 F5 AFS VR ................£999 300 F2.8 AFS VRI ................. £2699 300 F4 AFS box.......................£549 400 F2.8 AFS VR serviced .................................. £5799 400 F2.8 AFS non VR.......... £3999 500 F4 AFS VR ...................... £5197 600 F4 AFS VR ...................... £6299 600 F4 AFS VR s erviced .................................... £5799 600 F4 AFS II non VR serviced .................................. £4299 TC14EIII......................................£369 TC14EII .......................................£299 TC17EII .......................................£249 TC20EIII M- box ......................£329 TC20EII .......................................£199 TC20E .........................................£149

SIGMA NAF USED 15 F2.8 EX DG ...............................£399 18-200 F3.5/6.3 DC OS ............£199 24-70 F2.8 EX DG serviced ....£299 28-200 F3.5/5.6 early...................£69 30 F1.4 EX DC ..............................£199 50 F1.4 Art M- box.....................£499 50-500 F4/6.3 DG..........£399/499 70-200 F2.8 OS DG ................£599 70-300 F4/5.6 APO DG........... £99 80-400 F4.5/5.6 DG OS ........£399 105 F2.8 EX ..............................£199 120-400 F4/5.6 DG ................£399 150 F2.8 EX DG OS mac ...........£499 150-500 F5/6.3 DG OS ..............£499 150-600 F5/6.3 DG OS Sport .£999 300-800 F5.6 EX DG ................£2999 TC-1401 1.4x converter ............£179 2x EX DG converter....................£149 1.4x EX converter .......................... £99 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.............................£599 28-300 F3.5/6.3 XR Di................£149 60 F2 SP Di......................................£229 70-300 F4/5.6 .................................. £79 OTHER NAF USED TOK 10-17 F3.5/4.5 ATX .......£249 TOK 80-200 F2.8 ATX Pro ....£299 FLASH / ACCESSORIES USED SB-24 .....................................................£49 SB-25 .....................................................£49 SB-28. .................................................. £69 SB-80DX............................................. £79 SB-600...............................................£169 SB-900...............................................£249 SB-910...............................................£299 SB-R1 kit M- box ..........................£399 SD-8 batt pack................................ £49 DR-3 angle finder.......................... £59 MB-10 (fits F90) .............................. £29 MB-23 (fits F4)................................. £69 MC-30 remote ................................ £39 MF-23 (date back F4) .................. £79

Why not register to receive our email newsletters? Simply send your email address to info@mifsuds.com to enrol FUJI DIGITAL USED X-Pro2 body box ................... £999 X-T1 body graphite box ..... £499 X-T1 body black..................... £499 X-T1 body black..................... £449 X-T10 body box ..................... £349 X-E1 body black .................... £199 10-24 F4 ................................... £599 18 F2 XF ................................... £299 18-55 F2.8/4 XF ..................... £399 27 F2.8 XF box ....................... £199 35 F1.4 R box .......................... £399 55-200 F3.5/4.8 R .................. £449 60 F2.4 macro box................ £429 1.4x converter ........................ £269 X100s silver ............................. £399 X10 box .................................... £149 MINOLTA/SONY DIGITAL USED Sony A7R II body box..........£2499 Sony A7 II body ....................... £999 Sony A6300 body ................... £749 Sony VG-B30AM .........................£69 Sony VG-C2EM ......................... £179

BRONICA ETRS 645 USED 40 F4 MC ................................... £149 75 F2.8 PE ................................. £149 105 F3.5........................................£99 135 f4 PE ................................... £249 150 F3.5 E ....................................£99 150 F3.5 PE M- Box................ £149 200 F4.5 PE............................... £199 E14 Ext tube ...............................£49 E42 Ext tube ...............................£49 120 RFH ........................................£69 Polaroid Back .............................£39 Plain prism ..................................£59 Rotary prism ...............................£99 Winder early ...............................£79 Speed Grip E...............................£39 Tripod adapter E .......................£39 Winder early ...............................£49 Metz SCA 386 .............................£49 BRONICA SQ 6x6 USED 40 F4 S ....................................... £299 50 F3.5 PS ................................. £299 50 F3.5 S.................................... £149 110 F4.5 PS macro ................. £399

35MM & MISCELLANEOUS USED CANON FD USED 28 F2.8 ..........................................£49 Used Leica R8 body black box

70-300 F4/5.6 L IS U ..............£799 70-300 F4.5/5.6 IS USM .......£249 75-300 F4/5.6 MKII .................. £99 85 F1.8 M-.................................£269 100 F2.8 IS USM L ..................£599 100 F2.8 USM box..................£299 100-400 F4.5/5.6 L IS U ......... £899 135 F2 L M- box......................£499 180 F3.5 L mac ..........................£799 300 F2.8 LII IS U .....................£4999 300 F2.8 LI IS U.......................£2799 300 F4 L IS USM box ...............£749 400 F4 DO ISII L U .................£5799 400 F5.6 L box ...........................£749 500 F4 LII IS USM ..................£6999 500 F4 LI IS USM....................£4499 1.4x extender MKII ................£239 2x extender MKIII.....................£319 2x extender MKII ......................£199 Teleplus 2x DG conv ............... £89 Kenko ext tube set DG ............... £89

We carry out sensor cleaning on the premises, firmware updating and equipment hire - please enquire for details NIKON DIGITAL AF USED D4s body box ....................... £3499 D4 body box......................... £2299 D3X body box ...................... £1799 D3s body box ............£1499/1799 D3 body box......................... £1199 D2xs body ................................£399 D2x body ..................................£349 D800 body ............................ £1399 D700 body box..............£499/599 D600 body box.......................£799 D300 body box.......................£299 D200 body box.......................£149 D7100 body box ....................£499 D7000 body ....................£299/349 D5000 body .............................£199 D3300 body body .................£249 D90 body ..................................£199 D50 body .................................... £79 MBD-15 grip ............................£149 MBD-14 grip ............................£149 MBD-10 grip M- box .............£129 MBD-10 grip .............................. £79 MBD-80 grip .............................. £49

Sony VG-C70AM...................... £139 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 28-70 F3.5/5.6 OSS ..............£299 FE 90 F2.8 macro ........................£799 Samyang 100 F2.8 macro ......£229 MINOLTA/SONY AF USED Dynax 9 body......................... £299 800Si body .................................£69 7xi body ......................................£49 7000i body .................................£39 300Si body .................................£19 20-35 F3.5/4.5 M- box ......... £249 24 F2.8 AF ................................ £199 24-50 F4 ......................................£99 24-85 F3.5/4.5 ........................ £149 28 F2.8 .........................................£99 28-80 F4/5.6...............................£39

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

Used Hasselblad

17-55 F2.8 EFS IS USM .........£399 17-85 F4/5.6.............................£199 18-135 F3.5/5.6 IS USM ............£349 24 F3.5 TSE MKI box...................£699 24-70 F2.8 L USM box ...............£799 24-85 F3.5/4.5 USM....................£149 24-105 F4 L.....................................£549 28 F2.8 .......................................£129 28-80 F3.5/5.6 ........................... £79 28-90 F3.5/5.6 ........................... £79 28-135 F3.5/5.6 IS USM .......£169 40 F2.8 STM .............................£139 50 F1.2 L USM box.................£999 50 F1.4 USM.............................£239 50 F1.8 MKII ............................... £59 50 F2.5 macro .........................£149 55-250 F4/5.6 EFS ..................£139 60 F2.8 USM EFS mac ...........£249 70-200 F2.8 IS USM LI...........£999 70-200 F2.8 USM L ................£799 70-200 F4 U L ..........................£399

35-70 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 or 50mm Ext tube ea £29 177A flash.....£20 199A flash£39 244T flash ....................................£20 277T flash ....................................£25 300TL flash ..................................£49 Winder A.......£20 Winder B ..£30 CONTAX 35mm RF USED 90 F2.8 G ................................... £299

135 F4 PS M-............................ £229 150 F3.5 S ....................................£79 150 F4 PS ......................... £149/199 180 F4.5 PS............................... £399 200 F4.5 PS M- box ............... £199 2x PS converter M- ................ £179 135N back ................................ £119 SQA Polaroid back....................£59 SQAi 120 RFH .............................£79 SQAi prism late ....................... £299 45° Prism box .......................... £129 Plain Prism S Boxed .................£69 AE Prism Early ............................£79 ME Prism Finder ........................£69 Metz SCA 386 .............................£49 Pro shade S .................................£59 Lens Hood 65-80.......................£20 SQAi Motorwinder ................ £149 Speed grip S ...............................£79 HASSELBLAD 6x6 USED Sports viewfinder .....................£69 Chimney.......................................£89 A12 chrome latest ................. £299 A12 late blk/chr ...................... £129

28-85 F3.5/4.5 ...........................£99 35-70 F4 ......................................£39 35-70 F3.5/4.5 .................................£25 35-80 f4/5.6 ......................................£25 35-105 F3.5/4.5 ..............................£99 50 F1.7 AF .........................................£89 50 F2.8 macro ..............................£149 75-300 F4.5/5.6 ..............................£99 85 F1.4 .............................................£549 100-300 F4.5/5.6 APO ..............£149 VC700 grip........................................£39 RC1000S/L cord .............................£15 SONY LENSES USED 16-80 F3.5/4.5 ZA DT................£499 18-55 F3.5/5.6 SAM ......................£59 18-200 F3.5/6.3 DT ....................£199 55-200 F4/5.6 DT SSM ................£69 75-300 F4/5.6 ...............................£129 SIGMA MIN/SONY AF USED 18-35 F1.8 Art........................... £449 28-135 F3.8/5.6 ...........................£79 28-300 F3.5/6.3 macro.......... £149 50 F1.4 ......................................... £149

50 F2.8 EX DG macro ............ £149 55-200 F4/5.6 ..............................£69 70-300 F4/5.6 DG OS ........... £169 70-300 F4/5.6 APO DG ...........£99 150-500 F5./6.3 DG .............. £499 170-500 F5/6.3....................... £299 1.4x EX conv ..............................£99 TAM 10-24 F3.5/4.5 DiII ...... £239 TAM 18-200 F3.5/6.3...............£99 TAM 70-300 F4.5/5.6 Di box £79 TAM 90 F2.8 ................... £179/249 TAM 150-600 F3.5/6.3 USD ..... £599 Teleplus 1.4x conv ...................£69 Teleplus 2x conv ......................£79 Kenko 1.4x Pro 300DG ........ £149 Min 5200i....................................£29 Min 5400HS ...............................£39 Min 5600HSD M-......................£99 OLYMPUS 4/3 USED E10 MKII body ........................ £349 E10 body.................................. £279 14-42 F3.5/5.6 ...........................£49 14-45 F3.5/5.6 ...........................£79

14-50 F3.8/5.6 ........................ £199 14-54 F2.8/3.5 ........................ £149 35 F3.5 .........................................£99 35-100 F2 M- box.................. £899 40-150 F4/5.6 ............................£49 50 F2 macro ............................ £279 25mm ext tube.........................£79 FL-36 Flash .............................. £119 OLYMPUS MICRO 4/3 USED Stylus 1F................................... £299 OMD-EM1 body M- box ..... £599 OMD E-M5 MKII b/o box .... £499 OMD E-M5 body box........... £249 OMD-EM10 MKII body ........ £299 OMD-EM10 body .................. £249 12-40 F2.8 Pro ........................ £649 12-50 F3.5/6.3 ........................ £149 17 F2.8 ...................................... £159 45 F1.8 box ............................. £199 40-150 F2.8 Pro ..................... £949 40-150 F4/5.6 ......................... £139 45 F1.8 ...................................... £159 60 F2.8 .........................................£99

HLD-8 grip............................... £149 HLD-7 grip box ...................... £119 HLD-6 grip..................................£99 PANASONIC DIGITAL USED GH2 body ................................ £299 G6 body black........................ £299 G3 body box ........................... £129 GX7 body................................. £399 GX1 body box ........................ £149 GF7 body silver box ............. £199 GF3 body black ........................£99 GF1 body .......................................£79 GM1 body silver .................... £299 12-35 F2.8 ................................ £549 14 F2.5 ...................................... £199 14-42 F3.5/5.6 ...........................£79 14-45 F3.5/5.6 ........................ £149 20 F1.7 ...................................... £199 35-100 F4/5.6 ......................... £199 45-200 F4/4.5 box ................ £199 100-300 F4/5.6....................... £349 MORE ON WEBSITE WWW.MIFSUDS.COM

For more used equipment listings please see website www.mifsuds.com Polaroid back tatty ...................£79 50 F4 CF FLE ............................ £849 80 F2.8 CF ................................. £479 150 F4 chrome serviced...... £199 250 F5.6 CF .............................. £399 Ext tube 21, 55 each ................£39 Vivitar 2x conv ...........................£49 Pro shade 6093..........................£99 Lens hoods various ........... £20/50 MAMIYA 645 MF USED 645 Prol TL + 80 + prism + winder box ........................... £399 Plain prism (645 Super) ..........£39 Polariod Back HP401 ...............£29 Polaroid back .............................£29 120 Insert.....................................£20 HA401 120 RFH Box.................£49 120 Back.......................................£39 Winder ..........................................£79 45 F2.8 N ................................... £199 150 F2.8 A................................. £199 150 F3.5 N ...................................£79 150 F3.8 NL leaf...................... £299 210 F4 N M- ................................£79

Ext Tube 1, 2, 3S each .............£29 Teleplus 2x converter ..............£49 Vivitar 2x converter..................£39 MAMIYA TLR 6x6 USED C330 F Body + WLF ............... £149 55 F4.5 ....................................... £199 65 F3.5 box late ...................... £199 65 F3.5 serviced...................... £149 80 F2.8 late serviced ............. £139 180 F4.5 ..................................... £149 250 f4.5 late serviced............ £249 250 f4.5 early serviced ...... £179 Paramender ................................£49 Porrofinder ..................................£59 MAMIYA 6 & 7 RF 6x7 USED 6 body + 75 F3.5 ..................£1099 50 F4 G ...................................... £599 50 F4.5 L + VF .......................... £699 80 F4.5 L M- box..................... £699 150 F4.5 M- .............................. £399 MAMIYA RB 6x7 USED Pro SD + 90 KL + WLF + back .......................... £549 Pro S + 90 + WLF + back ..... £399

Pro S body ................................ £149 Pro S body scruffy ....................£99 Plain prism late....................... £199 WLF..........£79 Chimney...........£99 120 645V back ...........................£99 50 F4.5 ....................................... £199 90 F3.5 KL ................................. £299 127 F3.5 KL............................... £299 180 F4.5............................................ £149 Pro SD ext tube 2 82mm............£99 Pro SD ext tube 1 45mm............£99 Ext tube 2...........................................£49 MAMIYA RZ 6x7 USED RZ Pro body ............................. £149 120 RFH Pro II.............................£99 120 RFH Pro I ..............................£49 Polaroid back .............................£79 FE701 prism ............................. £299 WLF...........£79 Winder II ..........£69 50 F4.5 W .................................. £249 65 F4 box M- ........................... £399 90 F3.5 W M- box ................... £299 180 F4.5 W................................ £199 Pro shade.....................................£49

PENTAX 645AF USED 645N body ............................... £399 AF500FTZ flash ..........................£79 PENTAX 645MF USED 645 + 75 F2.8 ........................... £249 645 body + insert .................. £199 55 F2.8 ....................................... £249 150 F3.5 EX++ ......................... £149 200 F4 ........................................ £149 300 F4 ........................................ £249 1.4x converter ......................... £199 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 ............................. £see website

Please contact us to determine availability before making a lengthy journey CONTAX MF USED 28-70 F3.5/4.5 MM ................ £169 HASSELBLAD XPAN USED Centre filter 49mm........................£129 LEICA SLR USED R8 body black box................. £499 28-70 F3.5/4.5 R ..................... £399 LEICA OPTICS USED Televid APO 77 + eyepiece .... £799 Televid 77 + 20x60 ................ £649 Trinovid 10x42 ........................ £599 Ultravid 8x32 HD ................... £849 LIGHTMETERS USED Polaris ...........................................£99 Sekonic L308 ..............................£99 Sekonic L408 ........................... £149 MINOLTA MD USED X300 chrome body ..................£49 X300s black body .....................£49

X700 black body .......................£69 XGM chrome body ...................£49 28 F3.5 MD ..................................£39 50 F1.7 MD ..................................£49 50 F2 MD .....................................£49 70-210 F4 MD.............................£99 2x Converter ...............................£79 Ext tube for 50 F3.5..................£29 Ext tube set.................................£49 Auto bellows 1...........................£99 NIKON MF USED F3 body ..................................... £199 FM2n body chr box............... £299 FM2n body chr ....................... £249 FE body chrome........................£99 20 F3.5 AI .................................. £199 24 F2.8 AI. ................................. £199 28 F2.8 AIS................................ £199 28 F3.5 AIS...................................£99

28 F2.8 E box ..............................£69 28-85 F3.5/4.5 AIS.................. £199 35-70 F3.3/4.5 AIS.................. £129 35-70 F3.5 AIS ............................£99 35-105 F3.5/4.5 AIS ..................£79 50 F1.4 AI .................................. £199 50 F1.8 AIS pancake.............. £139 50 F1.8 E.......................................£59 55 F2.8 AIS................................ £199 105 F2.8 AIS macro ............... £199 180 F2.8 AIS ED scruffy ........ £179 500 F4 AIS...............................£1499 500 F8 mirror early................ £279 TC200 ............................................£49 SC-17 TTL lead ...........................£25 DW-3 WLF find fit F3 ...............£99 DW-21 fits F4 ........................... £149 OLYMPUS OM USED OM-4T body ............................ £249

OM-1n body ............................ £199 OM-1 body ............................... £149 OM-2SP body .......................... £149 OM-2n body blk or chr ........ £149 28 F3.5 ..........................................£49 35-70 F3.5/4.5 ............................£79 35-105 F3.5/4.5..........................£79 50 F3.5 macro ............................£79 200 F4 ...........................................£79 7, 14, 25 man ext tube ea ......£20 14 or 25 auto ext tube ea ......£29 PENTAX 35mm AF USED 16-45 F4 .................................... £199 17-70 F4 SDM M- box .......... £299 18-55 F3.5/5.6 ............................£69 28-80 F3.5/5.6 ............................£49 50-135 F2.8 SDM.................... £379 55-300 F4/5.8 ED box........... £199 70 F2.8 Limited ....................... £349

70-300 F4/5.6 .............................£79 SIGMA PKAF USED 18-250 F3.5/6.3....................... £199 TAM 70-300 F4.5/5.6................£69 PENTAX MF USED 40 F2.8 PK ....................................£99 50 F1.4 PK ....................................£99 50 F4 macro PK..........................£99 TAMRON ADII USED 90 F2.5 SP ................................. £149 VANGUARD SCOPES USED Endeavour HD65A................. £229 VOIGTLANDER USED 15 F4.5 + VF M- box .............. £269 ZEISS USED Victory Diascope 85 T* FL + 20x60 box ...........................£1399 MORE ON WEBSITE WWW.MIFSUDS.COM

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.

240 | TIMES PAST |

FROM THE RPS COLLECTION

Sleeping giant

O

baysch the hippopotamus was acquired from the viceroy of Egypt, Abbas Pacsha, in exchange for some hunting dogs.

Arriving at London Zoo in 1850, Obaysch proved to be a star exhibit – even reported by the Inverness Courier – reputedly attracting more than 10,000 visitors a day, doubling the zoo’s previous records.

In the early 1850s, photography was burgeoning as a pastime for gentlemen of a scientific bent. As this must be one of many photographs made of Obaysch, it is interesting to

consider why this particular image has survived to become the most familiar among them.

Partly this must be due to who the photographer was. Prince Juan de Borbón, aka the Count de Montizón, was the nephew of the king of Spain and a founding member of the Photographic Society of London (forerunner of The Royal Photographic Society).

His photograph was published in The Photographic Album for the Year 1855.

Not withstanding the eminence of the photographer, it is the image’s – possibly unintentional – humour that

240 / THE RPS JOURNAL / MARCH 2017 / VOL 157

ALL ABOUT OBAYSCH Obaysch, named after the island in the Nile near where he was captured, escaped from his London Zoo enclosure in 1860. To tempt him back, the zoo’s superintendent arranged for a keeper – one who Obaysch particularly hated – to show himself to the hippo and run back to the enclosure. Obaysch followed and, while the keeper escaped up a ladder, the hippo was again detained.

makes this a memorable picture.

The somnolent beast seems oblivious to its audience, an audience that appears to be captive behind the bars of a cage. It is this visual reversal of fact that continues to entertain.

In a contemporary context, it is tempting to make an analogy with the need to protect the natural world from insatiable human depredations. Due to poaching and habitat destruction there are probably fewer than 150,000 common hippopotamuses left in the wild ... and reducing year on year.

CHRISTOPHER WILLIAM MORRIS ARPS

ROYAL PHOTOGRAPHIC SOCIETY COLLECTION / SCIENCE ! SOCIETY

The Hippopotamus at the Zoological Garden, 1852, by the Count de Montizón

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