The RPS Journal March 2015

HARRY BORDEN

PORTRAIT OF A CAREER

FROM BIG&SCREEN STARS TO EVERYDAY HEROES

MARCH 2015 / VOLUME 155 / NUMBER 3 / WWW.RPS.ORG

EXTREME ICE

MEMBER BENEFITS

CHASING A GLACIER WITH JAMES BALOG

HOW MY LIFE CHANGED WITH THE SOCIETY

Š LITTLE SHAO

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| MARCH 2015 | 161

OPENING SHOT

RAISE A GLASS TO THE GREAT ! GOOD

W COMING UP

IN FUTURE ISSUES We grill the people behind Photo London, a new event that claims to put the British capital at the centre of the art world. Plus a visit to the Holkham Estate with Chris Steele-Perkins HonFRPS

elcome to our March issue. We love our cover; the familiar, craggy face of actor Bill Nighy, with the cheeky addition of an extra pair of specs.

The second pair is, in fact, the photographer’s. It’s a typical touch from the inimitable Harry Borden, who was made an Honorary Fellow of the Society late last year. I had an enlightening chat with Harry when he received his accolade – and in this issue we’ve included some of his more personal shots, as well as those for which he’s become famous. Read more on page 206.

Later this month we’ll be heading to Birmingham to the Photography Show, the annual celebration of all things lens-related. If you’re going, do come and say hello – our team will be on the Society stand from Saturday to until Monday. Read more about the Society’s events at the show on pages 167 and 168.

Now, this is the time of year when images from around the globe are celebrated, with the winners of the World Press Photo awards revealed as we go to print. Mads Nissen, from Denmark, got the accolade for his

tender yet arresting image of Jon and Alex, a gay couple in Russia.

For the Journal, however, we’ve chosen to feature a different award winner – Elliott Erwitt HonFRPS, who will receive the Outstanding Contribution gong from the Sony World Photography Awards at a ceremony next month (see page 164). On the line from New York, he told us about how he captured Marilyn Monroe in a moment of relaxation. It’s another great shot, and a reminder of the simplicity of wonderful photography. Another award winner – Andrew George, who received the Society-sponsored portfolio prize at the International Garden Photographer of the Year – gives us his tips for great bokeh on page 225.

Have a go, and let us know how you get on!

CLARE HARRIS Editor

MIKE WILKINSON

PATRON AND SPONSORS

VOL 155 / MARCH 2015 / THE RPS JOURNAL / 161

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 Derek Birch ASIS HonFRPS Vice-President Walter Benzie ARPS Treasurer Geoff Blackwell ARPS Director-General Dr Michael Pritchard FRPS Published on behalf of The Royal Photographic Society by Think Suite 2.3, Red Tree Business Suites, 33 Dalmarnock Road, Glasgow G40 4LA thinkpublishing.co.uk

188 John Norris ARPS meets Hood Medal-winner James Balog

EDITORIAL ENQUIRIES Editor Clare Harris rpsjournal@thinkpublishing.co.uk 0141 375 0504 Deputy editor Andrew Cattanach andrew@thinkpublishing.co.uk

226

Contributing editors Gavin Stoker, Geoff Harris LRPS

IGPOTY winner Magdalena Wasiczek on great garden shots

Design Matthew Ball, Alistair McGown, Katherine Pentney Sub-editor Sam Bartlett

FEATURES

Advertising Sales Daniel Haynes daniel.haynes@thinkpublishing.co.uk

188 | JAMES BALOG ON ICE The groundbreaking environmental photographer shares his insight

020 3771 7200 Publisher John Innes john.innes@thinkpublishing.co.uk

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 policy of The RPS or those of the publishers. All material correct at time of going to press.

202 | ACROSS THE SPECTRUM Behind the Light Works exhibition 206 | BEST SHOTS Harry Borden HonFRPS 212 | MY MEMBERSHIP How joining the Society helped Philip Field LRPS's image takings

ISSN: 1468-8670

Cover Bill Nighy by Harry Borden HonFRPS

206 Gillian Anderson: a face from the career of Harry Borden HonFRPS

162 / THE RPS JOURNAL / MARCH 2015 / VOL 155

218 | SHOWCASE Natural high: Jane Pakenham FRPS

HARRY BORDEN HONFRPS; © JAMES BALOG/ EXTREME ICE SURVEY; MAGDALENA WASICZEK

196 | BURSARY BONANZA We catch up with the latest recipients of our annual bursaries

© 2015 The Royal Photographic Society.

All rights reserved.

| MARCH 2015 | 163

Š TOM STODDART/ REPORTAGE BY GETTY IMAGES

THE CRAFT

EVERY MONTH

221 | MUST TRY ' LATEST KIT Review of the Olympus E-M5 MkII plus a host of other goodies

164 | BIG PICTURE Elliott Erwitt HonFRPS and his impression of Marilyn Monroe

225 | MASTERCLASS/IN DEPTH Bokeh brilliance and garden image techniques you'll really dig

167 | IN FOCUS The Society at the Photography Show, plus news and exhibitions

229 | MY FAVOURITE CAMERA Rebecca Naden ARPS's selection

177 | BOOKS The latest titles reviewed 178 | DISTINCTIONS A guide to the LRPS and ARPS, and a roll call of recent successes 231 | MEMBER GUIDE Events, workshops, talks and more

168 Tom Stoddart at the Photography Show

240 | TIMES PAST A Friedrich Paneth Autochrome VOL 155 / MARCH 2015 / THE RPS JOURNAL / 163

© ELLIOTT ERWITT/MAGNUM PHOTOS X 2

164 | BIG PICTURE |

164 / THE RPS JOURNAL / MARCH 2015 / VOL 155

Marilyn Monroe

By Elliott Erwitt HonFRPS

THE SHOOT The year was 1956 and Marilyn was in New York making a movie.

I got permission to go to the set and spend some time with her at home, where I took this among many other pictures. In those days we did a lot of jobs because we wanted to and then we found ways to sell the pictures afterwards.

APPROACH The trick is to hang around long enough so they don’t know that you’re there.

They go about their business and you go about yours.

That way you can sometimes get a picture that isn’t manufactured, that isn’t posed. There’s no shortage of pictures of her posing, being a movie star, as she presented herself to the public.

TECHNIQUE I just used whatever light was available.

It was not a sitting, it was just us hanging out. Natural.

TIPS Do photography as a hobby first and maybe it will develop from there if you are steady enough. There are too many photographers around and not enough opportunities. But it’s a wonderful hobby.

Elliott Erwitt HonFRPS will be awarded the Outstanding Contribution to Photography prize at the Sony World Photography Awards next month. His work is on show at Somerset House, London, from 24 April to 10 May VOL 155 / MARCH 2015 / THE RPS JOURNAL / 165

©Christian Ammann

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167

FESTIVALS OF BRITAIN Events return to Derby and Belfast 169

HIDDEN SPACES The latest 365 competition winners 171

WALL FLOWERS Our pick of photography exhibitions 172

INFOCUS NE W S, V IE W S, E X HIBITIONS A ND MEMBER INSIGHT

The Quiraing pathway, Isle of Skye,

by Joe Cornish HonFRPS

CORNISH AND REYNOLDS HEAD SOCIETY EVENTS AT NEC Society brings out the big guns for Photography Show THE PHOTOGRAPHY Show returns to the Birmingham NEC, from 21-24 March, with lots of attractions for Society members including an

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exclusive event in which honorary fellows Joe Cornish and Roger Reynolds will discuss their tales of travel and landscape photography.

Elsewhere, the Society has gathered some great speakers for the show’s Behind the REDUCED!PRICE SHOW TICKETS

Lens schedule of seminars and workshops, with Sean Hawkey on his journey to a Peruvian silver mine, Society bursary-winner Toby Smith on how to shoot beautiful images with limited experience (in his seminar

HS2 – Walk the Line), David Hogg LRPS on using drones, and more from Reynolds on travel photography.

For dates and times see bit.ly/ RPSphotographyshow. Turn the page for more Photography Show

SOCIETY MEMBERS, ENTER CODE RPSTPS15 WHEN BOOKING PHOTOGRAPHY SHOW TICKETS TO GET £3 OFF THE ENTRY PRICE. AVAILABLE UNTIL 18 MARCH VOL 155 / MARCH 2015 / THE RPS JOURNAL / 167

168 | IN FOCUS |

PHOTOGRAPHY SHOW

SOME OF photography’s most iconic figures will be speaking at the Photography Show this month, including Martin Parr HonFRPS and Tom Stoddart HonFRPS, pictured. ‘I’m very proud to be included in such a great line-up,’ Stoddart told the Journal. ‘I will be talking about the changes I have seen in the industry during 43 years as a photojournalist, and will be giving young photographers some tips on how they can make progress.’

Other speakers on the Super Stage include Tim Flach and Don McCullin, both HonFRPS.

A SHOW OF DISTINCTION

For the second year, the Society will be holding Distinctions assessment days during the Photography Show.

An LRPS assessment (for print submissions only) will take place on 22 March from 10am-4pm at the NEC’s Piazza Suites.

An ARPS Travel Assessment will take place on 23 March from 10am-4pm at Piazza Suite 5; spectators are welcome at both

168 / THE RPS JOURNAL / MARCH 2015 / VOL 155

events, providing a great learning opportunity for members aiming for a Distinction at either level. Finally, don’t miss the opportunity to meet the people who bring you The RPS Journal on the Society’s stand from 2-3pm on Saturday, Sunday and Monday. Find us at stand C123.

Full details about all Society events at the show can be found at bit.ly/ RPSphotographyshow

TALKIN’ ‘BOUT THE RESOLUTION

The Photography Show will be thronged with manufacturers showcasing their products, and the recently announced EOS 5DS R and 5DS DSLRs are likely to draw crowds. Both have a 50.6-megapixel full-frame sensor, the largest of any digital SLR. See bit.ly/tpscanon

©TOM STODDART REPORTAGE BY GETTY IMAGES

BIG NAMES ON STAGE IN BIRMINGHAM THIS MONTH

MARCH 2015

| IN FOCUS | 169

FROM THE PRESIDENT

THE ENTHUSIASM TO ILLUMINATE 2015 It’s a year to relish the appliance of science NEWS IN BRIEF

FESTIVALS IN DERBY ! BELFAST Two major festivals are once again upon us. FORMAT brings together the best of today’s photography under the curatorial theme of ‘Evidence’ and is on in Derby from 13 March to 12 April. The Belfast Photo Festival, from 4-30 June, features the Society’s International Print Exhibition 157, and much more besides.

See formatfestival. com and belfastphoto festival.com

A mother prepares her son for evacuation from Sarajevo, by Tom Stoddart HonFRPS

SCIENCE SIGHTS The deadline for entries to the Society’s International Images for Science competition is Monday 23 March. rps-science.org

INVITED GUESTS ATTEND THE PRESS LAUNCH OF FORMAT15, MICHAEL WALTER/TROIKA; TARDIGRADE 'WATERBEAR(, NICOLE OTTAWA; ©THOMAS OLSEN ) BERLINKONTORET/DEMOTIX/CORBIS

WISE WORDS

I used to think that I could never lose anyone if I photographed them enough. In fact, my pictures show me how much I’ve lost NAN GOLDIN

SOCIETY SUPPORTS RUSSIAN CONTEST Entries are being accepted until 15 April for the Andrei Stenin International Press Photo Contest, supported by the Society, and named after photojournalist Andrei Stenin, who died on assignment in Ukraine last August. stenincontest.com

I

was invited to attend the opening ceremony of the 2015 International Year of Light (IYL2015), which took place from 19-20 January at the UNESCO headquarters in Paris. This was an impressive event about the science of light, covering centuries of history through to current light-based technologies, with the United Nation objectives to show what light, optics and photonics can do for the world. There were Nobel Laureates, UN ambassadors and senior international scientists from many countries presenting a fascinating range of lectures. They shared so many images from the past and present that I hope many of them recognised the importance of photography in promoting their topics.

The Society’s contribution to IYL2015 is the superb Light Works exhibition produced with support from the Science and Technology Facilities Council, showing 50 two-metre by 1.5-metre photographs which are displayed outdoors. It was launched with the help of the Royal Astronomical Society in the courtyard of Burlington House, London, on 25 January, before

moving to Donegall Square in Belfast in February. It is now in St Andrew Square, Edinburgh, from 2 March until 17 April, with further venues being arranged.

Gary Evans FRPS, the curator of Light Works, together with Director General Michael Pritchard FRPS, Exhibitions Manager Lesley Goode and I were delighted to be invited to the UK launch of IYL2015, organised by the Institute of Physics, held at St James’s Palace and opened by the Duke of York. I had the chance to share details of the Society and our exhibition with Prince Andrew, who expressed strong support for all IYL2015 events in the UK. I hope many of you will take the opportunities to see our science exhibitions throughout the year.

This month the Photography Show is at the NEC Birmingham, again opening its doors to tens of thousands of photography enthusiasts, professionals and the industry. Staff and Council colleagues will be on our stand sharing details about the Society and all our members’ interests.

There are also a number of Society-sponsored talks, together with three days of Distinction assessments covering applications for LRPS and ARPS Travel. We look forward to meeting current and potential members visiting the show.

DEREK BIRCH ASIS HonFRPS President of The Royal Photographic Society

VOL 155 / MARCH 2015 / THE RPS JOURNAL / 169

170 | IN FOCUS | NEWS IN BRIEF

Infra-red airport fever scanning

LIGHT WORKS LIGHTS UP UK LIGHT WORKS, the Society’s free outdoor exhibition celebrating the International Year of Light 2015 in the UK, got off to a strong start when it opened in London in January. The exhibition is currently wowing the crowds in St Andrew Square, Edinburgh, until 17 April 2015.

Nickolas Muray’s Soldiers of the Sky

Read more on page 202

VISITORS DRAWN BY LIGHT Thousands enjoy delights of the Society Collection Kulwant Sehmi FRPS, left, with Dr Ansary

HONOURS ABOUND AMONG MEDICAL GROUP MEMBERS KULWANT SEHMI FRPS, head of medical imaging at Moorfields Eye Hospital, was presented with the Society’s Medical Group Chairman’s Award at the group’s AGM. The presentation was by Dr Afzal Ansary ASIS FRPS, recent recipient of a British Institute of Professional Photography Honorary Fellowship.

DRAWN BY Light, the successful exhibition of more than 200 images from The Royal Photographic Society Collection, will move from London’s Science Museum to The National Media Museum, Bradford, from 20 March to 21 June. It features some of the earliest images by pioneers Roger Fenton, William Henry Fox Talbot and Julia Margaret

Cameron, alongside newly acquired works by John Swannell HonFRPS and Susan Derges HonFRPS. As well as attracting 20,000 visitors to the London venue, His Excellency Ali Bin Thalith and colleagues from Dubai-based HIPA (the largest international photography award) were shown around Drawn by Light by Dr Michael Pritchard, Society Director General, in January. nationalmediamuseum.org.uk

Left to right: H E Ali Bin Thalith, Henry Dallal and colleagues from HIPA

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RICHARD POYNTER, MOORFIELDS EYE HOSPITAL, LONDON; MIKHAIL BEZNOSOV, RIA NOVOSTI; SOLDIERS OF THE SKY, NICKOLAS MURAY, 1940; DR MICHAEL PRITCHARD FRPS

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365 WINNERS

HIDDEN SPACES

February’s online competition successes

GOING GREEN

By Fred Adams This abandoned Renault Juvaquatre was photographed at an abandoned farmhouse in the Dordogne region of France, deeply

submerged in ivy and undergrowth. As it was an estate car and the rear doors had been removed, it was relatively easy to get this picture without having to clamber into

PUPPY

By Philip Joyce ARPS The picture was taken at a Gypsy horse fair that I visit regularly as part of an ongoing personal

project. Dogs feature strongly in many of my pictures, so I look out for opportunities and spotted this puppy tucked into a coat pocket.

As part of a puppy’s socialisation it is common for people to carry their dogs like this.

I used a Canon 60D with a 10-20 Sigma lens.

the car itself. This was a tripod shot, taken with a Canon 5DII with 17-40L lens, 40mm at f/8. The shots were merged in Photomatix and final edits completed in Lightroom.

SCULPTURE IN BARBARA HEPWORTH’S GARDEN Sir George Pollock HonFRPS This was taken in March 1995 . Barbara Hepworth’s garden in Cornwall was open to the public and had a number of large bronzes in it. This is a close-up of one of those bronzes. It was open to the elements

and the hollow filled up with water. The camera was an Olympus OM-4 and the film was Agfa RS 50. I took it with a wide-angle lens and sharpened the water’s edge in Photoshop.

ENTER NOW Submit photos for the next competition at rps-365.org

VOL 155 / MARCH 2015 / THE RPS JOURNAL / 171

172 | IN FOCUS | WHAT NOT TO MISS ORIGINS Heist Gallery, London 5 MARCH " 30 APRIL

This fine-art photography exhibition celebrates places and people who have remained largely unchanged for centuries, and explores the effects of globalisation through the prism of indigenous cultures – questioning whether it has eroded our sense of identity and isolated us from nature and our individualising traditions. www.heist-online.com

PARIS MAGNUM Hotel de Ville, Paris UNTIL 28 MARCH 2015

REVELATIONS: EXPERIMENTS IN PHOTOGRAPHY Media Space, Science Museum, London 20 MARCH " 13 SEPTEMBER 2015

This major exhibition examines how early scientific photography has

inspired generations of art photographers. Rare scientific photographs from the National Photography Collection are on display for the first time, including an original negative of an X-ray and 19th-century photographs capturing electrical charge. Taking work by William

Henry Fox Talbot, Eadweard Muybridge and Étienne-Jules Marey as its starting point, the exhibition explores the impact of both the technical and aesthetic insights of early scientific photography on photographic art. sciencemuseum.org.uk/ revelations

This exhibition features 150 images by Magnum photographers that tell the story of Paris, and includes Henri CartierBresson, Raymond Depardon, Robert Capa, Martin Parr, and Marc Riboud. Key events covered range from the 1930 strikes to the demonstrations of May ’68. magnumphotos.com

ALSO SHOWING

A HISTORY OF PHOTOGRAPHY: SERIES AND SEQUENCES V&A London (Gallery 100) UNTIL 1 NOVEMBER 2015

This rehang of the permanent display focuses on the wider visions of photographers through series and sequences of images, and includes work from the 19th to 21st centuries, by the likes of Sally Mann, Josef Sudek, Eadweard Muybridge and Sze Tsung Leong. vam.ac.uk

GUY BOURDIN: WALKING LEGS Michael Hoppen Gallery, London

KAREN KNORR BP Spotlights, Tate Britain, London

UNTIL 28 MARCH 2015

UNTIL 4 OCTOBER 2015

This selection from Bourdin’s series coincides with an exhibition of the influential and enigmatic photographer’s work at London’s Somerset House.

Bourdin used quintessentially English landscapes as the backdrop for Walking Legs, shot on a road trip from London to Brighton in a Cadillac. michaelhoppengallery.com

Two sets of work by Karen Knorr, Belgravia 1979-81 and Gentlemen 1981-83 – part of the Eric and Louise Franck London Collection. Taken in the Thatcher era, they explore the relationship between image and text, the patriarchal values of the upper middle classes, and the aspirations of a privileged minority. tate.org.uk

172 / THE RPS JOURNAL / MARCH 2015 / VOL 155

Wildlife Photographer of the Year Natural History Museum, London. Until 30 August Eva Stenram, Positions Siobhan Davies Studios, London. Until 22 March Realism in Rawiya Impressions Gallery, Bradford.

Until 16 May Human Rights Human Wrongs The Photographers’ Gallery, London. Until 6 April Leap in Time: Erich Salomon and Barbara Klemm Stills, Edinburgh. Until 5 April

BLOW UP, UNTITLED 1, 2007, ORI GERSHT © ORI GERSHT, PRIVATE COLLECTION; BEFORE THEY PASS AWAY, JIMMY NELSON; © ROBERT CAPA © INTERNATIONAL CENTER OF PHOTOGRAPHY/MAGNUM PHOTOS; KAREN KNORR; UY BOURDIN ESTATE. COURTESY OF MICHAEL HOPPEN GALLERY; EADWEARD MUYBRIDGE

MARCH ONWARDS

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174 | IN FOCUS | CORRESPONDENCE

WOMEN IN PHOTOGRAPHY As we hoped, we had loads of feedback on last month’s Women in Photography special.

You’ve suggested even more greats, including: Sarah Lee, the late Anja Niedringhaus, Jillian Edelstein HonFRPS, Taryn Simon, Jodi Bieber, Alex Prager … Thanks for all your thoughts!

Clare Harris, editor

THE RPS JOURNAL

The RPS Journal has certainly greatly improved since you have taken over, but last month’s edition, Women in Photography, is just fabulous. Well done to you, and to all the contributors.

Tony Worobiec FRPS / FEBRUARY 2015 / VOL 155

WOMEN IN PHOT SPECIAL FOCUS OGRAPHY COVER IMAGE

BY GILLIAN

BEST SHOTS

LOVING MY LEICA

JOURNAL

NO 2 WWW.RPS.ORG

FEBRUARY 2015

/ VOLUME 155

/ NUMBER 2 /

WWW.RPS.O

SUSAN DERGES ON IMAGES OF NATURE

HOW MARY ELLEN MARK GETS HER SHOTS

RG

WOMEN IN PHOTOGRAPHY

CLARIFICATION On page 91 of the February issue, Draper’s Nebula should have been described as the nebula in Orion.

LAUB

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DISTINCTION SUCCESSES

Well done to all the Members on their recent achievements LRPS 01/15 Tracey Elvidge, Kent Graham Frost, Bedfordshire Julian Grant, Worcestershire Sarah Hollinshead-Bland, Shropshire Laura Knowles, Kent Barbara Lander, Shropshire Chris Reekie, Fife Jennette Russell, London June Sharpe, Kent Colin Trim, Gloucestershire

Jennifer Baker, Devon Jayne Bond, Dorset Carol Burley, Buckinghamshire Colin Burnham, Devon Stephen Collinson, North Yorkshire Angela Cook, Devon Rosemarie Finch, Gloucestershire Dorte Fjalland, Málaga Sam O’Sullivan, Warwickshire Jeff Owen, West Sussex Lynne Owen, West Sussex Edith Foulis Smith, Midlothian Anne Thomas, Monmouthshire

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An LRPS image by Dorte Fjalland

Peter Walker, Kent Anne Whiteley, Devon Accredited Senior In Imaging In the Creative Industries & Fellow Anthony Holland-Parkin, London

Peter James, West Midlands Accredited in Imaging in Creative Industries & Associate Andrew Freeney, Liverpool James Ranahan, West Midlands ARPS Exemption 02/15 Mo Greig, London Ann Mack, Gwynedd Angela Louise Nicholson, Oxfordshire Amy-Fern Nuttall, Lancashire LRPS Exemption 02/15 Elizabeth Brown, Middlesex Joanne Humphreys, Cheshire Alison Jayne Leddy, Northumberland

STEVE JONES LRPS

WRITE TO: The RPS Journal, Think, Suite 2.3, Red Tree Business Suites, 33 Dalmarnock Road, Glasgow G40 4LA or email rpsjournal@ thinkpublishing.co.uk

MARCH 2015 BIENNIAL PRINT EXHIBITION 2015 SPRING TOUR

Don't miss the chance to enjoy the 2015 Members' Biennial Exhibition, which celebrates the diversity of interests and creativity from Society members around the world. The exhibition includes the Gold Award winner, Joie de Vivre, by Steve Jones LRPS, and many more inspiring images. The Art Cell Gallery Cambridge hosts the exhibition from 6 March to 30 April, before it moves on to the Smethwick Photographic Society and the Arts Centre, Washington, Tyne and Wear.

For dates see page 239

DG’S DIARY

Anemones by Paul Mitchell FRPS

ANALOGUE GROUP UP AND RUNNING

Guest speakers welcomed to Lichfield Cathedral launch event The Society's latest group is the Analogue Group, which officially came together at Lichfield Cathedral on 31 January. ‘The group has been established to encourage film, darkroom, alternative processes like Cyanotype, and hybrid photography,’ explained Chairmandesignate David Healey ARPS. Guest speakers included Steven Brierley, sales director of Harman Technology (makers of Ilford film), and

Su Fahy of the University of Wolverhampton, who talked of the significance of film as a creative medium and archival repository. The group will shortly begin organising events where both analogue and digital photographers can share skills, and there will be a newsletter, plus an online gallery and blog on the Society's website.

Email analogue@rps.org or call 01225 325733

PAUL MITCHELL FRPS; JAKE SMADDON

NEW SOCIETY COURSE IS THE BUSINESS IF YOU feel your financial acumen is lagging behind your camera skills, check out a new two-day introductory course in business for photographers.

‘It’s designed for those wanting to start a photographic business or those who have begun but would like more support and guidance,’ says co-tutor Ria Mishaal, a successful wedding and portrait photographer. ‘The course covers topics such as organisational and

| IN FOCUS | 175

management systems, financial considerations, pricing and business plans, and marketing strategies.’

Teaching alongside Mishaal is Geoff Blackwell, a professional accountant with more than 40 years’ experience, much of that time spent advising on small business start-ups.

Both tutors hold ARPS Distinctions.

The course runs from 13-14 April 2015 at RPS HQ in Bath.

See bit.ly/rpsbusiness

Course co-tutor Ria Mishaal ARPS

ETON EVENT I gave a presentation to Eton College’s photography society on 22 January about The Royal Photographic Society and what it does.

The students saw examples of members’ work and asked a series of thoughtful questions. Coincidentally, the college’s new gallery was showing an exhibition of work by Simon Roberts HonFRPS. CONTENT CONVERSATIONS The RPS Journal occupies a lot of our time and our regular meetings with publishers Think are essential to help identify future content. They are always worthwhile and we’re always excited to see each new Journal when it comes in.

SCIENTIFIC TIE"IN The Society is always ready to help other organisations and on 20 January I gave a presentation to the Institute of Biomedical Science (IBMS) about our experiences with the development of our website. The IBMS is itself considering a new website.

These occasions are also opportunities to promote the Society, and the science exhibition was of particular interest to the IBMS. I suspect we’ll see some entries to the forthcoming International Images for Science exhibition as a result.

DR MICHAEL PRITCHARD FRPS Director General of The Royal Photographic Society VOL 155 / MARCH 2015 / THE RPS JOURNAL / 175

Photography in Iceland with Frank Bradford

September 2015 10 or 14 days

Explore this magical island with Frank Bradford, specialist in northern European photography; from the volcanic craters & fumaroles of the south to the eastern fjords & glacier canyons of the north.

www.ammounvoyages.co.uk info@ammounvoyages.co.uk +44 (0)330 223 2213

JOURNEYS TO BEAUTIFUL PLACES ATOL PROTECTED. Images courtesy of www.frankbradfordpix.com

BOOK REVIEWS

| IN FOCUS | 177

EXPERIMENTAL PHOTOGRAPHY: A HANDBOOK OF TECHNIQUES Marco Antonini et al Thames & Hudson £19.95 This splendid work is much more than a ‘how to’ guide to alternative techniques – it’s a key to the mysterious world of alchemy and light … Much like vinyl records, the analogue techniques here are having something of a revival despite being easily emulated with filters and presets in the digital darkroom. Covering a range of subjects, the techniques are clearly explained, jargon-free and exquisitely illustrated.

This book is sure to get the creative juices flowing.

BENEDICT BRAIN ARPS

A majestic giant rhubarb enlivens a precarious scree slope on Daxue Shan in north-west Yunnan, China

FABULOUS FLORA

Sumptuous guide to photographing the plants of this fabled region

RHEUM NOBILE, FROM FLORA OF THE SILK ROAD

FLORA OF THE SILK ROAD: AN ILLUSTRATED GUIDE Christopher Gardner and Başak Gardner I. B. Tauris (£35) The fabled Silk Road is a series of routes once used to transport silk, gold, ivory and spices through deserts and over mountains, linking eastern and western parts of Asia. Along the routes of the Silk Road the varied terrain reveals floral riches that the authors of this book – both professional botanists and fine photographers – have captured on more than 50 trips.

Billed as a photographic guide, this impressive book weighs in at 3kg, so it is not a handy field guide that can be popped into your photography pack while exploring Silk Road botanical hotspots. It’s weighty for a reason, however. The endpapers show a map of the major Asian Silk Road trade routes and photo locations, and the book is split into five sections: Turkey (home to the authors), Syria, Iran, Central Asia, and China and Sikkim. So, Flora of the Silk Road: An Illustrated Guide is more than a stunning collection of 500 flowers.

Interspersed with a few landscapes along the way,

the images cannot fail to enlighten browsers about the origins of many plants that, thanks to early plant hunters, we now nurture in European gardens.

There are also practical tips for the photographer. Although short, the section on photographing plants in the wild offers sound advice to image makers, while the informative content on each spread will appeal to naturalists, botanists and gardeners closer to home.

If you fancy following in the authors’ footsteps, you should appreciate that climbing with a photography pack plus tripod to capture the giant rhubarb erupting from the steep scree-covered slope at 4,500m is not for the fainthearted. Some of the regions covered in this book have become quite dangerous, too. So, less adventurous armchair travellers will relish the living tapestry in this tour de force, and be able to appreciate the botanical treasures within the war-torn parts of the Silk Road that are no sadly longer safe places to travel to. I’m very impressed with this book and thoroughly recommend it to any members with an interest in this part of the world.

DR HEATHER ANGEL HonFRPS

MEMENTO MORI Paul Koudounaris Thames & Hudson £19.95 Subtitled The Dead Among Us, this is a ‘danse macabre’ of decorated skulls, ossuaries and mummies, photographed all over the world – and it’s fascinating to see how certain issues regarding the treatment of the dead transcend borders.

The images are direct and in your face, with judicious use of wide angles and close-ups.

Mostly in colour, the occasional monochrome feels a bit random. More rigour (mortis?) with captions would also help.

Otherwise, this is an engrossing, albeit unsettling, read.

GEOFF HARRIS LRPS

HASHTAG365 Spendel and De Jong Clearview (£25) You can see the standard of output steadily improving as the year progresses in Sjoerd Spendel and Lennart de Jong’s photo-a-day project. There is some great urban noir from the people behind the Hashtag 365 website, and the best of the more abstract travel images recalls Ralph Gibson. With some of the less engaging work, particularly the ho-hum shots of camper vans or girlfriends, you wish they’d had the day off.

TIM PRING

VOL 155 / MARCH 2015 / 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

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

Observers view a Distinction panel

An introduction to Distinctions

How The Royal Photographic Society can provide valuable recognition for your work

S

ince it began life in 1853, The Royal Photographic Society has provided photographers with the chance to present their work to a critical and supportive peer group.

Through its Distinctions, some of the most prestigious in the world, members and non-members can gain recognition and allimportant feedback for the images they produce.

There are three levels of

Distinction – Licentiate, Associate and Fellowship – and each represents an increasing level of attainment in terms of artistic interpretation and technical proficiency. Licentiate and Associate levels are open to non-members as well as members of the Society.

Licentiate is the first level, and members who achieve this award are entitled to use the letters LRPS after their name. At its inception in 1972 it was intended to ‘provide

178 / THE RPS JOURNAL / MARCH 2015 / VOL 155

recognition for the good allrounder’, which still rings largely true. The standard is high, but it is achievable for the vast majority of dedicated photographers.

Applicants are required to submit a portfolio of prints, books, transparencies or digital images that demonstrates variety in approach and technique, with no restriction on subject matter.

A Panel of Associates and Fellows of the Society carry

out anonymous assessments for the Licentiate against a set of clearly defined criteria, such as how a portfolio is edited together, plus composition, design, cropping and technical ability.

Those awarded an LRPS Distinction may then wish to take their work to the next level and pursue an Associate (ARPS) submission with the Society. Introduced in 1924, the ARPS Distinction is a significant step up from the LRPS, requiring images

GETTING STARTED

| DISTINCTIONS | 179

DIGITAL

Dorte Fjalland LRPS

MOTIVATION

I got to know some members of The Royal Photographic Society who talked warmly of the Society and the Distinctions. I joined the Society in June 2014, attended an Advisory Day, studied the information on the website and the successful panels. I decided to try to go for an LRPS mainly as a way to test my photographic level.

TIME TAKEN

It took a lot longer than anticipated but it was a good learning process. I think the most difficult part was to pick out a suitable selection for an Advisory Day, to learn to look more objectively at my own pictures, and to focus a bit more on the technical stuff than I was used to.

ANDY MOORE LRPS

INSPIRATION

of an excellent standard, accompanied by a written Statement of Intent, which concisely outlines the objective of the work.

Creative ability and technical proficiency are of course very important, with Panel Assessors looking for a consistent photographic style illustrating mood, understanding of the subject and emotion as appropriate.

The criteria for assessment encourage originality in work or approach of a very !NEXT PAGE"

I wanted my panel to consist of the kind of photos I like to shoot and at the same time having the Society’s guidelines in mind.

My 10 photos for the panel have been taken at different hours of the day, starting in early morning before sunrise and finishing late at night. The pictures have been taken over the last 10 months and for coherence I chose only photos I had taken in Andalusia, where I live. I enjoyed shooting all of them.

WHAT’S NEXT

Going for an ARPS could be an interesting project.

ADVICE

‘I chose only photos taken in Andalusia, where I live. I enjoyed shooting all of them’

Practise looking objectively at your photos and ask yourself if other people can see what you wanted to show with your shot.

Make it simple, shoot what you enjoy shooting and watch out for those blown highlights.

VOL 155 / MARCH 2015 / THE RPS JOURNAL / 179

180 | DISTINCTIONS |

!PREVIOUS PAGE" high technical ability and it is at this level that you can first choose to submit work to a particular specialist category in disciplines or approaches such as Applied, Natural History, Travel, Creative, and Multimedia, each with its own individual requirements.

Some candidates may be exempt from having to apply for certain Distinctions if they hold academic qualifications that reflect the high quality of their photography. Degree students for example, may fall into this group.

Whether working towards an LRPS or ARPS, putting together a portfolio can be a daunting prospect – but help is at hand. Advisory Days are held throughout the year, at the Society’s headquarters in Bath and around the country as part of our Regional Group activity. These informal events are a chance to receive advice and constructive criticism from Panel Assessors. For members of the Society a new online advice system is available via the website.

On many occasions these Assessors will be Fellows of The Society. Introduced in 1890, the Fellowship is the highest tier of Distinction. It has been described as the ‘photographer’s Everest’ and rewards outstanding technical and creative standards.

Successful applicants at all three levels of Distinctions are rightly proud of their achievements and the Society always welcomes the opportunity to showcase a selection of their work at regular Celebration of Distinctions events around the country, as well as in The RPS Journal and on the website. View portfolios at rps.org/distinctions/ distinction-successes

Caught Red Handed, above

PRINT

Lynne Owen

LRPS

MOTIVATION

Radio Times

I’ve been doing photography as a hobby for 10 years now and decided it was time I had some measure of how much I’d learned and improved over those years.

TIME TAKEN

One of the images in my panel dated back to 2006 so I suppose you could say it’s taken me nine years to put the panel together.

In real terms I would say that once I had decided I would go for an LRPS it took me about nine months to put a panel together that I was happy with.

INSPIRATION

For more information visit rps.org/distinctions

Stephanie

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My inspiration comes from many places, not least from fellow

photographers at my local camera club.

WHAT’S NEXT

I’m definitely going to go for an ARPS now. Ideas for this are going around and around in my head all the time. I like the fact that it would be approaching photography from a completely different angle.

ADVICE

Do go to Assessment days and do get as much help as you can from other Society members.

I was lucky that my camera club runs a Society evening once a month, which is run by Fellows – their advice was like gold dust.

GETTING STARTED

| DISTINCTIONS | 181

HANGING PLAN

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182 | DISTINCTIONS |

PRINT

Edith Smith

LRPS

MOTIVATION

It is not really a matter of why – but who – that encouraged me to go for an LRPS. I consider myself very fortunate to have been mentored and gently pushed towards completing my panel by Karen Berry FRPS. Karen has been very patient, considering she has had to listen to lots of excuses from me.

TIME TAKEN

Four of the photographs in my panel were taken in 2014. The other six were taken in previous years. From showing my 20 photographs to Karen and being helped by her to select the final 10 and a hanging plan, it took a further two months to print and mount the photographs.

INSPIRATION

Sandy Cleland FRPS inspired my

nature photographs. He has also helped me improve my technical ability, particularly in the area of macro photography.

I also like travelling and some of the photographs in my panel were taken in France, Venice, Barcelona and closer to home in Devon, where I photographed the Jurassic Coast.

WHAT’S NEXT

I am very proud of achieving my LRPS and feel it has given me the confidence to go for an Associate. Finding the right subject matter will be the difficult part.

ADVICE

Attend a Distinctions Advisory Day. Taking advice from panel members at one of these events is a very important step towards a successful assessment.

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Top: Festival Geisha; Above: Jurassic Coast, Devon HANGING PLAN

GETTING STARTED

| DISTINCTIONS | 183

‘I knew I could come up with a more compelling, personal panel if I tried to create vignettes that suggested snapshots from a life’

CONTEMPORARY

Julie Hanson Laot MOTIVATION

It seemed a natural progression for me after achieving my LRPS. I was interested in trying to shoot a panel towards a common theme.

TIME TAKEN

I initially attended an Advisory Day with a different panel. The main advice was that I should change from Visual Art to the Contemporary category, and that I should change the printing company I was using.

I took both pieces of advice, but once I got home it struck me that the photographs I felt most strongly about contained old portraits. I knew that I could come up with a more compelling, personal panel if I tried to create vignettes that suggested snapshots from a life, so I started afresh. It took about four

ARPS

months to buy props, style and generally set up the photos.

INSPIRATION

The key for me was a portrait of my then nine-year-old grandmother in her 1920s bathing suit. Although she has been dead nearly 20 years I liked the idea that I could connect back to a snap second in her life through a photograph that had been taken almost a century earlier.

HANGING PLAN

WHAT’S NEXT

I’ve always been interested in interiors and still life, and have expanded to shooting craftspeople and artisans. As for the FRPS, I’ll gradually start gathering ideas and inspiration, and wait for the right project to grab me.

ADVICE

The Statement of Intent needs to be your blueprint, not the means to cobble the panel together.

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184 | DISTINCTIONS |

‘Regardless of how many times I have been there every visit will open my eyes, or in this case my camera lens, to something new’

TRAVEL

Alex Goh Chun Seong ARPS

MOTIVATION

As a photographer, I have to set certain standards and achievements for my work. I had heard of the ARPS Distinction when I ventured into photography decades 184 / THE RPS JOURNAL / MARCH 2015 / VOL 155

ago and made it my goal to achieve it as a benchmark for my work.

TIME TAKEN

It took four years and three visits to Semporna, Sabah, to complete the panel.

INSPIRATION

Semporna is very much a part of my country, Malaysia, and it offers everything, ranging from nature to lifestyle. Regardless of how many times I have been there every visit will open my eyes, or in this case my camera lens, to something

GETTING STARTED

new that has never been discovered before. The place will always hold its magic over me.

| DISTINCTIONS | 185

HANGING PLAN

WHAT’S NEXT

I’m now working towards my Fellowship.

ADVICE

Lighting and composition are very important for a good set of photos, and the colour tone must be consistent throughout the panel. Your images should tell a story, and there should be no repetition.

VOL 155 / MARCH 2015 / THE RPS JOURNAL / 185

186 | DISTINCTIONS |

NATURAL HISTORY

Nigel Spencer ARPS

images were well received and as a result I decided to put a panel together for assessment.

TIME TAKEN

Once I had decided to apply for assessment, the image selection took about a month, sorting through various images.

MOTIVATION

INSPIRATION

In June 2014 I joined a few friends on a Society advisory day, my

I have always liked wilderness areas, and have spent a lot of time

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climbing mountains and walking in some remote places. I like watching the animals and birds that make their home in these areas, which led to trying to photograph them in their natural habitat.

WHAT’S NEXT

Having submitted a successful ARPS panel, I would like to submit a panel for the prestigious FRPS Distinction.

TIPS

Choose a few subjects that you enjoy watching and then photograph them as many times as you can. Think about ways to improve the image quality each time. This will build you a portfolio of images that can be used for various things and you can choose your best ones for your Distinction panel.

GETTING STARTED

| DISTINCTIONS | 187

Make a statement Peter Hayes FRPS is chair of the Multimedia Distinctions panel. He explains why the Statement of Intent is so important for ARPS applicants

Above: Red Fox Above right from top: White Tailed Eagle; Polar Bear; Brown Hare

HANGING PLAN

If you are applying to become an Associate or a Fellow of the Society you will need to submit a Statement of Intent along with your work. As the Society’s official reader, I read every single statement provided alongside a panel.

The Statement of Intent is crucial. It is a vital opportunity, using your own words, to explain the response you are hoping to elicit with your panel of carefully planned images in a meaningful context. Your panel is not a group of single images; it is a body of work.

The thinking behind your submission and the overall impact you are trying to achieve are what is important.

You should outline in not more than 150 words (300 for the Conceptual category) the purpose, objective or intent of the work, explaining why the images were taken and how – together – their placement is meaningful. It is not necessary to describe each image or to give technical information, except where a new technique is used. It is best to avoid overelaborate or wordy statements. Concise statements using far fewer than 150 words are often the most powerful and effective.

Above all, do not make claims in the Statement of Intent that are not reflected in your work.

This is your chance to explain to the panel of assessors exactly what it is you are trying to achieve.

VOL 155 / MARCH 2015 / THE RPS JOURNAL / 187

BALOG 188 | INTERVIEW | JAMES

James Balog positions his time-lapse camera 188 / THE RPS JOURNAL / MARCH 2015 / VOL 155

JAMES BALOG

| INTERVIEW | 189

ON THIN ICE Hood Medal-winner James Balog spends his days capturing the earth’s vanishing glaciers.

We sent John Norris ARPS, camera and pen in hand, to find out how he does it I AM HANGING FROM A 6MM climbing cord, clipped into a bolt, which has been drilled into a smooth rock face on the side of an Austrian Alp. High above the Stubai Glacier, I’ve joined James Balog and his assistant Matt Kennedy as they hurry to complete the final stages of installing a time-lapse camera unit on the mountainside.

It’s precarious. Balog and I are both leaning out on the same bolt, me to take photographs and him to make the final adjustments to a camera plate. Kennedy, just across from me, has fixed a solar panel to the rock. Both he and his boss are completely calm and absorbed despite the hazardous location.

I glance gingerly down at the seemingly unmoving glacier, the

subject of their desired images.

The sun glints off bare patches of ice below us, but the glacier’s upper reaches are coated white from fresh summer snowstorms. At the glacier’s terminus there’s a green lake of chill water, where in recent years there had been a broad sweep of solid ice. This landscape is not unmoving at all – it is, in fact, in constant change. This is what Balog has come here to record.

Today’s work is the continuation of his Extreme Ice Survey (EIS), which was founded eight years ago. His stunning portraits and time-lapse imagery of retreating glaciers were the subject of the Emmy Award-winning film Chasing Ice (2012) – and won him the Society’s Hood Medal for work

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BALOG 190 | INTERVIEW | JAMES

THIS IS THE PART OF THE WORLD I CAN INFLUENCE, THAT I WANT TO AND CAN EFFECT CHANGE IN

The Stubai Glacier, now and as it was in 1962

produced to raise awareness of an aspect of public benefit or service.

‘Art is a heart-based, intuitive reaction to the world, while science is about the analytical, quantitative way of looking at the world,’ says Balog. ‘Neither one of those forms of perception is complete on its own. This project really had both these elements right from the outset and in fact they have been in all my life’s work – I just didn’t realise it until I started.’

In the late 1970s and early 80s environmental photographers seemed to Balog to be obsessed with celebrating beautiful wilderness, but he felt they were missing the big story.

‘The work of Ansel Adams and Eliot Porter was the imprint that anyone that cared about nature was meant to live by, but we now know that view.

Nothing new was going to be said within the framework of “Hey! Isn’t Yosemite great and aren’t yellow aspen leaves beautiful!”

‘Wilderness photography is wonderful, but the real story is that 190 / THE RPS JOURNAL / MARCH 2015 / VOL 155

wilderness is surrounded by human impact, that there is this constant impact or contact zone, this interface, between human beings and nature.

That was the gigantic story of our time and it was not going to go away.’

Balog’s past portfolio is both beautiful and thought-provoking, from Wildlife Requiem, about people who kill animals for sport, through to his Humans and Technology series about how we are losing our biological selves because of the imposition of technology on the way we live. All are quite different, but all touch on how humans are in conflict with nature.

It was while working on a project on America’s oldest trees that Balog first started to think about climate change. At the time, he was still a climate-change sceptic, he admits.

Then, when a commission for National Geographic took him all over the world to shoot glaciers, he learned how scientists had unlocked the mystery of climate change by studying the ice. This research convinced him

climate change was real – but the challenge was how to illustrate it.

During the National Geographic commission, Balog realised it would be revealing to return to some of his locations and do what he calls ‘repeats’ – that is, matching a present-day shot with those of the past to show change.

This led him to wonder about leaving two time-lapse cameras on location.

From an initial budget of nearly £300,000 the project is now huge, involving 25 cameras around the world, two additional full-time photographers (including Kennedy), a production manager, a fundraiser and a network of invaluable patrons.

Asked if he was happy with what he and the project have achieved so far, Balog says: ‘Sometimes people can talk themselves out of believing, but seeing is believing and the videos we make from the time-lapse images have shown people what is not visible to the naked eye, or the single frame. If we have influenced people’s perception of the monumental changes that are

PREVIOUS PAGES AND THESE PAGES: JOHN NORRIS ARPS

WILDERNESS PHOTOGRAPHY IS WONDERFUL, BUT THE REAL STORY IS HUMAN IMPACT

JAMES BALOG

| INTERVIEW | 191

CLOCKWISE FROM ABOVE James Balog heads up the mountain; attaching a device to a chairlift pylon; making checks on the camera power source; the hike to the glacier

VOL 155 / MARCH 2015 / THE RPS JOURNAL / 191

Greenland Ice Sheet, Greenland, 10 July 2008.

Silt and soot blown from afar combine to form black cryoconite, which absorbs solar heat and melts down into the ice 192 / THE RPS JOURNAL / MARCH 2015 / VOL 155

JAMES BALOG

| INTERVIEW | 193

VOL 155 / MARCH 2015 / THE RPS JOURNAL / 193

BALOG 194 | INTERVIEW | JAMES James Balog rappels into Survey Canyon, looking down at a moulin channel dropping meltwater 2,000 feet into crevasses through the Greenland Ice Sheet

ABOUT THE AUTHOR JOHN NORRIS ARPS John is a member of the Society’s Switzerland Chapter, and has been photographing in the mountains of Chamonix, France, for 20 years. His image Racing the Storm graced the cover of The RPS Journal in March 2014. For more images find his page, John Norris Photography, on Facebook

INSIDE BALOG’S CAMERA The time-lapse cameras used

by James Balog’s Extreme Ice Survey can withstand temperatures down to minus 40 degrees Celsius, deep snow, winds up to 160 miles per hour, torrential rain and rock falls.

They record changes in the glaciers every half-hour, yearround, yielding around 8,000 frames per camera per year. } Nikon digital

single-lens reflex cameras } Protected by waterproof and dustproof Pelican cases } Mounted on Bogen tripod head } Fitted with solar panels to collect power that is stored in batteries; customised controllers trigger the cameras only when there is sufficient light } Secured against Arctic and Alpine winds by a system of anchors and guy wires

194 / THE RPS JOURNAL / MARCH 2015 / VOL 155

occurring to our planet then we have really accomplished something.’

Out on the rock face the warm afternoon is cooling. Balog and Kennedy each quietly concentrate on completing the installation. Balog checks the tripod head angle and verifies that its framing will capture the information he seeks.

Kennedy fiddles with the delicate custom-built timer, consisting of a mass of fine wires and a complexlooking electrical board. Below us at the base of the rock is a large battery charged by the solar panel they fixed to the rock face beside the camera.

None of this equipment was off the peg; each bit of kit has been meticulously built by the EIS team to withstand extremes of cold and damp when left unattended for months.

The choice of placement for the cameras is also based on experience.

The camera we were fixing in Stubai needed to be above the level of fallen or windblown snow but protected from rocks falling from above. The solar panel must also be orientated for maximum efficiency, and in a protected position. This process of preparation is vital and something the team has now got down to a fine art.

Asking Kennedy, who obviously loves

his work, what the biggest challenge is, he replies: ‘Besides the physical challenge of carrying a car battery and all the tools and equipment into the wilds, it is the stress of often being the last person to touch the cameras before we leave them for a year or more. All this work … and it is so long before you know if you have the shots, or if some part of all this gear has failed.’

The day is done, and we can gently unclip ourselves from the side of the Austrian mountain. Balog and I leave Kennedy to pack up the last few tools and give the camera one last check.

On the long walk down Balog reveals that he feels his whole life had led him to this project. ‘The first glacier I ever stepped upon was here in Stubai, on a climbing trip,’ he says. ‘I was captivated by the stillness and beauty of it at night.’

Despite the complexity of the work he is doing, he has lost none of the joy of photography or of the beauty of the world around him. That, in itself, is inspiring.

See more of James Balog’s work on his websites – extremeicesurvey.org and earthvisioninstitute.org – and to learn more about climate change go to gettingthepicture.info

PREVIOUS PAGES: © JAMES BALOG/ EXTREME ICE SIURVEY THIS PAGE: JOHN NORRIS ARPS; © JEFF ORLOWSKI/ EXTREME ICE SURVEY

ALL THIS WORK … AND IT IS SO LONG BEFORE YOU KNOW IF YOU HAVE THE SHOTS

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196 | FUNDING |

Eyes wide open The Society’s bursaries help get new work out there. We find out how EVERY YEAR, The Royal Photographic Society awards four photographers vital funding to help them bring a project to life. With applications for 2015 opening at the end of this month, we catch up with those who were awarded bursaries in 2014, to see how their projects are coming on, and offer some pointers as to why the bursaries are awarded.

196 / THE RPS JOURNAL / MARCH 2015 / VOL 155

| FUNDING | 197 THE RPS POSTGRADUATE BURSARY

RE%EMERGING HISTORIES Marilene Ribeiro. Training: visual arts, Federal University of Minas Gerais, Brazil; PhD University for the Creative Arts, Farnham

As part of the PhD I’m doing I will photograph families who have been affected by dam projects in Brazil and, as a collaborative work, I will encourage these families to guide me on the best way to represent their history.

Hydroelectricity has been mistakenly accepted as a green energy source, despite its irreversible consequences for both nature and human beings.

In China, Ghana, India, Singapore and Brazil, to name but a few, the construction of dams for hydroelectric purposes has led to the loss of wild species habitats as well as to the impairment of traditional cultures.

I decided to make an intervention in this historical, economic and political context by means of visual storytelling.

Without the Society’s bursary I simply wouldn’t be able to conduct the first part of my fieldwork – the core of my project – as I’m using the funds to cover travel, food and accommodation expenses.

VOL 155 / MARCH 2015 / THE RPS JOURNAL / 197

| FUNDING | 199

WHAT’S ON OFFER? The Society’s bursaries in detail

ENVIRONMENTAL AWARENESS BURSARY

VIRTUAL WATER Marcus Doyle.

Training: BA, MA in photography

I’ve always been fascinated with the desert and in particular how people adapt to living there. My project is a photographic documentation of California’s water management in a time of severe drought.

For the last 10 years I have been making photographic road trips across America, in particular California and its

desert regions. Lush lawns and golf courses seem to be the norm in these otherwise barren areas. It was clear that the consumption of water had gone beyond necessity and few seemed to be looking at reducing or rethinking their water usage despite the leaps and bounds in water-recycling technology.

Raising funds for any personal project is always difficult. But the bursary allowed me to get started and gave me an extra incentive. It allowed me

to return to the desert areas of western California to document the ongoing problem, as well as methods and technologies being used to tackle this environmental concern.

I never set out to try and change people’s minds, but I think people will be quite shocked when they see some of the images. And if I tell people I’ve been awarded a bursary to do a project, I’m always taken more seriously. marcusdoyle.co.uk

The Environmental Awareness Bursary is offered in partnership with The Photographic Angle, and offers two individuals one-year bursaries to support a photographic project that will promote environmental awareness, providing each with £3,000 to assist with travel expenses, equipment and other related costs.

The Joan Wakelin Bursary offers one photographer £2,000 and the chance to have their work published in the Guardian newspaper.

Organised by the Society and Guardian News and Media, it is awarded to the person who presents the best proposal for a photographic essay on an overseas social documentary issue.

Finally, the Postgraduate Bursary is open to students in the UK and abroad and offers £3,500 to postgraduate students undertaking photographic research or studying masters courses in photography.

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200 | FUNDING |

JOAN WAKELIN BURSARY

BEAUTIES Manuela Henao Restrepo. Training: postgraduate diploma in photography, London College of Communication

My project is about how beauty is a social interpretation, focusing on what is considered beautiful and how femininity manifests

ENVIRONMENTAL AWARENESS BURSARY

THE MARINE CONSERVATION ZONES Charlotte Sams. Training: BA (Hons) marine & natural history photography at Falmouth University

I’ve been documenting marine conservation zones, areas of proposed special marine interest in England,

APPLY FOR 2015

itself in the city of Medellin, Colombia. I’m from Colombia but grew up in Spain. Every time I returned to the country I would notice the pressure that women face there with regards to the way they look.

Other than the economic help the bursary provided, it has had a big impact on my

career. It has made me realise how important it is to push a little harder. It has opened doors, allowed me to meet wise people in the field of photography and has brought attention to my work.

I hope my work will be able to convey the sensation of

being a woman in Medellin – the beautiful and demanding sides of it. I don’t believe I can or should change anything.

I’m not here to judge. I’m analysing aspects of it, and hopefully I’ll be able to reflect and describe those realities.

which, if sanctioned, will help protect sea life from damaging human activities.

I’ve been visiting zone sites and documenting the underwater habitats.

Living in Cornwall, I’m used to having the underwater environment nearby, but most people have no idea of the life in our oceans.

I was frustrated by how little exposure the zones were getting in the news, and how few people knew about this ongoing story. It also surprised me that no-one was really documenting it. I don’t have a scientific background, so I decided the best way would be to simply use my images to spread the word.

I know the potential images have to make a difference, and I’d love to be able to do this with mine. Increasing exposure and awareness for the zones can only be a good thing – the more people who begin to care about the ocean the better.

manuelahenaorestrepo.com

charlottesams.com

APPLICATIONS OPEN AT THE END OF MARCH FOR THE 2015 ROUND OF SOCIETY BURSARIES. TO FIND OUT MORE VISIT WWW.RPS.ORG/LEARNING/PROJECT%FUNDING OR CALL 01225 325733

200 / THE RPS JOURNAL / MARCH 2015 / VOL 155

WORKS 202 | EXHIBITION | LIGHT

Light fantastic

To mark the International Year of Light 2015, the Society has launched its Light Works exhibition.

Rachel Segal Hamilton speaks to the show’s curator, Gary Evans FRPS

T

here’s more to light than the sliver of electromagnetic radiation we usually see.

Laser cutting, fibreoptics and photolithography all use light to create things we rely on, such as the internet and microchips. Light-based medical imaging can diagnose diseases invisible to the human eye. ‘Everything around us is made easier, safer or better because of light,’ says Gary Evans FRPS, whose day job is at the Science Photo Library. ‘When I found out that 2015 was the International Year of Light I thought, as The Royal Photographic Society, we should do something about it.’

Cue Light Works, a free, touring exhibition of 50 extraordinary photographs. Having stopped in London and Belfast it has moved to Edinburgh – with more locations across the UK to be added throughout the year. The twometre by 1.5-metre mounted prints show the light fulfilling many roles: 202 / THE RPS JOURNAL / MARCH 2015 / VOL 155

DR MICHAEL BORICH AND DR NAZNIN VIRJI%BABUL; DR TORSTEN WITTMANN; NASA/SDO/AIA, PROCESSING BY MILOSLAV DRUCKMULLER

LIGHT WORKS

| EXHIBITION | 203

CLOCKWISE, FROM MAIN

Solar Flare; Seeing Concussion (detail); Lung Cells

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WORKS 204 | EXHIBITION | LIGHT

ABOVE Bacteria on the hands

identifying weapons in airports, making chocolates, revealing bacteria on someone’s hands or treating a newborn baby for jaundice. ‘A virtual journey gives a natural flow to an exhibition,’ Evans explains. ‘So we came up with the idea of curating it as a walk through the whole of the electromagnetic spectrum. I started off with a sheet of A4 – gamma rays at the top, radio waves at the bottom and everything else in between. It was then a case of what images I could find to fit each wave band.’

Some were easier than others.

Infrared and ultraviolet imaging, for example, are more accessible than those using the terahertz area of the spectrum, which lies between microwaves and infrared light waves.

‘Working at the Science Photo Library, I’m quite familiar with the types of images around. But that only takes you so far,’ admits Evans. He liaised with scientists and image makers from around the UK, who generously donated their time and pictures for free.

The exhibition challenges what we consider to be photography. Rather than recording visible light with a sensor or film, many scientific imaging techniques ‘use light almost like a probe to get information,’ says Evans. Take Sleeping Sickness, an abstract-looking dot pattern.

‘It uses a process called crystallography.

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I BEGAN WITH A SHEET OF A4 " GAMMA RAYS AT THE TOP, RADIO WAVES AT THE BOTTOM You fire a laser at an enzyme crystal and the way the light scatters tells you about the structure of the crystal. You can use that to design vaccines.’

With light-based technologies advancing rapidly, what’s next? ‘They’ll push ever-faster exposure times and brighter light sources to look at things in smaller scales,’ says Evans. ‘They’ll push the resolution of microscopes to what we conceive as the limits and beyond.’

Also on the horizon is fuller integration

of different types of medical imaging so doctors will be able to bring together a series of scans – such as MRI and CT – into a single, 3D model.

But you don’t need to be a boffin to appreciate Light Works. Evans hopes above all that all sorts of passers-by will stumble on the exhibition. ‘I’ll be happy if people say, ‘Look at that pretty image’. And then if they read the caption and learn some science, it’s a bonus.

To show people that science produces astonishingly beautiful things – which also have a purpose – that’s the aim.’

Light Works is on show in St Andrew Square, Edinburgh, until 17 April. For details and more exhibition dates see rps.org/IYL2015

JAMES KING%HOLMES ; HERAEUS NOBELIGHT, HANAU

RIGHT London, multitemporal satellite image

Time to shine…

Light and Land at The Mall Landscape photography exhibition This is your opportunity to showcase the best landscape photographs you have made. Exhibition spaces available, this is your time to shine • Exhibit your images alongside some of the UK’s most exciting landscape photographers

• No commission taken – 100% of sales revenue goes to the photographer

• Showcase your work to thousands of visitors for 10 days at this fantastic venue: The Mall Galleries, London

• Receive expert critique sessions from the UK’s top landscape photographers

• Be part of an event that will be marketed nationwide by the UK’s leading Arts PR agency

For more information and cost for entry go to www.lightandland.co.uk/exhibition

• Have the opportunity to sell your images commercially during the event

Above image by Valda Bailey © www.valdabailey.co.uk

Light and Land.

T +44 1747 824727 E admin@lightandland.co.uk www.lightandland.co.uk

BORDEN HonFRPS 206 | BEST SHOTS | HARRY

HARRY BORDEN THE EYES OF HIST RY 206 / THE RPS JOURNAL / MARCH 2015 / VOL 155

PORTRAIT: TONY FRENCH

Harry Borden HonFRPS has achieved fame with his portraits of rock stars and celebrities. But his personal projects reflect passions that are closer to home. Clare Harris finds out more

HARRY BORDEN HonFRPS

| BEST SHOTS | 207

MARGARET THATCHER This is one of the last pictures of Margaret Thatcher taken before she died. It was 2007, when she had dementia. I got a call from Time magazine which was doing its 60thanniversary edition, for which Thatcher had agreed to be photographed.

Whatever you think of her politics she’s one of the great figures in this country. It’s has achieved fame with his portraits of interesting to be But his personal projects reflect passions like Zelig, and be the eyes of history.

Harry Borden HonFRPS rock stars and celebrities. that are closer to home. Clare Harris finds out more

VOL 155 / MARCH 2015 / THE RPS JOURNAL / 207

BORDEN HonFRPS 208 | BEST SHOTS | HARRY

A PHOTOGRAPHER’S VISUAL FINGERPRINT IS ABOUT HOW YOU'RE COMPELLED TO ARRANGE THINGS IN A FRAME HARRY BORDEN WAS 13 WHEN HE first picked up a camera. It was a Minolta, and he was with a friend.

Being a photographer, the teenagers figured, might be a bit like being a rock star – a shortcut to picking up girls.

Whether it had that particular result or not, photography became much more to Borden. From his childhood on a Devon farm he moved to the big city, to jobs at NME and the Observer. He soon got close to the stars – with the Spice Girls when their fame was at its height; with Michael Hutchence not long before the Australian singer committed suicide – but his images of statesmen, actors and sportspeople are just as striking – disturbing, sometimes – but always memorable.

Being awarded an Honorary Fellowship by the Society late last year gave Borden a chance to look back on his career. ‘I hesitate to use the word 208 / THE RPS JOURNAL / MARCH 2015 / VOL 155

artist,’ he says, ‘but great photography is in the way you speak a visual language.

When I was growing up I remember seeing pictures by Irving Penn, Diane Arbus, people like that. When you look at a picture by Penn, there’s no way you could put anything in a different place in the photograph to improve it. For me, a photographer’s visual fingerprint is about how you feel compelled to arrange things geometrically in a frame. And I came to realise that the portrait is also the record of the relationship you have with the person.’

Borden’s down-to-earth approach seeps through all of his work. ‘I just get people to do things,’ he says of his shoots. ‘I trust my instincts.’ Recently, he’s found time amid the big name portraits to work on personal projects, such as the Single Parent Dads series he produced with the charity Dads House, and his emotive Holocaust

SPICE GIRLS I like the Spice Girls picture for technical reasons, and because it was a turning point in my career. It was 1996 and I was shooting them up on the roof in a hotel in Bangkok. They just sat down in that space and I liked the interaction – it was a gift. It has a mixture of lighting; Geri has the look of a Renaissance painting, like the ‘girl in the pearl earring’, whereas Victoria is backlit. It's now in the National Portrait Gallery.

FARMERS I grew up on a farm in Devon and I used to go to school with the farmers who worked in the area. It’s a very tough existence, being a farmer, and it made me very stoic.

I'd bought this Fuji 67 rangefinder and just thought I’d try it, so I shot all these farmers in pastoral environments in 1994. Last year I went back and shot the same guys on a 60-megapixel Hasselblad H5. The image included here is of my friend Gavin, taken in 2014.

HARRY BORDEN HonFRPS

| BEST SHOTS | 209

VOL 155 / MARCH 2015 / THE RPS JOURNAL / 209

BORDEN HonFRPS 210 | BEST SHOTS | HARRY

Survivors series. ‘You have to decide whether you’re just trying to do a project because you think you ought to,’ he says. ‘I feel more drawn to projects that mean something to me personally – and each one of them does.’ With his Farmers series, Borden has revisited portraits he’d taken of his childhood friends in the 1990s. The technology he used to take the pictures has changed, he says, but life on the land has not.

‘What I like about this project was the locations where I photographed them 20 years ago are still there; the same oil barrel. Life is more permanent there.’

There’s a sense of groundedness in much of Borden’s recent work; his move back to using film alongside the faster, deadline-friendlier digital reveals something more about his state of mind, as a father of children in a fast-changing world, than purely technique. ‘I want to take intrinsic pleasure from my work,’ he says. ‘My main aim is to be reflective and just to have an enjoyable life. If you are creatively fulfilled and your approach is true to yourself, I think it makes you a happier person.’

Nearly four decades on from his first shot, and one thing is clear – Harry Borden is one happy photographer.

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HOLOCAUST SURVIVORS I did the Holocaust Survivors series because it’s an exploration of my identity. My dad’s Jewish but he’s an atheist and I’d never met any Jewish people growing up.

I was aware of that part of me, but I didn’t know what that entailed.

It was such a shock when I learned more about the Holocaust. It seemed such an obvious thing to photograph.

The book was shortlisted for the 2014 European Publishers Award for Photography.

BORDEN ON GREATNESS NATURAL LIGHT ‘Eve Arnold said: "Flash kills the atmosphere." Available light will never date.’

GREAT COMPOSITION ‘My pictures are a marriage of intimacy, put within a spatial relationship.’

PRE(SHOOT RESEARCH ‘I can talk to most people about most things, and if all else fails there’s Wikipedia.’

SOCIAL MEDIA ‘It’s more than a tool, it’s the way people communicate. I’ve had great jobs through Twitter.’

LASTING IMPACT 'To have a picture in the National Portrait Gallery is a barometer of how definitive a portrait it is.

That's why I aim for it.’ @harrybordenuk facebook.com/harryborden

PORTRAIT: ABBIE TRAYLER%SMITH

SINGLE PARENT DADS The single fathers project happened because of The Royal Photographic Society. The Dads House [charity] thought it would be a good idea to get a "famous" photographer to give away a portrait session with a single dad, and the Society put them in touch with me. I’d recently split up with my wife, and it struck a chord with me, so I said I’d love to do a series of portraits. These were all shot on film on a Hasselblad, going back to simpler times, and the totemic, fundamental power of the family album.

I realised that an analogue print had such a lot of soul.

HARRY BORDEN HonFRPS

| BEST SHOTS | 211

VOL 155 / MARCH 2015 / THE RPS JOURNAL / 211

BENEFITS 212 | SOCIETY | MEMBER

What the Society has done for me

Philip Field LRPS explains how membership of The Royal Photographic Society has given his photography, and confidence, an invaluable boost 212 / THE RPS JOURNAL / MARCH 2015 / VOL 155

MEMBER BENEFITS

| SOCIETY | 213

A GUIDE'S EYE VIEW I included this in my LRPS panel, and it was selected for the Society’s International Members’ Biennial 2014, shortlisted in Outdoor Photographer of the Year 2014 and was commended as a top-five finalist in the One-Shot Monochromal category in Travel Photographer of the Year 2014.

I FIRST BECAME AWARE OF THE Royal Photographic Society in May 2014, when I won a free one-year membership to the Society via a competition held by The Photographic Angle, which works in partnership with the Society on its environmental bursaries. At the time I had recently moved back to the UK, having spent three years working as an action sports photographer in the Swiss Alps. I had little to no knowledge of the British photographic scene, and was keen to become more involved, especially as

the Society’s headquarters was on my new doorstep, in Bath.

After I received my membership pack, my first port of call was to investigate the Society’s website, where I was immediately drawn to the Distinctions section. Until now, I had always assumed that focusing on a niche aspect of the industry – in my case outdoor action sports photography – would help improve my chances of work. However, with a growing pool of photographers competing daily for jobs I wanted to provide an extra level of

COMPETITION SUCCESS FOR PHILIP FIELD LRPS } Winner RPS 365

Sport competition } Finalist RPS 365 Food and Membership Card competition } Selected The Royal Photographic Society International Members’ Biennial 2015 } Category Winner DVJ Photographer of

the Year, Expert category } Commended Travel Photographer of the Year 2014, One-Shot Monochromal } Shortlisted Outdoor Photographer of the Year } Winner RPS 365 Review of the Year competition

VOL 155 / MARCH 2015 / THE RPS JOURNAL / 213

LOCAL FAMILY, NEWBIGGIN-BY-THE-SEA, NORTHUMBERLAND BY DAMIEN WOOTTEN (BRONZE AWARD, 2014 EXHIBITION)

CALL FOR ENTRIES INTERNATIONAL PRINT EXHIBITION 158 CLOSING DATE 1 JUNE 2015 Open to student, amateur and professional photographers worldwide rps.org/ipe158

Reduced entry fee for RPS Members

MEMBER BENEFITS

I FIND THAT IT IS HARD TO JUDGE ONE’S OWN WORK WITHOUT THE INEVITABLE BIAS

| SOCIETY | 215

confidence within my clients through a Distinction recognised as the most prestigious in the photographic world.

So, without hesitation, I submitted my LRPS application for assessment in November 2014.

In the meantime, I had entered one of my images from a cycling event I had documented in June to the RPS 365 Monthly Sport Competition. In my short career as a photographer, I find that it is hard to judge one’s own work without the inevitable bias. Although positive comments from family and friends are very welcome, aspiring photographers are rarely given the opportunity to receive feedback from industry experts.

The monthly RPS 365 seemed a good platform to offer just that. When I received the news in July that I had been selected as one of the three winners of the Sport competition I was over the moon, and even more so to see my shot printed in the August 2014 edition of The RPS Journal.

THE CHAIRLIFTS OF SAVOLEYRES I sold this image to Sir Richard Branson in 2012, and it now hangs in his ski lodge in Verbier, Switzerland.

TWO HEADS ARE BETTER THAN ONE One of my personal favourites, this shot formed part of my successful LRPS panel submission in November 2014.

WORDS FROM THE WISE Members of the Society on why they love being part of the family 'Becoming a member of the Society helped me focus on my photography. It changed my life.'

CHELIN MILLER LRPS

'The Society has a commitment to supporting and nurturing emerging photographic talent.'

ANASTASIA TAYLOR-LIND

'Being part of the Society for three years now has given me many opportunities.'

OLIVIO ARGENTI FRPS

'We have really enjoyed the fellowship and friendship of the people we have met.'

CHRISTINE LANGFORD LRPS VOL 155 / MARCH 2015 / THE RPS JOURNAL / 215

BENEFITS 216 | SOCIETY | MEMBER

BEING HUNTED DOWN This was my first Society competition winner. It won the RPS 365 Monthly Sport competition in July 2014, and the Society’s DVJ Photographer of the Year in the Expert category. It was also shortlisted as a finalist in the Outdoor Photographer of the Year 2014.

LUDO MAY This portrait of downhill racer Ludovic May was one that I included in my successful LRPS panel submission.

In the same edition of the Journal, just three pages back, was an ‘Enter Now’ section advertising the DVJ Photographer of the Year and Travel Photographer of the Year competitions.

With the confidence from my recent success I decided to give it a go. I used my free, one-year’s entry to a Special Interest Group (which was included in my Society membership) to join the Documentary and Visual Journalism

216 / THE RPS JOURNAL / MARCH 2015 / VOL 155

(DVJ) group and enter the competition.

A few days later I also submitted my work to the Travel Photographer of the Year, Outdoor Photographer of the Year and the Society’s 2015 Members’ Biennial Exhibition.

It was an amazing year. My images were shortlisted, commended and won categories in each of these competitions and more, and I feel I owe my success in part to the Society. As photographers, we all need to feel a level of recognition of our work. Photography is an art where, for the most part, people do not understand the time, effort, money and planning that go into getting just a single shot. To receive a seal of approval from the Society through its competitions, Distinctions and Special Interest Groups gave me the confidence to enter more, and to keep striving on those days I might be feeling uninspired. I am now aiming to achieve my ARPS Distinction and ultimately, one day in the future, hope to stand alongside the Society's Fellows. For now though, here’s to the Society for providing me with that ‘RPS’ factor I so needed on my return from Switzerland.

IT WAS AN AMAZING YEAR …

I FEEL I OWE MY SUCCESS IN PART TO THE SOCIETY

WHAT’S YOUR INTEREST? New members of The Royal Photographic Society are entitled to a year’s free membership of one of a diverse range of Special Interest Groups.

With 13 groups, covering everything from Archaeology and Heritage, through Travel, Medicine, Historical to Contemporary photography, there is certain to be a group for you to explore, whatever lights your photographic fire.

Find out more about each of the individual Special Interest Groups at rps.org/groups or to find out more about events the groups organise turn to our Member Guide on page 235

218 | SHOWCASE | JILLFRPSPAKENHAM

Sand pattern

From near and far

Exhibiting work at the Society’s headquarters this month is Jill Pakenham FRPS JILL PAKENHAM FRPS ACHIEVED her Associate and Fellowship Distinctions with panels of insect photography. While she continues taking images of invertebrates, she is using her Fenton House exhibition to showcase new work that looks at the natural world from all angles, including landscapes and abstract macro images.

whole moth, you start exploring how the antennae look when magnified.

Could you tell us about your exhibition?

It represents three aspects of the natural world: insects, landscapes and abstracts. I’m fascinated that something as tiny as the underside of a moth’s wing might bear a resemblance to a stretch of beach – the juxtaposition of sizes and the tension between these two aspects. It’s good to discover the minutiae of these forms and patterns as well as looking at the broader picture.

So for instance, having looked at the

You’re particularly enthusiastic about moths.

How did that come about?

About 16 years ago I was shown a photograph of an elephant hawk-moth, which triggered the start of more serious natural history photography and subsequently an enduring love of moths and other insects. And I’m particularly intrigued with how our native moths are able to avoid predation through camouflage and using cryptic patterns to mimic their surroundings.

VISIT!

THE SOCIETY HEADQUARTERS

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Where were the pictures taken?

The insects were all photographed in my garden. I’m very keen on using subjects found in my own area. The landscapes were taken further afield, including some in Scotland.

How do you find the moths?

I use a light trap. They are attracted to artificial light at night, so you can profit from this behaviour by creating a false light. This disorientates moths and they fly towards it. Underneath the light there is a large box into which they fall and the next morning you can go out and see what’s in the trap. If I find a subject I want to photograph, I gently position it on a suitable background and resting place. This needs to be done quite early in the day before the moths have warmed up sufficiently to fly away.

Do you use any specific techniques?

The shots of insects require sharpness throughout, normally with a fairly high F-stop to maximise a strong depth of field, but with the abstracts I can use the lens at its widest aperture to get a subtler picture.

THE EXHIBITION FROM JILL PAKENHAM FRPS WILL RUN DURING THE MONTH OF MARCH AT THE ROYAL PHOTOGRAPHIC SOCIETY, FENTON HOUSE, 122 WELLS ROAD, BATH BA2 2AH

JILL PAKENHAM FRPS

| SHOWCASE | 219

Privet hawk-moth

Frosty trees

Loch Voil

Larch tree plantation

Garden tiger moths VOL 155 / MARCH 2015 / THE RPS JOURNAL / 219

THE MUST TRY

CRAFT MARCH 2015

THE L ATE S T TECHNOL OGY, TECHNIQUE S A ND SK ILL S

Olympus E-M5 Mark II

Compact-system pioneer’s update makes for the most-rounded OM-D yet, says Gavin Stoker

A

lthough outwardly a doppelganger for its predecessor and the stillcurrent E-M1 flagship, the MkII is a tad heavier due to the introduction of a new shutter mechanism and an LCD screen that swivels as well as tilts. This is a boon, particularly for capturing full-HD video, with frame rates varying between 24 and 60 frames per second.

Another plus is the five-axis body-integral image stabilisation, achieved with a combination of magnets and coils, making a rig

or Steadicam superfluous for shake-free, hand-held recording.

For stills, options run from the regulation 16 megapixels of its Four Thirds CMOS sensor to a new 40-megapixel highresolution shot mode. The latter combines eight successive images to, if not exactly give a mediumformat Hasselblad a run for its money, at least potentially better a full-frame-sensor DSLR in many cases – provided, of course, you’re shooting with the MkII secured to a tripod to prevent variation between

PRICE: From £899 body only SENSOR: 17.3x13mm Four Thirds sensor LENS: With 14-42mm (£1,099), 12-50mm (£1,099), 14-150mm (£1,249), 12-40mm Pro f/2.8 (£1,499) SCREEN: Tilting touchscreen LCD display WEIGHT: 851g body only MORE: olympus.co.uk IN BRIEF: Olympus hasn’t rewritten its rulebook here but rather refined an already good enthusiast’s camera to make an even better one with a potentially wider reach

frames. The resultant image takes 2.5 seconds to process and can be stored as a RAW file.

As with the E-M1, the MkII is splashproof, dustproof and freezeproof, making it a realistic street/travel option in combination with the camera’s smaller-than-SLR form factor.

Although there’s no built-in bulb, an accessory flash in the new FL-LM3 is bundled with it, while there are various lens kits for anyone buying into the system from scratch, plus plentiful accessories.

VOL 155 / MARCH 2015 / THE RPS JOURNAL / 221

222 | THE CRAFT | 2

LATEST KIT

1

3

Nikon D5500 £639.99 body only

Canon Connect Station CS100 £199.99

Nikon AF-S Nikkor 300mm f/4 PF ED VR lens £1,639.99

Mid-range digital SLR is the first such Nikon camera to offer flip-out touchscreen control nikon.co.uk

The brand extends its remit into data storage hardware with the launch of a wireless hub canon.co.uk

New pro telephoto lens suggests apt match for full-frame DSLRs such as D810 and D4S nikon.co.uk

1 Sold in red or black, and offering

2 Not on sale until June, the Connect

3 The lightest in its class, this fixed

24.2 megapixels from its APS-C sensor, built-in wi-fi, and an ISO10025,600 light-sensitivity range, its deep grip and 3.2-inch tilting touchscreen – a first for a Nikon DSLR – also ensure it feels right in the hand. On the LCD we can pinch images to zoom in or out, or swipe through collections. Operation is further improved by 39-point AF and capture speed running up to five frames per second. As one would expect there are improvements over the earlier D5300, such as a contrast-detection AF system that’s 20 per cent faster. Add the jack-ofall-trades 18-55mm VR II standard zoom – again in red or black – for £719.99 all in, or the 18-140mm VR black lens for £899.99 with the camera body.

Station CS100 is designed to act as a hub for up to a terabyte of storage.

Data is imported via NFC-enabled Canon cameras (or camcorders) with a single touch, while other devices, such as smartphones or tablets, can be accessed via wi-fi or a web browser.

There is the option to hook up whichever device you’ve taken the images on via a USB port, and the CS100 can be connected to a TV or monitor via an HDMI cable/port, or there is the convenience of wirelessly viewing albums of images on a smartphone, tablet, or via a web browser. Prints can be made straight from the device to a wireless printer. More serious shooters will probably want even greater storage.

focal-length optic with f/4 maximum aperture for the softening of distracting backgrounds is the first F-mount Nikkor with a ‘phase fresnel’ (PF) element, promising superior image quality alongside a compact build and telephoto reach. Its fluorine front coating repels water, dust, and dirt, while the VR suffix denotes vibration reduction, making it an option for hand-held sport, action or wildlife photography.

Compensation for camera shake is the equivalent of 4.5 stops. Although meant for use with its full-frame DSLRs, the lens can be used with an APS-C (DX format) Nikon; the effective angle of view becoming the equivalent of a 450mm lens in 35mm terms.

IN BRIEF Plenty of enthusiast-pleasing features raise this new mid-tier Nikon DSLR above merely offering smartphone users an easier entry point into its system THREE MORE TO TRY Canon EOS 700D, Pentax K-S1, Sony A65

IN BRIEF Data storage is by no means sexy, but anyone who shoots stills or video will welcome the convenience of this device, while perhaps desiring even greater capacity THREE MORE TO TRY Drobo Mini 8TB, Western Digital My Passport Wireless, SanDisk Extreme Pro SSD

IN BRIEF Top-quality glass for a full-frame Nikon to drag the faraway closer is an adept, if pricey, option THREE MORE TO TRY Sigma APO 300mm f/2.8 EX DG HSM, Tamron 16-300mm f/3.5-6.3 Di II VC PZD, Samyang 300mm f/6.3 ED UMC

222 / THE RPS JOURNAL / MARCH 2015 / VOL 155

5

MEMBER TEST

Tamron 16-300mm f/3.56.3 Di II VC PZD Macro £475

4

REVIEW BY VIVECA KOH FRPS

5

Nodal Ninja PanoPole S1 £289.99

DJI Phantom 2 Vision+ £1,500

Achieve panoramic photography from the air, without climbing a tree or buying a balloon red-door.co.uk

Reach new heights with this ready-to-fly aerial camera-platform set-up dji.com

4 Looking to make your images

5 Unmanned aerial vehicles (drones)

stand head and shoulders above those of fellow Society members? The PanoPole is a lightweight, portable, extendable carbon-fibre pole, available in different specifications, enabling photographers (and videographers) to capture images at treetop or roof level, thus achieving panoramic views without the need to clamber up a ladder, or deploy a drone or cherry picker.

The pole slots into a tripod clamp kit, mounted on the centre column for stability, while an anti-rotation system is claimed to ensure rigidity when you want it. Another advantage is that the system is modular, so photographers can start off with a small module and gradually build it up in height.

are becoming increasingly practical and affordable. One example is this aerial camera-platform set-up which arrives ready to fly (although you need permission from the Civil Aviation Authority if using it for commercial purposes). With a builtin gimbal (stabiliser), it’s an all-in-one package with a fixed camera that can shoot RAW files. Images at 14 megapixels, sufficient for 18x10-inch prints, or 1,080x720-pixel HD videos are committed to a microSD card. Although its lens is fixed and can tend to cause horizons to ‘bow’ if the camera’s not level, you can amend things by, for example, reducing frame width. Batteries average 25 minutes, and with built-in wi-fi it can be controlled via an iPhone app.

IN BRIEF A low-tech solution for getting a ‘higher’ grade of photograph that will help you to stand head and shoulders above your peers THREE MORE TO TRY Nodal Ninja Travel Pole, Nodal Ninja Series 2 Complete, Nodal Ninja Series 3 Complete

IN BRIEF Unmanned aerial vehicles such as this are being used by photography pros to take things up a level THREE MORE TO TRY DJI Inspire 1 (adds 4K video), Lehmann LA100 GoPro Drone, Parrot AR Drone 2.0 Quadricopter

The fine art and creative photographer tries out a 300mm lens for the first time

I expected a versatile lens with a wide range of focal lengths, and the new Tamron fulfilled that. It was surprisingly compact and lightweight, easy to hold in my not-very-large hands, comfortable to use and the zoom operated smoothly.

There is a manual focus switch on the lens barrel to utilise the precision focusing most likely needed for macro images.

I tested the Tamron lens over a few days, starting at Marwell Zoo in Hampshire to try out the 300mm end of the lens, and finishing at home for some macro work. The vibration compensation was a welcome feature, enabling me to take many photographs in low light and at a relatively slow shutter speed (eg 1/15 second at f/6.3 ISO 800) that were still sharp. It is worth bearing in mind that leaving this function switched on used up more camera battery power. The zoom lock is another great feature.

I was shooting in RAW format and the image quality was generally very good, although it tended to peak in the middle apertures and focal lengths. I would certainly use this lens for holidays, travel and even street photography.

IN BRIEF The Tamron is a flexible lens that suits a wide variety of photographic situations, and will appeal to both beginners and enthusiasts

Left: Taken at 1/50 sec f/6.3 270mm ISO 800 Right: Taken at 1/8 sec f/6.3 300mm ISO 400

VOL 155 / MARCH 2015 / THE RPS JOURNAL / 223

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TECHNIQUE MASTERCLASS

| THE CRAFT | 225

‘Any bokeh will reflect the shape created by the diaphragm blades of the lens used’

Get creative with bokeh

International Garden Photographer of the Year Portfolio prize-winner Andrew George on how to make the most of out-of-focus light

P

ut simply, bokeh describes the aesthetic quality of out-of-focus light in a photograph, especially when using a fast lens set at its widest aperture. Most often evident in an image’s highlights, bokeh’s appearance is affected by the kind of lens you are using. The bokeh will reflect the shape created by the diaphragm blades of the lens, which determine the aperture: more circular blades will produce rounder bokeh, while hexagonal blades will likewise be echoed in the shape of the highlights. You can use this effect in a creative way, transforming simple subjects into pieces of natural art.

Here’s my short and simple guide to using bokeh when photographing in nature.

WORKSHOP

TIPS

Planning the shoot

1 To get the best effect, shoot into the morning sun, with the light slightly obscured by trees, plants and dew drops. Because you’ll likely be taking the shot when the sun is low, I suggest you find an adequate subject when there’s full daylight, rather than when the light is fading. Once you’ve spotted the flower you want to shoot, find out when the sun will be in the optimum position and check the weather forecast to see when will be the best time to take the photo. I recommend the The Photographer’s Ephemeris app (photoephemeris.com).

PLANT ! GARDEN PHOTOGRAPHY

The set-up

2 You can use all sorts of lenses,

but a macro or short telephoto lens is good to start with. Try to get close to your subject, within the focal range or just a little bit further away. If you want to get closer you can attach extension tubes to your lens. Use a tripod or beanbag for support. If you want to get an even lower angle simply place your camera on the ground, making sure it’s dry first. An angle finder or live view could be helpful when photographing. Shoot your subject at the same angle as the light source, in this case the sun.

Shoot using aperture-priority or manual mode Set the lens aperture to a wide setting, such as f/2, f/1.8 or f/1.4 Shoot into the light Get close to your subject, increasing the relative distance to the background ABOUT THE AUTHOR ANDREW GEORGE An award-winning Dutch nature, wildlife and travel photographer, Andrew George studied at Fotovakschool in the Netherlands.

His images have been recognised by many national and international photography competitions, including the National Geographic Photo Contest and Wildlife Photographer of the Year.

This year Andrew received the International Garden Photographer of the Year’s Portfolio prize, which was sponsored by the Society.

IMPROVE YOUR GARDEN PHOTOGRAPHY WITH WORKSHOPS IN SOMERSET ON 25 APRIL AND 20 JUNE. FOR MORE INFO GO TO RPS.ORG/LEARNING/WORKSHOPS VOL 155 / MARCH 2015 / THE RPS JOURNAL / 225

IN DEPTH 226 | THE CRAFT | TECHNIQUE

Nature’s splendour

Magdalena Wasiczek, 2014 International Garden Photographer of the Year, reveals how she discovers ‘scenes studded with diamonds’

B

efore I became a photographer I used to draw and paint. My way of looking at the world stems from this fascination with painting. But then I decided to change the tools and started using lenses. I have since learned how to utilise their optical properties to achieve the desired effect, which has a close affinity with painting.

I have a collection of old lenses, which produce very interesting bokeh, often in the shape of stars and circles, and I enjoy testing them for their vividness. Many of these effects can now be

achieved using Photoshop but, to me, doing it manually gives more of an opportunity to have fun and play with lenses, introducing an element of surprise.

I mostly take photos of plants and insects, in their natural environment and only using available light. I take these either in my garden or in the meadow near my home in Trzebinia, Poland. In winter I enjoy photographing compositions of dried flowers and in spring I use pot plants.

In the meadow or garden I never have a planned shoot or specific compositions in mind but let nature surprise

On the Blue Planet 226 / THE RPS JOURNAL / MARCH 2015 / VOL 155

me. I love the thrill of finding a composition that works, right there, spontaneously in nature – it’s like opening presents at Christmas. Other times, though, I can fill a memory card and then find that I don’t even have a single photo worthy of attention.

The perfect time to shoot is either early in the morning or during sunset. Although I’m naturally more of an owl than a lark, the morning has certain advantages, such as dew. A meadow bathed in dew, butterflies and ladybirds is one studded with diamonds. It comes to life under the sun’s rays, creating a breathtaking view. But to catch this early-morning spectacle, you need to be out in the meadow and ready to shoot at 4am at the latest.

I also like to occasionally shoot on cloudy days or

Time of poppies

ABOUT THE AUTHOR MAGDALENA WASICZEK Born in Trzebinia, Poland, Wasiczek is a graduate in Ukrainian philology from Jagiellonian University in Kraków. She is the 2014 winner of the International Garden Photographer of the Year competition, which she also won in 2012. She has won many awards in Poland and abroad

I LOVE THE THRILL OF FINDING A COMPOSITION THAT WORKS, SPONTANEOUSLY IN NATURE immediately after it has rained. Sometimes I even venture out at high noon when I can count on interesting shots of flying insects, with all the butterflies flying around like mad in the garden.

When I talk to my photography friends I’m often surprised at how much kit they own, all the tripods and light modifiers. I admire them for the results they get, but it’s not for me. I try to take as little equipment as possible.

Usually I take my Nikon D700 with one lens, such as a Tamron 90 or Sigma 150, a spare lens, intermediate rings, a Raynox DCR-250 macro conversion lens and a small, folded, triangular

reflector. I don’t use a tripod because it puts limits on my compositions. This decision often affects the sharpness in the photos, but in the end it’s worth it. I’m not willing to jeopardise composition – the most important factor.

Photography helps make people more aware of the beauty in the natural world.

I’ve learned to enjoy a million small details that I never paid attention to before. Most of all, photography has become my way of life. I do not know who or what created the world but I know that it is unusual and fascinating in every detail, and that to me is a true miracle.

For more information visit magdawasiczek.pl and igpoty.com

A detail from The Ballerinas, Wasiczek’s IGPOTY 2014-winning image VOL 155 / MARCH 2015 / THE RPS JOURNAL / 227

The Photography Show is the event for professional and aspiring photographers of all levels.

Join us in March and discover the latest kit and accessories from world-class brands, explore our interactive live stages and gain access to a wealth of information and networking opportunities to enhance your photography.

Book your tickets today at:

photographyshow.com

| THE CRAFT | 229 M Y FAV O U R I T E C A M E R A

Nikon D4S

Rebecca Naden ARPS on how her preference keeps up with the demands of worldwide news I love capturing moments that hopefully people will enjoy looking at for years to come. The cliché that ‘a picture is worth a thousand words’ is what photography is all about.

Some photographs talk to us forever and I remember seeing iconic images in newspapers and magazines such as Bob Jackson’s Pulitzer prize-winning photograph of the murder of Lee Harvey Oswald by Jack Ruby, Nick Ut’s photograph of a little girl running down the street after a napalm bomb in Vietnam, Alfred Eisenstaedt’s image of a sailor snatching and kissing a young nurse from the crowd in Times Square in New York City celebrating the end of World War Two, and Neil Leifer’s picture of when Muhammad Ali knocked out Sonny Liston in the first round of their 1965 rematch.

For me, the best camera around for capturing those moments is the Nikon D4S. It produces a quality image with its EXPEED 4 imaging engine. It has an 11 frames per second continuous shooting speed which means it is great for capturing action, especially news, sport and wildlife.

It also has great low-light performance, which is essential when you work outdoors in Britain most of the time.

I work for the global agency Thomson Reuters and one of the main challenges is the need to take great photos of important news, sport and features that tell the story accurately, honestly and as fast as possible. By using a Nikon WT-5 wireless transmitter attached to the D4S, I am able to send my photographs to my office seconds after taking them, which allows Reuters to send photographs to our clients all around the world to meet the non-stop appetite for pictures.

PORTHCAWL STORM Waves of 100ft test the defences of the southern Welsh town’s lighthouse

AUTHOR PROFILE REBECCA NADEN ARPS Naden is a full-time professional photographer based in Wales. She spent 25 years in London as a staff photographer working for the Press Association before returning to Wales to work primarily for Thomson Reuters VOL 155 / MARCH 2015 / THE RPS JOURNAL / 229

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MEMBER

| GUIDE | 231

GUIDE

YOUR RPS EVENTS ! COURSES PROGRAMME

MAR!APR!MAY GO TO RPS.ORG/EVENTS FOR THE LATEST UPDATES

Ocean colour scenes

Photographer inspired by the Irish Atlantic coast shares insights

J

oin the East Anglia Group to hear from Irish landscape photographer John Hooton FRPS. Captivated by the varying light and mood of Ireland’s Atlantic coastline, Hooton has been exploring the region for the past 30 years, gaining an insight into how the landscape has transformed and evolved over centuries.

His lecture will be divided into various themes with the emphasis on landscape.

However, Hooton has been exploring the photographic potential of a number of abandoned cottages he has

recently discovered, and will show some images of their interiors. His lecture will include up to 80 printed images, on a range of papers. Hooton will also be speaking about his first published book, Gathering Light on the Dingle Coast, and on the workshops he runs from the Dingle Peninsula.

The event, at the Li Ka Shing Centre in Cambridge, will coincide with the Society Members’ Biennial Exhibition, which is displayed in the same building in the ArtCell Gallery.

For details see page 232

Top: Beal Ban; Above: Dingle VOL 155 / MARCH 2015 / THE RPS JOURNAL / 231

GROUPS 232 | GUIDE | REGIONAL

REGIONS

GO TO

Meet photographers and view work in your area

RPS.ORG/EVENTS FOR THE LATEST UPDATES

CENTRAL

} £8/£5 group members } Foxton Village Hall, Hardman Road, Foxton, Cambs CB22 6RN } David Jordan, 01603 866475, daveandjoanjordan@yahoo.co.uk

JOHN HOOTON FRPS

MIKE SHARPLES ARPS, 07884 657535

SUNDAY 12 APRIL / 10:30%16:30

MIKES.SHARPLES(VIRGIN.NET

} Free } John’s work captures the ever-varying

THE PHOTOGRAPHY SHOW: LANDSCAPE AND TRAVEL PHOTOGRAPHY TALES

light and mood of Ireland’s Atlantic coastline. The Society Members’ Biennial exhibition will also be on display } Cancer Research UK Cambridge Institute, Li Ka Shing Centre, Robinson Way, Cambridge CB2 0RE } Ian Wilson ARPS, as above

SUNDAY 22 MARCH / 15:00%16:30

} Members only } Hear from Joe Cornish HonFRPS and Roger Reynolds HonFRPS } NEC Birmingham, Piazza Suite 5, Pendigo Way, Marston Green, Birmingham B40 1NT } 01225 325733, reception@rps.org

} Keyworth Parish Church Hall, Selby Lane, Keyworth NG12 5AN

} Howard Fisher, 07955 124000, handjaf@virginmedia.com

WILDLIFE, WILDPLACES JOHN GARDENER AND HUMMINGBIRD ADDICTION: IAN NEWTON ARPS SUNDAY 15 MARCH / 10:30%16:00

} £10 } Park Inn by Radisson Nottingham, Mansfield Road, Nottingham NG5 2BT

} Ralph Bennett ARPS, as above } For more details see Nature Group FRPS ADVISORY DAY NOTTINGHAM SUNDAY 19 APRIL / 10:30%16:30

KEN PAYNE, GETTING THE BEST FROM YOUR IMAGES USING LIGHTROOM AND PHOTOSHOP SUNDAY 19 APRIL / 10:15%16:30

} £16/£12/£8 group members } Foxton Village Hall, Hardman Road,

MULTIMEDIA DISTINCTIONS ADVISORY DAY

Foxton, Cambs CB22 6RN } John Margetts ARPS, events@rpseasterndigital.org.uk } For details see DI Group

SATURDAY 30 MAY / 10:30%16:30

} £10/£7.50/£3 spectators } Smethwick Photographic Society, Churchbridge, Oldbury, West Midlands B69 2AS } Richard Brown and Howard Bagshaw ARPS, distinctions@rps.org

REGIONAL EXHIBITION SELECTION AND AGM SUNDAY 10 MAY / 10:30%16:30

} Foxton Village Hall, Hardman Road,

EAST ANGLIA

Foxton, Cambs CB22 6RN } Ian Wilson ARPS, as above

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

DISTINCTIONS ADVISORY DAY

} £31.95 } Park Inn by Radisson Nottingham, Mansfield Road, Nottingham NG5 2BT

} Ralph Bennett ARPS, as above LONDON DEL BARRETT ARPS LONDONEVENTS(RPS.ORG

FIRST TUESDAY # MARCH MEETING TUESDAY 3 MARCH / 19:00%21.00

} £5/£3 regional members } Mike Farley LRPS discusses the hidden wonders of RAW files

} The Greenwich Gallery, Linear House, Peyton Place, London SE10 8RS

} Del Barrett ARPS, as above

EAST MIDLANDS

} ARPS ! FRPS ONE$TO$ONE

SATURDAY 21 MARCH / 10:30%16:30

RALPH BENNETT ARPS, 01636 651277

} £20/£15/£10 spectators } Observers only } Foxton Village Hall, Hardman Road,

RALPH.EMRPS(GMAIL.COM

ADVISORY SESSION

GETTING PUBLISHED 2: SAM MELLISH TALK

} £30/£20 (see website for details) } Fully booked.

SATURDAY 7 MARCH / 10:00

Foxton, Cambs CB22 6RN

} Ann Miles FRPS, 01223 262637,

SATURDAY 14 MARCH / 13:00%17:00

ann@pin-sharp.co.uk

CREATIVE GROUP PRINT ! PDI EXHIBITION SELECTIONS ! AGM SATURDAY 28 MARCH / 10:30%16:30

Hear photography tales with Central Region on 22 March Image: Pleneau Bay, Antarctica

by Joe Cornish HonFRPS

Email for a place on the waiting list

} £5 } Sam Mellish will discuss working with

} London, TBC } Del Barrett ARPS, as above

The Arts Council, printing books and collaborating with photographers such as Martin Parr HonFRPS

LONDON, STREET # MARCH WORKSHOP SATURDAY 14 MARCH / 9:45%14:00

} £5/£3/free to regional members } Join us for a walk up the famous Camden High Street

} London, Camden Town Tube Station, London NW1 8QL

} Del Barrett ARPS, as above CEMETERY SHOOT SUNDAY 29 MARCH / 14:00%17:00

} £5 RPS members } Continuing our tour of the “Magnificent Seven”

} West Norwood, London SE27 9JU } Del Barrett ARPS, as above FIRST TUESDAY # APRIL MEETING TUESDAY 7 APRIL / 19:00%21:00

} £5/£3 members } Shooting for stock } Greenwich, London, Greenwich Gallery, Peyton Place, London SE10 8RS

} Del Barrett ARPS, as above 232 / THE RPS JOURNAL / MARCH 2015 / VOL 155

| GUIDE | 233 EASTERN THAMES CROSSINGS SATURDAY 9 MAY / 10:00

} £10/£5 members } First in a series of walks. We shall cross the Thames in every possible way – except swimming … } Fresh Beverages, 275 Whitechapel Road, London E1 1BY } Del Barrett ARPS, as above NORTH WALES DON LANGFORD LRPS, 01758 713572 DONCHRISLANGFORD(BTINTERNET.COM

DISTINCTIONS ADVISORY DAY SUNDAY 19 APRIL / 10.30%16.30

} £20/£15/£10 spectators } Craig-y-Don Community Centre, Queens Road, Llandudno LL30 1TE

} Christine Langford, as above NORTH WEST

DR AFZAL ANSARY ASIS FRPS, 07970 403672 AFZALANSARY(AOL.COM

MONOCHROME GROUP MEETING SUNDAY 8 MARCH / 11:00

} £5/£4 members } Wildlife and landscape photographer Andy Astbury } Wilmslow Guild, Bourne Street, Wilmslow SK9 5HD } Alan Angel FRPS, aandjangel@btinternet.com NORTHERN JANE BLACK ARPS, 0191 252 2870 J.BLACK70(BTINTERNET.COM

NETHERWOOD HOTEL WEEKEND FRIDAY 13 % SUNDAY 15 MARCH

} £225 } Netherwood Hotel, Lindale Road, Grange-over-Sands, Cumbria LA11 6ET } Price includes two nights’ dinner, bed and breakfast and lecture programme } Brian Pearson ARPS, 0191 257 5051, brianpearson41@btinternet.com

DISTINCTIONS WORKSHOP/ ADVISORY DAY SUNDAY 26 APRIL / 10:00%17:00

} £20/£15/£10 spectators } Backworth Hall, Backworth, Nr. Newcastle, Tyne and Wear NE27 0AH } Brian Pearson ARPS, 0191 2575051, brianpearson41@btinternet.com SCOTLAND JAMES FROST FRPS, 01578 730466 JAMES.FROST11(BTINTERNET.COM

PHOTO FORUM $ LASSWADE

Join the Visual Art Group for a weekend of photography and talks in Perth, Scotland Image: Shutterstock

VISUAL ART GROUP SPRING WEEKEND: PERTH THURSDAY 16 APRIL % MONDAY 20 APRIL

} See website for cost } Mercure Perth Hotel, West Mill Street, Perth PH1 5QP

} David Wood ARPS,

constructive feedback on all levels of work

} Midlothian Camera Club, 7 Polton Road, Lasswade EH18 1AB } James Frost FRPS, as above

AV PRESENTATION BY HOWARD BAGSHAW ARPS

wood.david.j@virgin.net } See Visual Art Group for details

SUNDAY 3 MAY / 10:30%16:30

} £10/£7.50 members } Consider applying for an RPS

DI GROUP SCOTLAND CENTRE MEETING

Distinction in the Multimedia category by the submission of AV sequences } The Haven Centre, Hophurst Lane, Crawley Down RH10 4LJ } Terry McGhie ARPS, as above

SUNDAY 19 APRIL / 13:30%16:30

} £8/£7 group members } Doug Berndt ARPS, digscotland@rps.org

} For details see DI Group SOUTH EAST

SOUTH WALES

TERRY MCGHIE ARPS, 01323 492584

MIKE LEWIS, 07855 309667, 01446 710770

SOUTHEAST(RPS.ORG

MIKEGLEWIS101(BTINTERNET.COM

LRPS ADVISORY DAY SOUTH EAST REGION

MARTIN HOWSE ARPS, 01326 221939

SUNDAY 1 MARCH / 10:30%16:00

MGHVKH(BTINTERNET.COM

SOUTH WEST

} £20/£15/£10 spectators } This event is now full for participants, but still open for spectators } The Haven Centre, West Sussex, Hophurst Lane, Crawley Down RH10 4LJ Terry McGhie ARPS, as above

VISUAL ART GROUP MEMBERS’ EXHIBITION 2015 UNTIL SATURDAY 14 MARCH

} Free } Fairfield Halls, Park Lane, Croydon CR9 1DG } Jay Charnock FRPS, jaypix@hotmail.co.uk For details see Visual Art Group

SUNDAY 12 APRIL / 11:00%16:00

} £10/£8 RPS members } Informal day to meet members for

Archaeology and Heritage, and Digital Imaging } Beechwood Sacred Heart School, 12 Pembury Road, Tunbridge Wells TN2 3QD } Terry McGhie ARPS, as above

SPECIAL INTEREST GROUPS CONFERENCE SOUTH EAST

A DAY WITH SUSAN BROWN FRPS AND DAVID BAKER SATURDAY 28 MARCH / 10:30%16:00

} £10/£8/£5 group members } The Dolphin Hotel, Station Road, Bovey Tracey TQ13 9AL

} Linda Wevill, 01752 873162, linda.wevill@btinternet.com For details see Visual Art Group

DISTINCTIONS ADVISORY DAY SUNDAY 26 APRIL / 10:30%16:30

} £20/£15/£10 spectators } Distinctions Advisory Day for Licentiate and Associate categories

} The Dolphin Hotel, Station Road, Bovey Tracey TQ13 9NG

} Martin Howse ARPS, as above

SUNDAY 12 APRIL / 10:30%17:00

} £15/£10 concession } Joint Special Interest Groups

PETER HARTLAND ARPS, 07774 184120

Conference: Creative, Imaging Science,

SOUTHERN(RPS.ORG

SOUTHERN

VOL 155 / MARCH 2015 / THE RPS JOURNAL / 233

GROUPS 234 | GUIDE | REGIONAL THAMES VALLEY MARK BUCKLEY,SHARP ARPS, 020 8907 5874 MARK.BUCKLEY,SHARP(TISCALI.CO.UK

DIG THAMES VALLEY: DEBBIE JONES EVENT CANCELLED SUNDAY 22 MARCH / 10:00%15:30

} New details to be confirmed } Woosehill Community Hall, Emmview Close, Wokingham, Surrey RG41 3DA

} Laurie Pate, digthamesvalley@rps.org } For details see DI Group VISUAL ART GROUP MEMBERS’ EXHIBITION 2015 WEDNESDAY 25 MARCH % 6 APRIL

} £2 } Landmark Arts Centre, Ferry Road, Teddington

} Jay Charnock FRPS, jaypix@hotmail.co.uk

} For details see Visual Art Group FELLOWSHIP ADVISORY DAY SUNDAY 26 APRIL / 10:00%16:00

} £30 } Small group workshop with two advisors (TBC) from the Distinctions Advisory Board or Fellowship Board } Lacey Green, Millennium Hall, Main Street, Lacey Green HP27 0QN } Mark Buckley-Sharp ARPS, as above

Join DIG Thames Valley for a photo medley, 26 April Image: Accordion Player by Colin Trow-Poole FRPS

} Parish Rooms, Highnam Community Centre, Newent Road, Highnam GL2 8DG } Bob Train, 07825 325799, bobtrain@tiscali.co.uk

Community Centre, Newent Road, Highnam GL2 8DG } Bob Train, 01 452 521 424, bobtrain@tiscali.co.uk

LRPS AND ARPS DISTINCTIONS ADVISORY DAY

MARY CROWTHER LRPS, 07921 237962

SUNDAY 29 MARCH / 10:30%16:30

PHOTOBOX50(GMAIL.COM

} £20/£15/£10 } LRPS and ARPS (Pictorial/Creative

DIG THAMES VALLEY: PHOTO MEDLEY

and Natural History) Advisory Day } RPS HQ, Fenton House, 122 Wells Road, Bath BA2 3AH } Gordon James FRPS, gjphotomail@ gmail.com, 07890 016956

SUNDAY 26 APRIL / 10:00%15:30

} £12/£8 group members } With Colin Trow-Poole FRPS } Woosehill Community Hall, Emmview Close, Wokingham, Surrey RG41 3DA

} Laurie Pate, digthamesvalley@rps.org } For details see DI Group

WESTERN REGION MEMBERS’ MEETING IN BATH

DIG THAMES VALLEY: MAY EVENT

} £2 } Prints for display and discussion } RPS HQ, Fenton House, 122 Wells

SUNDAY 24 MAY / 10:00%15:30

Road, Bath BA2 3AH

competition

} Wokingham, Berkshire, Woosehill

} Tony Cooper ARPS, as above

Community Hall, Emmview Close, Wokingham RG41 3DA } Laurie Pate, digthamesvalley@rps.org

WESTERN REGION MEMBERS’ MEETING IN ILTON

TONY COOPER ARPS, 01225 421097 TONY(PHOTOSCOOP.CO.UK

MEMBERS’ PRINT COMPETITION SUNDAY 8 MARCH / 10:00%12.30

} £2 } Enter up to three prints. The first three winners will be chosen by the audience } RPS HQ, Fenton House, 122 Wells Road, Bath BA2 3AH } Tony Cooper ARPS, as above

WESTERN REGION MEMBERS’ MEETING IN HIGHNAM SUNDAY 15 MARCH / 10:00%13:00

} £5 } An opportunity for members to show and discuss their work 234 / THE RPS JOURNAL / MARCH 2015 / VOL 155

ADVISORY DISTINCTION WORKSHOP SUNDAY 1 MARCH / 10:30%16:30

} £20/£15/£10 } LRPS and ARPS in Travel } Star Theatre, National Railway Museum, York YO26 4XJ

} Robert Helliwell, 07802 413570, bobhelliwell@clara.co.uk

SUNDAY 12 APRIL / 10:00%12:30

} £12/£8 group members } Lecture plus annual projected images

WESTERN

YORKSHIRE

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 lastminute 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

SUNDAY 19 APRIL / 10:00%13:00

} £5 } Presentation by Pauline Rook } Merryfield Hall, Ilton TA19 9HG } Mick Humphries LRPS, 01823 443955, mick@somersite.co.uk

ANDREW BURNS LECTURE ON ASTROLOGICAL PHOTOGRAPHY SUNDAY 10 MAY / 10:00%13:00

} £7 } RPS HQ, Fenton House, 122 Wells Road, Bath BA2 3AH } Tony Cooper ARPS, as above

WESTERN REGION MEMBERS’ MEETING IN HIGHNAM SUNDAY 17 MAY / 10:00%13:00

} £5 } Highnam, Parish Rooms, Highnam

LOOK AND LEARN SUNDAY 19 APRIL / 10:30%16:00

} £10/£7 RPS members } Geoff Blackwell ARPS reveals all about his three passions of photography, photographs and postage stamps } Carleton Community Centre, Carleton Road, Pontefract WF8 3RJ } Robert Helliwell, bobhelliwellclara.co.uk

ANNUAL GENERAL MEETING SUNDAY 19 APRIL / 10:30%10:45

} £2/£1 RPS members } See Committee members for nomination forms

} Carleton Community Centre, Carleton Road, Pontefract WF8 3RJ

} Mary Crowther LRPS, as above DONCASTER CAMERA CLUB FRIDAY 24 APRIL

} £2/£1 RPS members } An evening with Peter Cairns. Tickets available from club members

} The Twickenham Suite, Doncaster Rugby Football Club, Armthorpe Road, Doncaster DN2 5QB } Mary Crowther LRPS, as above

| GUIDE | 235

SPECIAL INTEREST GROUPS

CREATIVE BARRY COLLIN LRPS CREATIVECHAIR(RPS.ORG

PRINT ! PDI EXHIBITION SELECTIONS ! AGM SATURDAY 28 MARCH / 10:30%16:30

} £8/£5 group members Foxton Village Hall, Hardman Road, Foxton, Cambs CB22 6RN } David Jordan, 01603 866475, daveandjoanjordan@yahoo.co.uk

Explore more about aspects of photography and imaging 3D IMAGING & HOLOGRAPHY PETER FREEMAN LRPS, 01462 893633

SPECIAL INTEREST GROUPS CONFERENCE SOUTH EAST REGION

3D(RPS.ORG ARCHAEOLOGY & HERITAGE RODNEY BERNARD THRING LRPS, 01276 20725

SUNDAY 12 APRIL / 10:30%17:00

RODNEY.THRING(NTLWORLD.COM

} £15/£10 concessions } Beechwood Sacred Heart School,

SALISBURY CATHEDRAL

12 Pembury Road, Tunbridge Wells TN2 3QD } Terry McGhie ARPS, 01323 492584, southeast@rps.org } See South East Region for details

THURSDAY 12 MARCH / 10:00

} £6.50 } Photograph one of England’s finest cathedrals

} Salisbury Cathedral, Salisbury, Wiltshire SP1 2EF

DIGITAL IMAGING

} Ken Keen FRPS, 01753 886036

JANET HAINES ARPS, 07779 728844 DIGCHAIR(RPS.ORG

SPECIAL INTEREST GROUPS CONFERENCE SOUTH EAST REGION SUNDAY 12 APRIL / 10:30%17:00

Head to Brooklands Museum with the Archaeology Group on 22 April Image: RK Evans

MULTIMEDIA DISTINCTIONS ADVISORY DAY

DIG THAMES VALLEY: DEBBIE JONES EVENT CANCELLED

SATURDAY 30 MAY / 10:30%16:30

SUNDAY 22 MARCH / 10:00%15:30

} £10/£7.50/£3 spectators } Smethwick Photographic Society,

} New details to be confirmed } Woosehill Community Hall, Emmview Close, Wokingham, Surrey RG41 3DA Laurie Pate, digthamesvalley@rps.org

} See South East Region for details

Churchbridge, Dudley, Oldbury, West Midlands B69 2AS } Richard Brown and Howard Bagshaw ARPS, distinctions@rps.org

BROOKLANDS MUSEUM OF MOTORING AND AVIATION

PETER ELLIS LRPS, 07770 837977

SUNDAY 12 APRIL / 10:30%17:00

WEDNESDAY 22 APRIL / 10:30%14:00

WORDSNPICSLTD(GMAIL.COM

} £11/£10 senior citizens } The birthplace of British aviation

2015 AGM

} £15/£10 concessions } Beechwood Sacred Heart School,

} £15/£10 concessions } Beechwood Sacred Heart School, 12 Pembury Road, Tunbridge Wells TN2 3QD

} Terry McGhie ARPS,

01323 492584, southeast@rps.org

CONTEMPORARY

and motoring, with many historical exhibits } Brooklands Museum, Brooklands Road, Weybridge KT13 0SL } Mike Sasse, 01892 531179, mike.sasse@btinternet.com

SATURDAY 7 MARCH / 12:30%17:00

} Hear from speaker Pete James } Library of Birmingham, Centenary Square, Broad Street, Birmingham, West Midlands B1 2ND } Avril Harris ARPS, avrilrharris@blueyonder.co.uk

CHURCHES IN LONDON

GETTING PUBLISHED 2: SAM MELLISH TALK

WEDNESDAY 6 MAY/10.30AM

} Shoot in three local churches } St Mary Abchurch, Abchurch Lane,

SATURDAY 14 MARCH / 13:00%17:00

SPECIAL INTEREST GROUPS CONFERENCE SOUTH EAST REGION

12 Pembury Road, Tunbridge Wells TN2 3QD } Terry McGhie ARPS, 01323 492584, southeast@rps.org } See South East Region for details

KEN PAYNE: GETTING THE BEST FROM YOUR IMAGES USING LIGHTROOM AND PHOTOSHOP SUNDAY 19 APRIL / 10:15%16:30

} £16/£12/£8 group members } Create maximum impact and improve

EC4N 7BA

} £5 } Keyworth Parish Church Hall, Selby

891146, gb.photo@btinternet.com

Lane, Keyworth NG12 5AN } Howard Fisher, 07955 124000, handjaf@virginmedia.com } For details see East Midlands Region

} Foxton Village Hall, Hardman Road,

CONCERNING PHOTOGRAPHY WEEKEND

DI GROUP SCOTLAND CENTRE MEETING

} Garry Bisshopp ARPS, 01323 AUDIO VISUAL HOWARD FISHER LRPS, 0115 9372898

images for club and other competitions Foxton CB22 6RN

} John Margetts ARPS, events@rpseasterndigital.org.uk

HANDJAF(VIRGINMEDIA.COM

AV PRESENTATION BY HOWARD BAGSHAW ARPS SUNDAY 3 MAY / 10:30%16:30

} £10/£7.50 members } The Haven Centre, Hophurst Lane, Crawley Down RH10 4LJ } Terry McGhie ARPS, as above } See South East Region for details

GO TO RPS.ORG/EVENTS FOR THE LATEST UPDATES

SATURDAY 16 MAY % SUNDAY 17 MAY

SUNDAY 19 APRIL / 13:30%16:30

} £135 } Sheffield Hallam University,

} £8/£7 group members } Hear from Malcolm McBeath ARPS

Howard Street, Sheffield S1 1WB } Avril Harris, 02083 607996, avrilrharris@blueyonder.co.uk

and Doug Berndt ARPS

} Bridge of Allan Parish Church, Keir Street, Bridge of Allan FK9 4NW

} Doug Berndt ARPS, digscotland@rps.org VOL 155 / MARCH 2015 / THE RPS JOURNAL / 235

INTEREST GROUPS 236 | GUIDE | SPECIAL DIG THAMES VALLEY: PHOTO MEDLEY

MARGARET JOHNSON LRPS, 01159 265893

SUNDAY 26 APRIL / 10:00%15:30

M.JOS(BTINTERNET.COM

NATURE

} £12/£8 group members } With Colin Trow-Poole FRPS } Woosehill Community Hall, Emmview

WILDLIFE, WILDPLACES, JOHN GARDENER AND HUMMINGBIRD ADDICTION: IAN NEWTON ARPS

Close, Wokingham, Surrey RG41 3DA } Laurie Pate, digthamesvalley@rps.org

DIG WESTERN CENTRE: INFRA$RED PHOTOGRAPHY SUNDAY 17 MAY / 10:00%16:00

} £8/£7/£5 group members } Talk on how digital IR images are obtained } Merryfield Village Hall, Ilton,

Experience a cemetery shoot with DVJ and London Region Image: Brompton Cemetery

by Del Barrett ARPS

Nr Taunton TA19 9HG } Glenda Colquhoun, digwestern@rps.org

WEDNESDAY 25 MARCH % 6 APRIL

hummingbirds and other wildlife

2015 is to be shown at the Landmark Arts Centre, Ferry Road, Teddington } Jay Charnock FRPS as above

} Park Inn by Radisson Nottingham, Mansfield Road, Nottingham NG5 2BT

} Ralph Bennett ARPS, 01636 651277, ralph.emrps@gmail.com TRAVEL KEITH POINTON LRPS, 01588 640592

IMAGES OF MYANMAR

VISUAL ART GROUP SPRING WEEKEND: PERTH

Holy Week 2015

} Wokingham, Berkshire, Woosehill

} Hotel Casa Grande, Plaza las

Community Hall, Emmview Close, Wokingham RG41 3DA } Laurie Pate, digthamesvalley@rps.org

} Colin Howard, colin.howard@me.com

CEMETERY SHOOT

TUESDAY 26 MAY % THURSDAY 4 JUNE

THURSDAY 16 APRIL % MONDAY 20 APRIL

} £1,750 } An escorted photo visit to Myanmar } Yangon, Mandalay, Bagan } Keith Pointon, as above

} See website for cost } Four nights in Perth, Scotland, for the

TRIP TO ZAMBIA AND MALAWI

} David Wood ARPS,

SUNDAY 29 MARCH / 14:00%17:00

} £5 RPS members } West Norwood, London SE27 9JU } Del Barrett ARPS, london@rps.org } See London Region for details HISTORICAL JENNIFER FORD ARPS, 01234 881459

FRIDAY 3 JULY % SUNDAY 19 JULY

} £3,479 } Photograph wildlife, rural and fishing life, and contribute to the Book Bus literary project } Liz Rhodes, lizrh@tiscali.co.uk

JENNYFORD2000(YAHOO.CO.UK

ANNUAL GENERAL MEETING SATURDAY 28 MARCH / 10:30,16:00

} Free } AGM and presentations followed by a guided tour of the Drawn by Light exhibition } National Media Museum, Bradford } Donald Stewart, 01592 840277, donaldstewart42@aol.com IMAGING SCIENCE

WESTERN CANADA

some of the west’s remarkable scenery, including Banff National Park, Icefield Parkway, the Athabasca Glacier and falls } Aline Hopkins, alinehopkins@btinternet.com

WEEKEND IN FALMOUTH FRIDAY 9 OCTOBER % SUNDAY 11 OCTOBER

TONYKAYE(HOTMAIL.CO.UK

} £140 members/£36 meeting and

SPECIAL INTEREST GROUPS CONFERENCE SOUTH EAST REGION

} Guided visits to places of

SUNDAY 12 APRIL / 10:30%17:00

Pembury Road, Tunbridge Wells TN2 3QD } Terry McGhie ARPS, 01323 492584, southeast@rps.org } See South East Region for details

dinner only

photographic interest

} The Falmouth Hotel, Castle Beach, Falmouth TR11 4NZ

} Margaret Hocking, 01872 561219, bosrowynek@btinternet.com

VIVECA.KOH(GMAIL.COM

VISUAL ART GROUP MEMBERS’ EXHIBITION 2015

AFZALANSARY(AOL.COM

UNTIL SATURDAY 14 MARCH

236 / THE RPS JOURNAL / MARCH 2015 / VOL 155

Perth PH1 5QP

wood.david.j@virgin.net

PATRONAGE Society patronage has been granted to the following exhibitions and salons AVON VALLEY PHOTOGRAPHIC SALON } Closing date: 1 March 2015 } avonvalley.photography/ salon.html } Ref: 2015/02 BSPA SUPER CIRCUIT 2015 “FREEDOM” } Closing date: 1 March 2015 } bspabd.com } Ref: 2015/21 GERMAN INTERNATIONAL DVF$PHOTOCUP 2015 SALON NIEDERSACHSEN } Closing date: 15 March 2015 } germanphotocup.de } Ref: 2015/06

VISUAL ART VIVECA KOH FRPS, 07956 517524

DR AFZAL ANSARY ASIS FRPS, 07970 403672

MEDICAL

Visual Art Group spring weekend 2015

} Mercure Perth Hotel, West Mill Street,

SATURDAY 29 AUGUST , SATURDAY 12 SEPTEMBER

} £2,169 } From Calgary to Vancouver, through

DR TONY KAYE ASIS FRPS, 020 8420 6557

} £15/£10 concessions } Beechwood Sacred Heart School, 12

SATURDAY 28 MARCH / 10:30%16:00

} £10/£8/£5 group members } Cathy Roberts FRPS is unable to

Angustias, 3, Jerez de la Frontera

TUESDAY 31 MARCH % MONDAY 6 APRIL

DVJ(RPS.ORG

A DAY WITH SUSAN BROWN FRPS AND DAVID BAKER

make this day for personal reasons.

We are delighted to welcome Southampton-based seascape and forest photographer David Baker } The Dolphin Hotel, Station Road, Bovey Tracey TQ13 9AL } Linda Wevill, 01752 873162, linda.wevill@btinternet.com

PILGRIMAGE TO JEREZ

} £1,795 } A visit to southern Spain during

DOCUMENTARY AND VISUAL JOURNALISM

VISUAL ART GROUP MEMBERS’ EXHIBITION 2015

} £2 } Visual Art Group members’ exhibition

SUNDAY 24 MAY / 10:00%15:30

MO CONNELLY LRPS, 01590 641849

jaypix@hotmail.co.uk

SUNDAY 15 MARCH / 10:30%16:00

} £12/£8 group members } Lecture plus annual projected images competition

Croydon CR9 1DG

} Jay Charnock FRPS,

} £10 } Day of superb natural history featuring

BAGPOINT(AOL.COM

DIG THAMES VALLEY: MAY EVENT

} Fairfield Halls, Park Lane,

GERMAN INTERNATIONAL DVF$PHOTOCUP 2015 SALON HESSEN } Closing date: 15 March 2015 } germanphotocup.de } Ref: 2015/07

| GUIDE | 237

WORKSHOPS

Hear from the experts and hone your skills

} Workshops take place at The Royal

Photographic Society’s headquarters and other venues around the country } The Royal Photographic Society, Fenton House, 122 Wells Road, Bath BA2 3AH } For further information, go to rps.org/events and search under ‘Workshops’ or call 01225 325733 or email reception@rps.org

SHOOTING FOR STOCK MONDAY 2 MARCH / 10:30%16:30

} £65/£48 members } Get the most from your images with the potential to licence and sell

CREATIVE TECHNIQUES IN PHOTOSHOP TUESDAY 3 MARCH / 10:00%16:30

} £95/£71 members } Milton Keynes WEDDING PHOTOGRAPHY TECHNIQUES WEDNESDAY 4 MARCH / 10:00%17:00

} £135/£110 members } A focus on photographic elements } Thrumpton, Nottingham ONE$DAY INTRODUCTION TO YOUR DIGITAL SLR SATURDAY 7 MARCH / 10:00%17:00

} £85/£63 members

INTRODUCTION TO BUSINESS FOR PHOTOGRAPHERS MON 13 APRIL % TUE 14 APRIL / 10:00%16:00

} £190/£165 members

Get professional guidance on plant and garden photography, 25 April Image: Shutterstock

SATURDAY 14 MARCH / 10:00%16:30

} £95/£71 members } Learn to compose interesting shots NIGHT SHOOT

Lacock, Wiltshire

INTRODUCTION TO THE CREATIVE EYE

THE DIFFERENT LANDSCAPE $ CROMFORD MILL

SATURDAY 2 MAY / 10:00%16:30

} £95/£71 members

SATURDAY 18 APRIL / 9:00%18:00

} £130/£105 members } This fantastic location offers historic

WEDDING PHOTOGRAPHY TECHNIQUES

buildings and wonderful countryside } Cromford Mill, Derbyshire

WEDNESDAY 6 MAY / 10:00%17:00

} £135/£110 members } Thrumpton, Nottingham

ONE$DAY INTRODUCTION TO YOUR DIGITAL SLR

ONE$DAY INTRODUCTION TO YOUR DIGITAL SLR

SATURDAY 18 APRIL / 10:00%17:00

INTRODUCTION TO THE CREATIVE EYE

SUNDAY 26 APRIL / 10:00%17:00

} £95/£71 members

} £85/£63 members

SATURDAY 9 MAY / 10:00%17:00

} £85/£63 members

WEDDING PHOTOGRAPHY BUSINESS DEVELOPMENT

SHOOTING FOR STOCK

SAT 18 APRIL % SUN 19 APRIL / 10:00%16:30

} £160/£135 members } Lacock, Wiltshire

} £65/£48 members

INTRODUCTION TO PHOTOSHOP

LIGHTROOM WORKSHOP

MONDAY 11 MAY / 10:30%16:30

SATURDAY 14 MARCH / 18:00%22:00

} £35/£26 members } Bath Abbey, Bath DEVELOPING COMPOSITIONAL AND CRITIQUING SKILLS

SUNDAY 19 APRIL / 10:00%17:00

SATURDAY 16 MAY / 10:00%16:00

} £95/£71 members

} £95/£71 members

ART NUDE PHOTOGRAPHY

STUDIO PORTRAITURE

SUNDAY 15 MARCH / 10:00%16:30

SATURDAY 25 APRIL / 10:00%16:30

SAT 16 MAY% SUN 17 MAY / 10:00%16:30

} £45/£33 members

} £115/£90 members } Lacock, Wiltshire

} £160/£135 members } Lacock, Wiltshire

PLANT AND GARDEN PHOTOGRAPHY

PRINTING WITH LIGHTROOM

STUDIO PORTRAITURE SAT 28 MARCH % SUN 29 MARCH / 10:00%16:30

} £160/£135 members } Lacock, Wiltshire COASTAL LANDSCAPES SATURDAY 28 MARCH / 12:00%19:00

} £95/£71 members } An afternoon and evening along one of Devon’s most beautiful coasts } Hartland Quay, near Bideford, North Devon

SUNDAY 17 MAY / 10:00%16:00

} £95/£71 members

SATURDAY 25 APRIL / 10:00%17:00

} £155/£130 members } For those who love photographing plants and landscapes and may be considering it as a profession } The Walled Garden, Selwood St, Mells, Somerset

HOW TO PHOTOGRAPH CHILDREN AND BABIES

PRODUCT PHOTOGRAPHY

GO TO RPS.ORG/EVENTS FOR THE LATEST UPDATES

MONDAY 18 MAY / 10:30%16:30

} £155/£130 members } Colerne near Bath TWO$DAY PHOTOSHOP SAT 30 MAY % SUN 31 MAY/ 10:00%17:00

} £165/£140 members VOL 155 / MARCH 2015 / THE RPS JOURNAL / 237

USE THE SOCIETY’S WEBSITE TO PROMOTE YOUR PHOTOGRAPHY Register online to create your own profile

rps.org/existing-member-register

3m

PAGES VIEWED LAST YEAR

1,800

NEW IMAGES UPLOADED EVERY MONTH

7,619 REGISTERED USERS

Not a member of the Society?

Join now at rps.org/membership

| GUIDE | 239 GERMAN INTERNATIONAL DVF$PHOTOCUP 2015 } Closing date: 15 March 2015 } germanphotocup.de } Ref: 2015/08 3RD BANGKOK PHOTOGRAPHIC SOCIETY INTERNATIONAL EXHIBITION } Closing date: 2 April 2015 } bpsie.com } Ref: 2015/24 92ND SCOTTISH INTERNATIONAL SALON 2015 } Closing date: 4 April 2015 } scottish-photographic-salon.org } Ref: 2015/25 3RD DANUBIUS INTERNATIONAL PHOTO ART SALON “BEST OF CF” } Closing date: 5 April 2015 } photoclub.voltin.ro } Ref: 2015/20 10TH INTERNATIONAL SALON # CIRCUIT OF ART PHOTOGRAPHY “WITH LOVE TO WOMEN” 2015 } Closing date: 8 April 2015 } galleryprostir.com } Ref: 2015/27 3RD CHELTENHAM INTERNATIONAL SALON OF PHOTOGRAPHY 2015 } Closing date: 12 April 2015 } cheltenhamcameraclub.co.uk/gallery } Ref: 2015/05 66TH MIDLAND SALON } Closing date: 20 April 2015 } midland-salon.com } Ref: 2015/19 BALKAN DREAM 2015 } Closing date: 21 April 2015 } pca-exhibition.com/balkandream } Ref: 2015/17

THE 45TH HKCC INTERNATIONAL SALON OF PICTORIAL PHOTOGRAPHY } Closing date: 28 May 2015 } maitlandsalon.org } Ref: 2015/31

Stafford ST16 2LD

DRAWN BY LIGHT: THE ROYAL PHOTOGRAPHIC SOCIETY COLLECTION FRIDAY 20 MARCH % SUNDAY 21 JUNE

} The National Media Museum,

EXHIBITIONS

Bradford, West Yorkshire BD1 1NQ

01225 325720, LESLEY(RPS.ORG

INTERNATIONAL IMAGES FOR SCREEN EXHIBITION # DEVIZES SCREENING

LIGHT WORKS # EDINBURGH

} Devizes Sports Club, London Road,

LESLEY GOODE, EXHIBITIONS MANAGER

TUESDAY 28 APRIL / 19:30%22:00

Devizes, Wiltshire SN10 2DL

MONDAY 2 MARCH % FRIDAY 17 APRIL

} St Andrew Square, Edinburgh EH2 1AY } Read more on page 202

MEMBERS’ BIENNIAL EXHIBITION: SMETHWICK

MEMBERS’ BIENNIAL EXHIBITION: CAMBRIDGE

TUESDAY 5 MAY % SUNDAY 31 MAY

} Smethwick Photographic Society, The Old School House, Oldbury, West Midlands B69 2AS

FRIDAY 6 MARCH % THURSDAY 30 APRIL

} ArtCell Gallery, Cancer Research UK, Cambridge Institute, Li Ka Shing Centre, Robinson Way, Cambridge CB2 0RE

MEMBERS’ BIENNIAL EXHIBITION: WASHINGTON

INTERNATIONAL PRINT EXHIBITION # STAFFORD

THURSDAY 25 JUNE % SATURDAY 8 AUGUST

} Arts Centre Washington, Biddick Lane, Fatfield, Tyne & Wear, NE38 8AB

SATURDAY 14 MARCH % SUNDAY 10 MAY

OVERSEAS CHAPTERS

Royal Photographic Society members around the world

} AUSTRALIA Elaine Herbert ARPS, eherbert@ alphalink.com.au } BENELUX Stephen Johns, Steve_johns@me.com } CANADA John Bradford, jb.rps@cogeco.ca } CHINA BEIJING Yan Li,

} Shire Hall Gallery, Market Square,

Visit the Light Works exhibition in Edinburgh Image: Surface of Venus, NASA/JPL/USGS

yanli88@yahoo.com } CHINA CHONQING } CHINA SICHUAN Wei Han (Richard), oolongcha@ hotmail.com } CHINA SHANGTUF Guo Jing, shangtuf@ yahoo.com.cn } CHINA

QUANZHOU Xiaoling Wang, hgudsh@ 163.com } GERMANY Chris Renk, info@chrisrenk.de } HONG KONG Shan Sang Wan FRPS, shansangwan@ yahoo.com.hk } INDIA Rajen Nandwana, rajennandwana@ gmail.com } INDONESIA Agatha Bunanta ARPS, agathabunanta@ gmail.com

} ITALY Olivio Argenti FRPS, info@rps-italy.org } JAPAN TOKYO Yoshio Miyake, yoshio-raps@ nifty.com } MALAYSIA Nick Ng, nickng6208@ gmail.com } MALTA Ruben Buhagiar, info@rubenbuhagiar. com } NEW ZEALAND Mark Berger rps@moothall.co.nz } SINGAPORE

Steven Yee Pui Chung FRPS, peacock@ sandvengroup.com } SOUTHERN SPAIN Mike Naylor, mike@mikenaylor.es RECENT WORKS OF MIKE NAYLOR FRPS UNTIL MON 23 MARCH/ 9:30%20:00

Casa de la Cultura de Las Lagunas, Calle San Valentin, Fuengirola, Málaga } SRI LANKA Romesh de Silva,

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

VOL 155 / MARCH 2015 / THE RPS JOURNAL / 239

THE RPS COLLECTION 240 | TIMES PAST | FROM

The joy of colour

Dr Friedrich Paneth captures the vitality of youth with Eva Doing a Handstand (c.1920-1930)

A

ustrian scientist, traveller, amateur photographer and family man Dr Friedrich ‘Fritz’ Paneth (1887-1958) was an enthusiastic Autochromist. Autochromes were the first commercially successful three-colour, one-shot photographic process, launched to the

market by the Lumière brothers in 1907. The small colour photographs were composed of fine grains of red, green and blue-violetdyed starch with lampblack filler on a glass plate. They were viewed by back-lit hand-held diascopes or light boxes.

Being of Jewish descent, Paneth was forced to move

from Hamburg to Britain in 1933, when the Nazis came to power. In Britain, he continued his photography and research into inorganic chemistry and radioactivity at the Universities of Durham and London.

He predominantly took photographs of his family at home or on their travels, along with a selection of diverse landscapes they

encountered, ranging from Europe to Africa. His daughter Eva, born in 1914, featured in many images along with her younger brother Heinrich.

Paneth’s Autochrome of Eva doing a handstand was probably taken in the latter half of the 1920s, judging by the speed of the exposure that fixed Eva’s movement, the style of her swimsuit and her apparent age. Between land and water, childhood and adulthood, Paneth’s composition captures her youth, strength and vitality.

Eva’s vertical form breaks the horizon line between sea and sky while her hands sink firmly into uneven sand. In profile, the gentle arch of her frame with toes pointed and legs aligned, seems charged with the potential energy contained in the tension of her self-assured pose. She dominates the uncluttered image with only her shadow on the sand pointing towards smudges on the distant shoreline of figures beyond the focal range of the lens, in a joyous idyll of youth captured in the inter-war years.

Forty one of Paneth’s plates are held in the RPS Collection at the National Media Museum.

JANINE FREESTON DID YOU KNOW?

MORE TO SEE

DRAWN BY LIGHT View images from The Royal Photographic Society collection at the National Media Museum, Bradford from 20 March–21 June 240 / THE RPS JOURNAL / MARCH 2015 / VOL 155

© RPX/ THE ROYAL PHOTOGRAPHIC SOCIETY COLLECTION/ SSPL X 2

l The Autochrome process was patented by the Lumière brothers in 1903, four years before its launch l Paneth took his first Autochrome in 1908

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