The RPS Journal November 2016

POWER STRUGGLE

HOW PICTURES TRANSFORM POLITICS

NOVEMBER 2016 / VOLUME 156 / NUMBER 11 / WWW.RPS.ORG

MASTERCLASS

COMPETITION

DODGE AND BURN FOR TOP PORTRAITURE

THIS YEAR’S AMAZING IMAGES FOR SCIENCE

© Andreas Lundberg

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| NOVEMBER 2016 | 801

OPENING SHOT

WINNING IMAGES … AND OFFICE

O COMING UP

IN FUTURE ISSUES Society member Christopher Roche shares his travel images featuring different aspects of belief, while we round up the best images from the RPS website

PRINCIPAL PATRONS

n 13 October I had the privilege of attending the opening reception of the 159th International Print Exhibition at the Old Truman Brewery in Brick Lane, London. The exhibition, which formed part of a programme of events at the annual PHOTOBLOCK festival, was abuzz with visitors and exhibitors alike.

Holding the exhibition in east London, as part of a larger event, helps the Society reach new and varied audiences, and there were plenty of students admiring the work on display and watching the winners – all of whom were women – receive their awards from the Society’s vice-president, Robert Albright FRPS. The exhibition comes hot on the heels of the Society’s awards night in September, which was generously supported by The Macallan, so it’s been a busy few months for the organisation.

Also on the Society’s autumn calendar is the International Images for Science competition, winners of which were announced in September. Starting on page 832 we take a look at some of the photographs that will be showcased as part of a touring exhibition making its way around the country, including interviews with two of the winners, one of

MAJOR PARTNERS

whom was only 14 when she captured her celebrated shot.

And now on to another competition … of sorts. This month, the most powerful country in the world decides who its next leader will be, and while I write this the polls are showing it will be a tight race.

Since the days of Abraham Lincoln, photography has played a vital role in American presidential elections, but now more than ever imagery, paired with social media, is defining the direction of the candidates’ campaigns. And perhaps this year’s contest between Hillary Clinton and Donald Trump – who appears on this issue’s cover, as photographed by Washington Post staffer Melina Mara – is more than ever a battle fought between vying images.

Can a photograph win an election? To read more, turn to page 846.

ANDREW CATTANACH Editor

SUPPORTING PARTNERS

VOL 156 / NOVEMBER 2016 / THE RPS JOURNAL / 801

802 | NOVEMBER 2016

IN THIS ISSUE The Royal Photographic Society Fenton House, 122 Wells Road Bath BA2 3AH, UK www.rps.org reception@rps.org +44 (0)1225 325733 Incorporated by Royal Charter Patron Her Majesty the Queen President Walter Benzie HonFRPS Vice-President Robert Albright FRPS Treasurer Geoff Blackwell ARPS Chief Executive Dr Michael Pritchard FRPS Published on behalf of The Royal Photographic Society by Think Red Tree Business Suites 33 Dalmarnock Road, Glasgow G40 4LA thinkpublishing.co.uk

854 From the prize-winning photobook Missing Buildings by Thom and Beth Atkinson

EDITORIAL ENQUIRIES Editor Andrew Cattanach andrew@thinkpublishing.co.uk 0141 375 0481 Contributing editors Fiona McKinlay, Jonathan McIntosh, Gavin Stoker

832

Design Matthew Ball, John Pender, Raymond Francis

Yevhen Samuchenko's entry in the International Images for Science competition

Sub-editors Sam Bartlett, Kirsty Fortune, Andrew Littlefield Advertising sales Helen Rosemier helen.rosemier@thinkpublishing.co.uk 020 3771 7230

FEATURES

Group account director John Innes © 2016 The Royal Photographic Society.

All rights reserved.

840 | PRESENT ARMS As we mark Remembrance Sunday, portraitist Rory Lewis tells how he captured images of army personnel for his next book

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

846 | VOTE WINNERS The pivotal role played by photojournalists during American presidential elections

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

Cover Donald Trump

by Melina Mara

840 Get the lowdown on what's involved in a military photo session, with Rory Lewis

802 / THE RPS JOURNAL / NOVEMBER 2016 / VOL 156

854 | READ ALL ABOUT IT Discover what drives the winners of the Society's increasinglypopular International Photobook Competition

© ROTY LEWIS; © THOM AND BETH ATKINSON; © YEVHEN SAMUCHENKO

832 | WORLDS APART The wonders of life on earth, as showcased in the winners of the Images for Science competition

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

THE CRAFT

EVERY MONTH

859 | MUST TRY/LATEST KIT We review the Fujifilm GFX 50S and a host of other gear, plus John Humphrey FRPS's member test 862 | MASTERCLASS John McIntire: contrast creativity

© ELIZABETH VAZ LRPS

865 | IN DEPTH How to retouch skin, with Pat David

804 | BIG PICTURE Mik Dogherty's Gateway to autumn 807 | IN FOCUS News, views, competitions and the best photography exhibitions 819 | BOOKS Four of the best new titles 820 | DISTINCTIONS Licentiate trio Elizabeth Vaz, Alan Lyall and Sue Vaines 876 | SHOWCASE Juliet Chenery-Robson captures living with myalgic encephalopathy

820 Distinctions: one of Elizabeth Vaz's successful Licentiate panel photographs

880 | TIMES PAST Camera Work, Alfred Stieglitz’s influential campaigning publication VOL 156 / NOVEMBER 2016 / THE RPS JOURNAL / 803

804 | BIG PICTURE |

Gateway to autumn

By Mik Dogherty Living on the edge of the beautiful New Forest National Park in Hampshire means I’m never short of the opportunity to photograph something interesting.

On a dark and dingy November morning in Wilverley Inclosure, I decided to take this shot after noticing that mist still clung to the air in the boundary strip, despite being totally clear where I was standing.

Using my Nikon D800 and Tamron 24-70mm f/2.8 lens set at 1 second, f/9, ISO 100, I shot the surrounding autumn colours and uninterrupted views of the lead into the gate. Afterwards, I stitched five images in Photoshop to form a panorama before processing it in Lightroom.

Mik Dogherty was commended in the Landscape Photographer of the Year 2016 competition.

View all of the winners at take-a-view.co.uk

804 / THE RPS JOURNAL / NOVEMBER 2016 / VOL 156

VOL 156 / NOVEMBER 2016 / THE RPS JOURNAL / 805

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OPPORTUNITY KNOCKS ‘We need to focus on equality’ 809

SOCIETY HIGH The RPS DepicT! award winner 810

CHARM/OFFENSIVE Issues of censorship and taste 814

INFOCUS NEWS, VIEWS, EXHIBITIONS AND MEMBER INSIGHT

IPE 159 opened at the Old Truman Brewery in London

BUMPER CROWDS ATTEND IPE RECEPTION

DR MICHAEL PRITCHARD FRPS

Women take all the gongs at International Print Exhibition Nearly 700 visitors came to the opening night of the International Print Exhibition 159 at the Old Truman Brewery, London, on 13 October, as part of the PHOTOBLOCK festival.

Many of the exhibitors were in attendance.

BOOK NOW!

The Society’s vicepresident Robert Albright FRPS presented the awards to the winning photographers, all of whom are women. Carolyn Mendelsohn, Polly Braden and Poem Baker took home Gold, Silver and Bronze respectively. The Under-30s Gold Award winner, Anna Shustikova,

travelled all the way from her home in Russia to collect her medal.

The exhibition will now go on a nationwide tour, beginning with the Royal Albert Hall, London, from 16 November. Please visit rps.org/ipe159 for details. The exhibition catalogue is available from bit.ly/IPEcatalogue

PORTRAIT PHOTOGRAPHY AND GETTING THE MOST FROM YOUR SUBJECT

Medallist Anna Shustikova

Why not join this Society workshop on Wednesday 23 November? For details turn to page 868 VOL 156 / NOVEMBER 2016 / THE RPS JOURNAL / 807

808 | IN FOCUS |

THE BEST OF PHOTOKINA Our rundown of the trade show’s must-have cameras Every two years in September the photography industry descends on Cologne for the Photokina trade show. This year’s event attracted an impressive 191,000 visitors, including 983 exhibitors from 42 countries, with all the big industry producers present.

While a lot of major new cameras and accessories are announced in the run-up to the event, there were still some big surprises at the show itself, such as Fujifilm’s revelation that it is developing a mirrorless medium-format camera, the GFX 50S. In another technology first, Canon showcased an EOS 5DS SLR fitted with a 120Mp APS-H-size sensor, while SanDisk announced a capacious 1Tb SD card.

Don’t worry if you were unable to get to Photokina, as many of these products should also be on display at The Photography Show at the Birmingham NEC in March, where the Society will also have a stand.

HELP RESTORE FAMOUS PHOTOGRAPHER’S GRAVE

Rose Teanby ARPS was so taken by Robert Howlett’s famous image of Isambard Kingdom Brunel in front of SS Great Eastern in 1857 that she decided to find out where the photographer is buried.

Teanby discovered the Victorian photographer’s grave in a sorry state, and has since set up a JustGiving campaign to raise funds to restore his final resting place.

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‘Howlett took some fantastic images in his short life [he died at 27], the best examples of which can be seen on the V&A website and at the George Eastman Museum,’ said Teanby.

‘I hope that there will be a formal rededication of his grave once restored.’

Go to justgiving.com/ crowdfunding/howlett-grave

ALAMY; JOHN WILLETTS ARPS

Member launches JustGiving campaign to spruce up the resting grounds of pioneering Brunel photographer Robert Howlett

| IN FOCUS | 809 THREE PHOTOKINA HIGHLIGHTS Turn to page 859 to read reviews of Photokina’s biggest hits, including…

FROM DR DEL BARRETT ARPS

GENDER ON THE AGENDA

Society must work to promote balance

CANON EOS M5

Canon drew crowds with its new EOS M5 mirrorless camera, silencing criticism that it’s never taken mirrorless that seriously.

FUJIFILM GFX 50S

This was the big surprise at the show, with Fujifilm revealing a mirrorless medium-format camera with a new 51.4 Mp imaging sensor.

OLYMPUS OM!D E!M1 MK II

Olympus also updated its flagship Micro Four Thirds camera, with the new OM-D E-M1 MkII model featuring a 20Mp Live MOS sensor.

OBITUARY

JOHN WILLETTS ARPS

RPS Western Region has lost a videographer and a multimedia enthusiast whose projects covered everything from stone mines in Bath to Tudor re-enactments.

A holder of early patents on digital audio, John Willetts ARPS settled in Bath after living in the USA, Japan and Sweden. With his partner Sorel at the controls he was an expert drone photographer, augmenting this high-level work with video and stills

photography using a gyro-stabilised camera.

His enthusiasm for multimedia made him a force for modernisation at the Society, where he will be much missed.

JOHN LAW ARPS

I

was thrilled to attend the opening of the Society’s 159th International Print Exhibition last month.

The quality and diversity of the work was simply stunning and the entrants are to be congratulated.

We had a nicely balanced panel of selectors drawn from all corners of the field of photography, who had the unenviable task of judging the anonymous entries to reach accord on the winners. I found it particularly encouraging and pleasing that all the winners were women.

Even in these enlightened times, women are still underrepresented in many quarters, and the Society, sadly, is no exception – although, admittedly, it’s not through lack of trying.

In the last 10 years we have made tremendous progress. We’ve had a female president (Rosemary Willman HonFRPS) – only the third in the Society’s 163-year history. Just over 20 per cent of the Society’s members are female and this is reflected both on council, with two of our eight trustees being female, and on our Distinctions panels, where we have 19 (out of 82) women.

Despite the world of photography still being dominated by men, historically it has been women who have shaped its direction, through the likes of Lee Miller, Mary Ellen Mark, Ilse Bing, Julia Margaret Cameron, Diane Arbus, Dorothea Lange, Nan Goldin ...

The list is endless. The

Society strives to recognise the best women photographers through its awards such as, for example, Annie Leibovitz, Susan Meiselas, Jane Hilton, Jillian Edelstein, Hellen van Meene and Ingrid Pollard.

What is more, a senior lecturer at one of the major art colleges told me the other day that the best graduate work is being produced by female students who, in many cases, are in a different league to their male counterparts.

So how can you help the Society increase its ‘girl power’? First of all, nominations are now open for the 2017 awards and it’s about time that we had another female Centenary Medal winner. Turn to page 815 for details.

Secondly, we are putting out a call for members to stand for council in the 2017 elections. It would be terrific to see more female members standing. And particularly if you have expertise in the areas of governance, human resources, finance or the law, we’d love to hear from you.

Dr Del Barrett ARPS Trustee of The Royal Photographic Society

VOL 156 / NOVEMBER 2016 / THE RPS JOURNAL / 809

810 | IN FOCUS |

SOCIETY REVEALS FILM WINNERS Annual DepicT! cinematography prize goes to movie-making duo

The Society has unveiled the winners of this year’s DepicT! 90-second film contest at Encounters, the UK’s top short film and animation festival.

The £1,000 award went to Ben Mankin and Will Baldy for their movie Living.

‘The Society and the Encounters Festival share a passion for image making and forward thinking, and an ambition to uncover distinctive talent,’ said Andy Golding FRPS, principal lecturer

From left: winners Ben Mankin and Petra Balelkic, with Mark Cosgrove

in film and photography at the University of Westminster, who presented the award.

Another judge, Dick Pope, who won the Society’s Lumière Award last year, added: ‘Will Baldy’s cinematography perfectly realises director Ben Mankin’s vision.

Along with the stylised atmospheric lighting, the film is also economically described.’

For full details of the DepicT! awards, see bit.ly/depictrps

RECOGNISING VOLUNTEERS FOUR TO EIGHT YEARS’ SERVICE Ralph Bennett ARPS Del Barrett ARPS Lionel Squire ARPS Mo Connelly LRPS Marie-Ange Bouchard ARPS

TEAM EFFORT

DepicT! winner Will Baldy on the joy of collaboration ‘For cinematographers, relationships with directors are important, and having a director who’s also my friend is a fantastic foundation for a collaborative project.

‘We carefully chose all the colours on screen to fit within the themes of the film. Lighting the set was a challenge due to the flat,

even look Ben [Mankin] wanted and we used 3D animation to visualise the lighting before construction started. This meant the entire crew was on the same page from an early stage of production.’

Well done to members who have given their service to the Society

John Minter Roy Appleby LRPS Gary Evans ASIS FRPS Rebecca MacPhee Norman Barker ASIS FRPS Howard Bagshaw ARPS

Edgard Gibbs FRPS Jill Bunting John Smith EIGHT TO TWELVE YEARS’ SERVICE David Fletcher

Glenys Taylor ARPS TWELVE YEARS’ AND OVER SERVICE David Briggs ARPS Ben Gorman ARPS Graham Whistler FRPS

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23/03/2016 10:45 15:27 13/10/2016

| IN FOCUS | 811

365 ALL ABOARD

By Andy Ferrington This was captured in Varanasi railway station, India. With more than 10 platforms, an abundance of trains and very few signs in English, catching our train was a close call.

SEPTEMBER’S ONLINE COMPETITION WINNERS

MEMBERSHIP CARD 2017 GET INVOLVED Submit photographs for the next competition at rps-365.org

With more than 16 hours travelling ahead of us, every stop at a station became a photo opportunity and a chance to stretch the legs.

I shot this on my previous Nikon kit, a D300 with a 50mm

WHERE PIXIES MAY ROAM

By David Jenner Bedgebury Pinetum, near Goudhurst in Kent, is a magical world of trees, lakes and hidden places such as beneath this rhododendron, where the fallen flowers have beautifully carpeted the scene.

The rays of the setting sun bursting through the foliage make for a magnificent light source that brings the whole place alive.

The image was shot on a Nikon D810 with a 24-120mm lens at f/14, 24mm, ISO 400 for 6 seconds. prime. I had to work quickly on the platform because I had to get back on this train before it pulled away.

What I love most about this image is the texture in the blue colour of the train itself.

SMILE

By David Poole ARPS This image was taken with an iPhone 4s and processed with the PicsPlay Pro app – which has 200 filters and allows adjustment of elements such as exposure, colour, white balance, sharpness and curves– on my phone.

The ‘flash’ was

added using Photoshop Touch – again on my phone.

The photo shows my daughter, Jenny, taking a picture of me with a fully working toy digital camera.

What appears to be the lens is actually the flash, but I thought it looked more pleasing for the ‘flash’ to be coming from the more usual place at the top of the camera.

VOL 156 / NOVEMBER 2016 / THE RPS JOURNAL / 811

812 | IN FOCUS |

STREET VIEW: PHOTOGRAPHS OF URBAN LIFE Graves Gallery, Sheffield UNTIL 11 MARCH 2017

An exploration of how photographers have captured city life on camera around the UK and abroad.

The exhibition features images held locally and loans from the V&A and the Hyman Collection. bit.ly/sheffieldstreet

HARRY BENSON: SEEING AMERICA Scottish Parliament, Edinburgh

WHAT NOT TO MISS 1 DECEMBER'15 JANUARY 2017

A fascinating look at post-war London through the lens of one of Britain’s greatest and most controversial filmmakers, Ken Russell. Prior to becoming a

film director Russell worked as a photographer in the early 1950s, shooting humorous scenes which were in stark contrast to the austere atmosphere of postwar recovery. Until 1956 his work appeared in publications such as Illustrated Magazine

UNTIL 3 DECEMBER

and Picture Post. ‘In a way I was making still films,’ Russell said. ‘Some of the photographs were catch-as-catch-can, but I learned the value of the perfect composition.’ proudonline.co.uk/ exhibitions

Glasgow-born photographer Benson arrived in America with The Beatles in 1964. This exhibition explores Benson’s involvement with key events in the 1960s and 1970s, and the development of his career as a portrait photographer. bit.ly/bensonshow ALSO SHOWING

AROUND THE WORLD IN 80 YEARS Proud Chelsea, London UNTIL 27 NOVEMBER

This is a showcase of images taken by ex-Rolling Stone Bill Wyman during his years with the band.

As well as candid shots of Mick Jagger and Keith Richards, Wyman captured the band’s friends and family, including Jerry Hall and David Bowie. proudonline.co.uk/exhibitions

ARAKI Hamiltons Gallery, London UNTIL 22 NOVEMBER

Controversial Japanese photographer Nobuyoshi Araki is known worldwide for his photographs of women bound according to the rules of kinbaku, a ‘bondage art’ dating back to the 15th century.

This retrospective includes a selection of more recent work. hamiltonsgallery.com/ exhibitions

812 / THE RPS JOURNAL / NOVEMBER 2016 / VOL 156

BATH PHOTOGRAPHIC SOCIETY Bath Central Library 29 NOVEMBER ' 3 DECEMBER

This is an annual exhibition highlighting work by members of the longestablished photographic society, whose history goes back to 1888. The society meets every Tuesday from September to June, and offers a full programme of events. bathphotographicsociety.org.uk

Harry Hook: About Africa Various venues (see harryhook.co.uk) Until 28 November Planet Yorkshire Impressions Gallery, Bradford Until 3 December Welcome to Belfast Belfast Exposed Until 23 December The Camera Exposed V&A Museum, London Until 5 March 2017 Drawn to the Land Fox Talbot Museum, Lacock Abbey Until 12 March 2017

© KEN RUSSELL; LANGDON CLAY, UNTITLED FROM THE SERIES ‘CARS’, NEW YORK, 1977 © LANGDON CLAY; © HARRY BENSON; PINK EXPLOSION © DAVE NICHOLSON; SUICIDE IN TOKYO, 1994 © NOBUYOSHI ARAKI, COURTESY OF HAMILTONS GALLERY; CHARLIE WATTS © BILL WYMAN

REALITY IS A DIRTY WORD Proud Gallery, London

NOSY NEIGHBOUR © Sam Hobson

814 | IN FOCUS | GROUP FOCUS

EAST MIDLANDS REGION

In this issue, we speak to regional organiser Stewart Wall ARPS

GALLERY ‘BANS’ MEMBER’S WORK

Ray Spence FRPS’s images deemed unsuitable for children When tutor and photography judge Ray Spence FRPS was invited to submit two images from his Life at Home series for a show at Leamington Spa Art Gallery, he kindly obliged.

However, the gallery rejected the photos, as it considered them to be unsuitable for an area where children could see them.

‘The theme is life models in their homes and, as such,

FACEBOOK U!TURN

Social media giant pressured into amending editorial policy

In September, Facebook deleted a post by Norwegian prime minister Erna Solberg showing Nick Ut’s Pulitzer Prize-winning ‘napalm girl’ photograph.

Facebook has backed down and now does not censor the image.

features nude men and women,’ said Spence.

‘However, they are not salacious or offensive in any way. The body of work has been shown in a gallery in Leamington Spa without offence and another gallery wants to show the banned images in protest.’

The gallery’s senior curator, Chloe Johnson, told the Journal: ‘The space where Ray’s images were to be shown is located directly next to the entrance to our children’s gallery. After discussion, it was felt an alternative image might be better for this location.’

Society chief executive Dr Michael Pritchard said: ‘Public exhibition spaces need to be mindful of their audience’s sensibilities, but it is disappointing that the gallery has been overcautious in its approach to Ray’s images and denied the public an opportunity to see good, artistic, contemporary photography. It’s far removed from anything that could be deemed offensive.’

Visit Ray Spence’s website at rayspence.co.uk

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IN A NUTSHELL Currently with 519 members, the region is coordinated by regional organiser Stewart Wall ARPS, who has been a professional photographer for nearly 40 years. His predecessor, Ralph Bennett ARPS – who served the group for almost 10 years – is a well-known local camera club judge.

The committee includes Peter Yeo, who has been a member of the Licentiate panel; Geoff Blackwell, who is a Society council member; Mark Flatman; Robert Herringshaw; and Peter Morley. Together they create

a good mix and come up with many innovative ideas.

WHY JOIN THE REGION? The region prides itself on having a balanced diary of talks and workshops. The start of September saw 25 members in the studio of Nottingham University as guests of director of photography David Mahon and director of science Dr Tom Hartman, where they run an MSc course in biological photography and imaging. The members spent a fascinating day photographing all manner of natural history specimens.

Members travel many

Image by John Shepherd FRPS

22nd AV FESTIVAL ENJOYS RECORD SUBMISSIONS The Society's biennial International Audio Visual Festival took place in Cheltenham from 24–25 September and was a great success, attracting a record number of entries.

Graham Sergeant won the Society's Grand Prix Trophy and Gold Medal for his entry Beeswing, while the FIAP Gold

Medal went to Christian Hendrickx and André Teyck from Belgium for Retour à Lama.

The eminent judging panel also presented the Bronze Medal in the nature category to John and Judith Hodgson from Australia for Okavango.

Society president Walter Benzie HonFRPS

NEWS IN BRIEF THE RPS JOURNAL / SEPTEMBER 2016 / VOL 156 NO 9

JOE McNALLY

IT STILL GIVES ME A KICK, 35 YEARS ON

MASTERCLASS

DOCUMENTARY

GET FILMMAKING STACY KRANITZ TIPS AND TRICKS TAKES IMMERSION FROM THE PROS TO NEW LEVELS

WWW.RPS.ORG

SEPTEMBER 2016 / VOLUME 156 / NUMBER 9 / WWW.RPS.ORG

JOE McNALLY FRPS STACY KRANITZ FILMMAKING TIPS AND TRICKS

Groove-billed toucanet

by Dr Anthony H Cooper

miles to events, as the region covers a large area, but good motorway links mean the venue at Whatton near Nottingham is easy to access.

It’s a large hall, which is easy to black out for digital presentations, and has a good kitchen, meaning coffee and tea flow throughout the day.

WHAT MAKES THE REGION UNIQUE? The East Midlands Region has produced a variety of photobooks. Over the past 18 months there have been five such projects, ranging from a book on Sheffield’s Park Hill, Streets in the Sky, to coverage of the Ashbourne International

Streetfest by invitation of the town.’

FORTHCOMING EVENTS In the next few months, the region features an excellent list of speakers, including Professor Brian Griffin, and welcomes both members and non-members of the Society to its events.

CAN YOU PROVIDE PROFESSIONAL EXPERTISE TO THE SOCIETY?

Graham Sergeant and Walter Benzie

attended the festival and said: ‘Some presentations portrayed tragedy, some humour, some were educational, but all were entertaining.’

For more on the winners see rps.org/iavf

The Society’s trustees have been looking ahead to next year’s elections and thinking about the skills that would support the Society’s strategic plan and future development as it looks to expand its educational activities and potentially move to a new building.

Please contact Dr Michael Pritchard, chief executive, if you have professional

experience in any of the following areas and would consider taking a more active role within the Society as a trustee or on a specialist committee: n Fundraising/sponsorship n Legal n Project management n Human resources n Finance (with a professional qualification) n Education/training

LETTER FROM JOE McNALLY FRPS

I wanted to tell you first how honoured I am to have been profiled in the RPS Journal. It is literally a highlight of my career.

The Society was a definitive influence on my early career.

I also wanted to thank you for the patience and skills you brought to bear to make the article happen.

You made this guy who’s been in the trenches with a camera in hand for a long while actually a bit interesting. That’s a fair challenge.

Joe McNally FRPS

COMBINED ROYAL COLLEGES LECTURE

The recipient of the 2015 Combined Royal Colleges Medal, Dr Gavriel J Iddan D.Sc, will give a lecture on the invention of capsule endoscopy at the Royal College of Surgeons, London, on 15 November.

To find out more, visit bit.ly/royalcollegelecture

2017 AWARDS

Nominations are open for the Society’s 2017 awards.

These are given annually to individuals who have made a significant contribution to the art and science of photography. See more at rps.org/about/awards

VOL 156 / NOVEMBER 2016 / THE RPS JOURNAL / 815

816 | IN FOCUS |

A selection of eerie salt-process prints taken in the Natural History Museum by photographer Alexandra Murphy for her project Specere II: Fixing the Shadows

DEATH BECOMES HER For seven months Alexandra Murphy, who was last year’s recipient of the Society’s postgraduate bursary, spent the small hours lurking around the Natural History Museum in London.

She was photographing some of the specimens on display, before the institution opened its doors to the public, while contemplating the biggest subject of them all – death.

This escapade is a suitably Gothic one, considering Murphy’s interests. She is in the middle of a practice-led doctoral thesis exploring the relationship between museums and photography, both of which are 19th-century inventions.

What is more, claims Murphy, both have a shared inclination to preserve things, whether objects or images, and thus to ‘defy death’.

‘Throughout all my research projects, I explore this relationship between photography and display, and what remains consistently evident is photography’s metaphorical links with death,’ Murphy explains.

What is more, the images, which Murphy shot on a Nikon D800, are converted into a digital negative and then printed using a salt process. Invented by Society founding member Henry Fox

816 / THE RPS JOURNAL / NOVEMBER 2016 / VOL 156

Talbot, the salt process was the dominant method for printing from the 1830s to the 1860s.

‘I used the salt process because it is a very fragile one,’ she says. ‘There are lots of mistakes that can be made in the process when trying to fix the image, to preserve it from demise, and I was interested in that precariousness.’

The final prints, which make up a project entitled

Specere II: Fixing the Shadows, will form a photobook and exhibition, both of which she aims to unveil next year.

Meanwhile, Murphy is halfway through her PhD and will continue to explore the relationship between museums, photography and death.

‘I’ve started exploring other museums, focusing more on the exhibition spaces rather than the specimens themselves,’ she says.

‘I am photographing the museum's public and private areas, sometimes capturing visitors in the shots, as it is important to recognise how the architectural space is designed with the public gaze and private study in mind.’

PROJECT FUNDING To find out more about the Society’s bursaries visit rps.org/ learning/project-funding

© ALEXANDRA MURPHY

Society postgraduate bursary recipient Alexandra Murphy explains her salt prints, and museums’ and photography’s morbid inclinations

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BOOK REVIEWS

Border is a stark reminder that evidence of the former Soviet Union has far from disappeared

DIVIDING LINES

© MARIA GRUZDEVA

A gritty photographic travelogue of the vast Russian frontier

BORDER: A JOURNEY ALONG THE EDGES OF RUSSIA Maria Gruzdeva Schilt Publishing !£27.50& It’s not easy for young documentary photographers striving to make their name in 2016, so it’s great to see this engaging new collection from Russian photographer Maria Gruzdeva, who was recently named one of ‘30 Under 30’ notable photographers by Forbes.

Despite Gruzdeva’s relative youth, there is a great maturity about this book, which is based on her journey along the Russian border, spanning more than 60,000km and taking her from areas near the North Pole to the shores of the Pacific Ocean.

As the introduction explains, while Russia’s border might be the longest in the world, it’s still being defined. Border does a great job of capturing the incredible ethnic and cultural diversity of this vast region, and reminds us that the physical and psychological aspects of the former Soviet Union are still very much present.

Border is a mixture of extended photographic essay and travelogue, with sketches and notebook pages supplementing more formally presented images. Leafing through the book, you soon realise your ignorance about this politically turbulent part of the world.

This was the first time I’d heard of

| IN FOCUS | 819

GODS I’VE SEEN Abbas Phaidon (£49.95) With Magnum’s 70th birthday celebrations well under way, some great books by the agency’s top photographers are coming out, including this masterful study of Hinduism. Iran-born Abbas has always been drawn to spiritual and religious subjects, and Gods I’ve Seen is the fruit of a threeyear project travelling to India, Nepal, Sri Lanka and Bali. The imagery is second to none, but the book is also a valuable anthropological document on modern manifestations of this ancient and hugely influential religion.

GERRY BARNETT

RAPTORS IN FOCUS Dick Forsman Reed New Holland (£19.99) Bird photography fans won’t want to miss this beautiful collection of 150 raptor images. Forsman’s mission was to photograph every species of raptor in Europe and it took him more than 10 years to complete this book. The standard of imagery is high, and there is lots of useful background information on the birds’ habitat and behaviour, should you wish to follow in Forsman’s footsteps.

Abkhazia, for instance, or the Mingrelians, a subgroup of Georgians who mostly live in Samegrelo region.

As well as the images of lonely stretches of land near border posts and Soviet-era edifices in varying degrees of decay, Border very much focuses on the people involved in policing this vast frontier. Many of the guards are young and some are separated from their families for years at a stretch. Gruzdeva expertly captures their boredom and alienation, as well as their curiosity at why a young photographer would be interested in shooting in such far-flung places.

The book is stuffed with fascinating insights and anecdotes too: North Korean fishermen who get shipwrecked at the southern point of the Russian Far East, for instance, are forced to flee, as they’d get branded runaways and traitors if they ever tried to return home.

My only real criticism of Border is the lack of proper captions for the images.

Although the mini-essays at the end of each chapter are enlightening, some of Gruzdeva’s subjects seem so outlandish we non-Russians could benefit from much more specific details. Otherwise, this is a well-constructed and absorbing project that travel and documentary photography fans will greatly enjoy.

PHOTOGRAPHS FROM THE EDGE Art Wolfe Amphoto Books (£22.99) Art Wolfe excels at landscape, wildlife and travel photography, and this is a chronological guide to the fascinating parts of the world he has visited. Rather than just another selfcongratulatory travelogue, however, Wolfe describes many of the creative decisions that produced some of his finest images.

I particularly enjoyed the section on the Himalayas.

GEOFF HARRIS LRPS

GEOFF HARRIS LRPS

GERRY BARNETT

VOL 156 / NOVEMBER 2016 / THE RPS JOURNAL / 819

820 | NOVEMBER 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

SHOPPING CENTRE STAIRS

Samsung NX20, 1/500, f/5

Three cheers for making the grade

We showcase a trio of successful Licentiate panels

E

ach of these photographers has fulfilled the requirements for a Licentiate Distinction, including demonstrating a variety of approaches and personal input.

Print quality was excellent, and all the images were carefully mounted and presented, while colour, saturation, tone and contrast gave the hanging plans cohesion.

Elizabeth Vaz photographed people in unusual ways. She created a very balanced panel, enhanced by the images of legs at either end of the bottom row, judiciously placed below shots of upper bodies. This juxtaposition adds another dimension to the photographs, one that wouldn’t necessarily be evident if viewed alone. The eight square images worked well

with the two slightly wider central photos.

Alan Lyall included a variety of genres and, importantly, approaches. He used colour, design and consistency of printing to achieve a visually interesting panel. He also ensured a good balance; eg the poppy, which has a strong glow around it and sits opposite the bright orange decorations.

Sue Vaines demonstrates her personal input with very carefully designed compositions, only including in each what is essential. The monochrome and subtly coloured images make an M and W shape respectively.

The third image, ideally centred in the top row, introduces another creative element.

Rosemary Wilman HonFRPS Licentiate panel chair

820 / THE RPS JOURNAL / NOVEMBER 2016 / VOL 156

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

FEATURE SPONSORED BY

APPLYING EYELINER

This image was taken at a tattoo convention.

Panasonic Lumix GX8, 1/80, f/5.6

Elizabeth Vaz LRPS

‘I look for scenes I find amusing or contain an element of beauty, or both’ I had read the advice on how to assemble a panel and so when compiling images I looked for pairs to create symmetry, as well as one or two central images. I was also trying to demonstrate as many varieties of technique as possible, for instance, natural and artificial light, daylight and night-time shots, and wide-angle and zoom lenses.

My main interest during the last few years has been street photography, so I wanted my panel to reflect this. I like to look for little scenes that either I find amusing or contain some element of beauty, or both.

I typically go out alone so I can focus on looking for things that I think might make an interesting image.

Some of the images are from four years ago and some were taken as recently as this year.

When trying for a Distinction, getting feedback from a variety of people, especially those familiar with the Distinctions process, is very useful. Also, it’s important to pay attention to the details in an image.

My most recent project is based around body art – especially tattoos, make-up and hair – and I am thinking of making an ARPS panel based on this work.

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822 | DISTINCTIONS |

HANGING PLAN

'A very balanced panel, enhanced by the judiciously placed images of legs at either end of the bottom row’

822 / THE RPS JOURNAL / NOVEMBER 2016 / VOL 156

PADLOCKS

This was taken several years ago and focuses on poses that I like.

Samsung NX20, 1/125, f/5.6

FEATURE SPONSORED BY

FACT FILE

Elizabeth Vaz started taking photographs when her children were born.

She wanted to document the lives of her babies, and while wandering slowly around the streets with a pushchair she started to observe the people around her SPIDERMAN AND GIRLFRIENDS

I went to a superhero convention, feeling sure there would be something interesting to photograph.

I was especially taken with the pose of the two people in Spiderman costumes. This image required more forward planning than the others.

Panasonic Lumix GX8, 1/640, f/2.8 OLD COUPLE

Dubrovnik in the early morning. This benefits from being shot before all the tourists had crowded the streets. Samsung NX20, 1/800, f/5.6

WOMAN AND BIRD

I liked this little story as soon as I saw it: the bird seems determined to steal from a woman’s handbag. Samsung NX20, 1/5,000, f/3.5 VOL 156 / NOVEMBER 2016 / THE RPS JOURNAL / 823

824 | DISTINCTIONS |

824 / THE RPS JOURNAL / NOVEMBER 2016 / VOL 156

FEATURE SPONSORED BY

SUMMER’S HERE AT LAST

HARBOUR VIEW ( SOUTHWOLD

SUNDAY MORNING AT THE MALL

A straightforward handheld shot with me braced against another beach hut, taken in Southwold with local model and friend Jody Sturman

This is a handheld, five-shot HDR image converted to monochrome. I waited for a long time for the right light, and the sun to break through

I was attracted by the vibrant colours, and shadows. This is a handheld, five-shot HDR compilation with some correction to the verticals

Alan Lyall LRPS

‘I wanted to see where I could take my photography’ With my panel I wanted to show a wide range of subjects and processing techniques.

I was also mindful of the need to put forward a well-balanced panel, as well as having good individual images.

I show a range of technical skills, including underwater imaging, architecture, landscape, macro, action and portraiture.

I have enjoyed taking images of all manner of things and this

panel demonstrates that very well. I am not averse to experimenting with add-in filters in Photoshop to achieve the look I want.

I started to consider going for a Distinction when I retired early from my job three years ago. I wanted to see where I could take my photography.

The earliest image in my panel dates from late 2010 (Pipefish).

The latest is from August 2016

FLIGHT OF THE BUMBLEBEE

I found it easier to track the bees with a long lens rather than being close to them. I used a fractalius filter to give the image a softer, more painterly feel VOL 156 / NOVEMBER 2016 / THE RPS JOURNAL / 825

826 | DISTINCTIONS |

PIPEFISH

Underwater macro photography with a 60mm lens needs stealth, patience and a pinch of luck. The fish is about the size of a pencil – you can see only about 1/3 of it THURNE DYKE MILL

I set up on a tripod and waited for the yachts.

This is a five-shot HDR image, and the yacht sails have been brightened a little in post-production MX RIDER

There is a motocross track not far from where I live. A good sunny day, a fast shutter speed (1/2,000 sec), AI servo and a high burst rate got the job done

FACT FILE

Alan Lyall started taking photographs more than 40 years ago with his Zenit-E, and set up a darkroom in his bedroom.

He is secretary of Beccles Camera Club, a member of Bungay Camera Club and a committee member of the Phoenix Group based in Lowestoft 826 / THE RPS JOURNAL / NOVEMBER 2016 / VOL 156

FEATURE SPONSORED BY

CROCUS

One from my garden, taken indoors to a more controlled environment.

I used a tripod and only natural light. Processing included some softening with a fractalius filter SPRATS

It was Christmas Eve and the local supermarket was selling trays of sprats. I converted the image to monochrome and used a fractalius filter to bring out scale detail

(Summer’s here at last).

The inclusion of the earlier image was necessary to help balance the left-hand side of the panel and I particularly wanted to include one image from that type of work.

For those working on their Licentiate panel, I’d advise them that images have to work together as a panel as well as individually, and the photos need to be your best work.

HANGING PLAN

'His panel included a variety of genres and, importantly, approaches’

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828 | DISTINCTIONS |

MEN IN RED

I liked the arrangement of the bin and bench and was using a small depth of field to throw the background into soft focus. The gentlemen in red kindly agreed to pose, then the second man walked quickly through the scene. I only managed a couple of shots of him but luckily he was in just the right place in this one. Canon 7D and EF 24-105mm L lens

Sue Vaines LRPS

‘I don’t do much planning … I just enjoy seeing what happens on the day’ My panel was configured mainly from images that I had on file, but a couple of them were taken specifically for my submission. I chose images that showed variety and a range of photographic skills, presented in a coherent and balanced panel.

I knew that the photos would have to stand up to the assessors’ close scrutiny, so they also had to be of a high technical quality. Presenting a mixture of colour and mono work was important to me.

I am a bit of an opportunist photographer. Apart from finding interesting places or buildings to visit, I don’t do much in the way of planning.

I just enjoy seeing what happens on the day.

I have tried to include some unusual angles and viewpoints,

and images taken under a range of lighting conditions, both indoors and out. I have also tried to show control of depth of field in my images for creative effect.

I started work on my panel in February this year. The oldest image is from 2013 and the most recent was taken this May. The final selection was made after my advisory day in June.

I have been extremely fortunate in benefitting from the advice and support of Ann Miles FRPS on image selection and panelling, and Ian Wilson ARPS, who helped me to get the best out of my images with sympathetic post-processing and paper selection. I could certainly not have achieved my LRPS in this timescale without their help and encouragement.

828 / THE RPS JOURNAL / NOVEMBER 2016 / VOL 156

GREENWICH FAÇADE

Leading lines and converging verticals. Canon EOS 500D and EF-S 17-85mm lens

FEATURE SPONSORED BY

NO. 8

Shot in Spain, using complimentary colours to balance the first image in the panel. Canon EOS 500D and EF-S 17-85mm lens FLOWERS IN THE WINDOW

I love Spain and wanted to capture something of a typical hillside town. Canon EOS 500D and EF-S 17-85mm lens DOWN IN DOCKLANDS

An overcast day allowed me to capture detail through the glass.

The man adds scale. Canon 500D and EF-S 17-85mm lens FACT FILE

Sue Vaines became interested in photography in the 80s, but bought her first SLR in 2010. She began to think about the possibility of working towards an LRPS and went to an advisory day as an observer in 2014 HANGING PLAN

'Demonstrates personal input, with very carefully designed compositions'

VOL 156 / NOVEMBER 2016 / THE RPS JOURNAL / 829

830 | DISTINCTIONS |

LATEST SUCCESSES

Image: Fiona Alison

Congratulations to members on their recent achievements

Female Peacock Spider by Malcolm McCamley ARPS

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06/16 LRPS Sue Blythe, Isle of Man John Marshall, Yorkshire Carol McNiven Young, Nottingham Ian Nesbitt, Newcastle-upon-Tyne Brian Rogers, Yorkshire Neill Taylor, Oxford Lois Wakeman, Devon Mervyn Francis, Kent 07/16 LRPS Marea Downey, USA Paula Fernley, Exeter

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10/15 LRPS Kwan Yin Christie Wong, Hong Kong 08/16 LRPS EXEMPTIONS Azem Kileci, Cork Alan McNeish, Dumfries 09/16 LRPS Nigel Cox, Hertfordshire Clare Lister, Norfolk Alan William Lyall, Norfolk Kevin Pigney, Cambridgeshire Eric Schaffer, London

09/16 ARPS CONCEPTUAL * CONTEMPORARY Lynda Beckett, Norfolk Nigel Corby, Kincardineshire Phil Lavery, Ayrshire Michael McAlister, Sussex 09/16 ARPS APPLIED Richard Connolly, Cheshire Steven Else, Hertfordshire John Hudson, Bristol Chi-Wah Ip, Hong Kong David Ryland, Norfolk Stuart Thompson, Kent 09/16 ARPS NATURAL HISTORY David Bird, Gloucestershire James Black, East Ayrshire Tim Downton, Dorset Ann Healey, Middlesex Malcolm McCamley, Co Wicklow Deveni Manjula, Sri Lanka Jayanth Sharma, Bangalore 10/16 ARPS EXEMPTIONS Christopher Copley, Co Clare Robert Fanshawe, Hampshire Lewis Gillingham, Cornwall

DISCOVER MORE Looking for inspiration? To view Distinctions panels online, visit the Society’s website at rps.org/distinctions/distinction-successes 830 / THE RPS JOURNAL / NOVEMBER 2016 / VOL 156

832 | EXHIBITION |

A WHOLE NEW WORLD

As the International Images for Science exhibition tours the UK, we take a look at the entries that are changing how we see things

832 / THE RPS JOURNAL / NOVEMBER 2016 / VOL 156

CRESTY The New Caledonian crested gecko (Correlophus ciliatus) is a species of gecko native to southern New Caledonia, an island located in the southwest Pacific Ocean.

Crested geckos don’t have eyelids. Instead, a transparent scale called a spectacle keeps each eye moist and the geckos use their tongues to remove debris.

This species of gecko was thought to be extinct, but it was rediscovered in 1994 after a tropical storm.

This specimen was captured by Ian Cook

VOL 156 / NOVEMBER 2016 / THE RPS JOURNAL / 833

834 | EXHIBITION |

T

his year, the Society’s International Images for Science competition received more than 2,500 submissions, from all around the world.

The competition’s selection panel, which included Society Honorary Fellow Hugh Turvey and Biomedical Picture of the Day editor Lindsey Goff, chose 100 images that form a touring exhibition making its way around venues in the UK until June next year.

‘We encourage anyone to take part in the competition,’ says the Society’s

EUROPEAN GRAVITATIONAL OBSERVATORY ABOVE, BY ENRICO SACCHETTI

A technician inspects one of the mirrors of the Virgo interferometer at the European Gravitational Observatory near Pisa, Italy. This facility

science exhibition coordinator, Gary Evans FRPS. ‘We’ve got people of all abilities, some using iPhones, others using state-of-the-art microscopes.’

The panel picked five prize-winning shots from three age categories, including this year’s gold medal recipient Phred Petersen, who captured a heat plume rising from a camp stove using a technique known as Schlieren photography.

Also among the medallists is one of the competition’s youngest winners yet: Jessica Chatburn was only 14 when she took her entry.

monitors light beams bounced between mirrors, looking for small changes caused by gravitational waves, which were predicted in Einstein’s general theory of relativity in 1915.

Gravity is the distortion of space-time by mass, and changes

834 / THE RPS JOURNAL / NOVEMBER 2016 / VOL 156

in this distortion travel in waves at the speed of light. The effect is most pronounced where massive objects are subject to high acceleration – black holes in a close orbit, for example. Gravitational waves were detected for the first time in 2015

Attracting images from all ages and walks of life, the competition is supported by Siemens as part of the Curiosity Project, a three-year programme that aims to engage young people with science and engineering.

Like the Curiosity Project, the contest is about inspiring people to look at their surroundings with fresh eyes, says Evans. ‘Science is all around us and it’s fascinating to discover things you never anticipated – it’s just a matter of looking.’

For more information, including exhibition tour dates, visit bit.ly/InterScience

BRIGHT YOUNG THING

Gold medallist (17 & under) Jessica Chatburn reveals how an interest in art and science is guiding her career choices My parents bought me a camera for my 14th birthday and I hadn’t had it long when I took this shot.

I photographed these jellyfish called Chrysaora fuscescens during a holiday visit to Monterey Bay

Aquarium in California. I liked the contrast between the blue and the orange so took a few frames, and I tried different angles and messed around to get different effects. Surprisingly, none of them showed

the reflection of the camera in the glass, and a few people have asked me if the image was taken underwater.

I’m now studying for my A Level in art, as I’d like to be an architect or engineer, so I’ll get to use my

photography then.

But I’m also interested in science, taking maths, physics and chemistry too. I’ve not had the chance to use my camera in my art class yet, but I’m sure there will be plenty of opportunities.

SWARMS OF PACIFIC SEA NETTLES

BY JESSICA CHATBURN

These jellyfish sometimes grow to more than a metre in diameter in the wild. They feed as they drift, paralysing prey with stings from their 24 tentacles.

For humans, their stings are often irritating, but rarely dangerous

VOL 156 / NOVEMBER 2016 / THE RPS JOURNAL / 835

836 | EXHIBITION | CAMPING STOVE HEAT PLUME RIGHT, BY PHRED PETERSEN

This Schlieren image of the heat plume from a liquid-fuelled camping stove reveals the invisible turbulence of rising hot air.

Schlieren photography enables us to see and record the refractive index differences between the hot air from the flame and the cooler ambient air in the surrounding environment. This clearly shows the inefficiency of open flames for cooking, as so much heat escapes around the sides of the pan

HEAT OF THE MOMENT

Gold medal winner Phred Petersen tells how he is driven by burning curiosity

What does your image show?

This is a Schlieren photograph revealing the heat and gas plume generated from the flame of a camping stove. The image shows that the heat plume above the stove has a different refractive index to the air around it, and the optical system has been set up to reveal the refractive index gradients.

836 / THE RPS JOURNAL / NOVEMBER 2016 / VOL 156

When I talk to people who don’t know much about optics, I tell them that essentially I’m using the air as a lens to create the image.

What is a Schlieren photograph?

A Schlieren photograph shows the flow of fluids. In the system I use, the image is formed using mirrors, just like it would in a telescope.

Essentially, I use a great big dark room that is my camera.

What motivates you to take these images?

I am driven by curiosity. I was trained originally as a synthetic organic chemist, so I was a scientist first.

However, photography has always been a great tool to see things that you can’t see any other way.

What is the value of imaging science?

Because science images often look unusual, they can encourage people who might not necessarily be interested in the field to become curious. They might then have a discussion about it and open up their mind to the fact that science doesn’t need to be scary and geeky – it’s actually a very beautiful thing.

GIANT GRASSHOPPER ABOVE,

BY VANESSA DO ESPÍRITO SANTO ALMEIDA

This is a portrait of the giant grasshopper Tropidacris cristata, a species common and widely distributed in Central and South America.

With a body length of around 10 centimetres, this insect is extremely voracious, attacking various plants of economic importance including wheat, corn, alfalfa and barley ON TOUR

Banbury Museum, 21 January – 25 March City Arts Centre, Edinburgh, 1–16 April DOG ROUNDWORM ABOVE, BY STEFAN DILLER

Scanning electron microscope image of the larva of the dog roundworm (Toxocara canis). This nematode

worm is the cause of toxocariasis in humans.

Toxocara canis is a parasite of dogs and its eggs are found in dogs’ faeces. Humans, often children, can become

infected with the eggs if they come into contact with an affected dog or contaminated soil.

The swallowed eggs hatch in the intestines

to liberate larvae, which migrate through the tissues to organs such as the liver, lungs, brain and eyes, sometimes causing serious symptoms

Royal Albert Hall, London, 29 April –14 May Cheltenham Town Hall, 6 – 11 June

VOL 156 / NOVEMBER 2016 / THE RPS JOURNAL / 837

838 | EXHIBITION | BEHIND THE SCREEN BELOW, BY MANASA RAJASHANKER

This x-ray image shows an Apple iPhone 6.

The large grey area is the battery. At the upper left is the tiny camera. Along the left side are the electronics including telephone network, wi-fi and Bluetooth connectivity, and a computer to run apps. This image was made using a medical x-ray machine

ALGAL CONSTRICTOR ABOVE, BY STEVEN GSCHMEISSNER

This is a scanning electron micrograph of Spirulina, Arthrospira sp. (green), a cyanobacterium.

Cyanobacteria are aquatic, photosynthetic bacteria. While many bacteria are known

for their pathogenic effects, Spirulina is primarily known for its potential nutritional value. This cell has coiled itself around a diatom (yellow), a microorganism found in abundance in both freshwater and marine ecosystems NATURAL CAESAREAN SECTION LEFT, BY HANNAH CAUSER

A baby’s first moments are captured as it is born by ‘natural Caesarean section’. There is peace and quiet in the delivery room, or music of the parents’ choice. The baby is “walked” up the mother’s abdomen as it is delivered for early skin-to-skin contact.

Cord cutting is delayed and breastfeeding is encouraged as soon as possible. The technique is designed to involve parents as active participants, encourage bonding and reduce the trauma of a surgical birth 838 / THE RPS JOURNAL / NOVEMBER 2016 / VOL 156

GREEN BOTTLE FLY BLOWING A BUBBLE ABOVE, BY RICHARD BEECH

A common green bottle fly (Lucilia sericata), regurgitating a bubble of its stomach contents.

This species of bottle fly is common in temperate and tropical regions all over the world.

The adult fly feeds opportunistically on nectar or other food such as carrion, and repeated regurgitation is thought to aid digestion

NANO SURFGIRL LEFT, BY STEFAN DILLER

One of the smallest 3D sculptures ever made is this model of a surfing girl, measuring just 150 micrometres tall. For comparison, a human hair is approximately 100 micrometres thick.

The sculpture was created as a 3D data set by nano-artist Jonty Hurwitz using a 3D printing technique called multiphoton lithography, where a polymer resin is hardened by tightly focused beams of infra-red light, one 3D pixel, or voxel, at a time.

The sculpture was made at the Institute of Nanotechnology at the Karlsruhe Institute of Technology in Germany.

This image was created using a scanning electron microscope, then digitally coloured

| ENTER INTERNATIONAL IMAGES FOR SCIENCE 2017 | GO TO BIT.LY/INTSCIENCE2017 |

Closing date: 30 April 2017

VOL 156 / NOVEMBER 2016 / THE RPS JOURNAL / 839

840 | TECHNIQUE |

F

or the last few months, Rory Lewis has been photographing members of the British army for his project Soldiery. So far, he’s captured hundreds of different subjects in a bid to accurately represent the army in the second decade of the 21st century.

‘I’ve taken photographs of soldiers from a number of regiments, including the Grenadier Guards, the Royal Welsh, the Royal Irish and the Gurkhas, all of which will appear in a future exhibition and accompanying photobook when the project is complete,’ says Lewis.

‘In July, I visited the 3rd battalion, Parachute Regiment near Colchester and photographed a number of officers and soldiers of other ranks.

The battalion has been active since 1941, playing a central role during battles in north Africa and Italy during WWII. ‘Photographing military personnel comes with a unique set of challenges. They are generally pleased to sit for photos, and to be presented in their uniforms fills them with pride.

‘However, you need to gain their trust, which requires some initial paperwork prior to going to the base. For this particular shoot, I was expected to carry photographic identification and, while at the base, I was chaperoned by the regimental sergeant major, as is standard in these circumstances.

‘None of this, however, got in the way of me capturing loads of great shots of the soldiers – thanks to their patience and hospitality. In particular, I really wanted to get some full-length group shots of the personnel in combat gear, complete with their equipment.’

On the following pages Lewis talks through how he got his shots, and offers an insight into what a barracks photoshoot entails.

ATTEN!SHUN!

Professional photographer Rory Lewis lets us follow him on a day’s work, taking portraits of military personnel.

Additional images by Mark Barnes 840 / THE RPS JOURNAL / NOVEMBER 2016 / VOL 156

VOL 156 / NOVEMBER 2016 / THE RPS JOURNAL / 841

842 | TECHNIQUE | LIGHTING

When it comes to lighting, I need something portable. I find that the two-head Profoto B2 To-Go Kit, which weighs less than a kilo, is perfect for the job. Shoot-through umbrellas are convenient and take seconds to set up. I prefer

deep silver umbrellas for the tonality of light they create.

I positioned both lights at 45-degree angles to the subjects, either side of the group. I also used a white reflector to add some soft fill light.

CAMERA

A while back, I was given a loan of a Phase One XF camera. I loved it, so bought one. For this shoot I used a 35mm f/3.5 lens, which offered what I thought was the perfect perspective for group shots.

I set the camera to f/8 (which offers sufficient depth of field), IS0 200 and shutter 842 / THE RPS JOURNAL / NOVEMBER 2016 / VOL 156

speed 100. Because I use strobes, the ISO can be kept to minimum. Likewise, seeing as the subject isn’t moving, shutter speed 100 is adequate.

Also, if you set the shutter speed any higher than 100 there is a risk it will not sync correctly with the speed of the strobes.

SET-UP

As a travelling portraitist, I often use collapsible backgrounds, which are a quick and easy solution when on the move. For larger group photos such as these, and without a sufficient backdrop, I have to find the most neutral setting possible and then cut out the figures in Photoshop afterwards.

On this occasion, I captured the soldiers standing on a concrete floor, against a large white door. A great deal of my sittings take less than 10 minutes, so it’s important I set up fast and, where possible, in advance.

DIARY OF THE DAY 8am Time to get up. I start preparing for the day ahead, packing all my gear.

10am I catch the train from London to Colchester, in Essex, where I’m picked up and taken to the base in a military vehicle.

11am I sign in at the base and have all my equipment checked for security reasons.

11.30am Time to set up the lighting and prepare for the first lot of shots, which are the group images.

Noon The first set of portraits I capture is of the troops in ceremonial dress.

12.30pm Working low to the ground, I begin taking combat group portraits of the mortar and machine gun squads.

SUBJECT

I wanted to show the soldiers ready for action, fully done up in their fatigues, carrying the equipment specific to their roles. Where in the past I have photographed soldiers in their decorative, formal outfits, it was important to show these guys as they would appear when going into combat. I positioned myself low down to make them feel dominant, as though looking down on the viewer, giving an impression of their implicit power and authority in the field.

1:00pm Equipment change – this time I set up what I need for the individual portraits.

1.30pm I work on individual portraits of a number of soldiers in various ranks.

2.30pm That’s it! I pack up and head for home.

VOL 156 / NOVEMBER 2016 / THE RPS JOURNAL / 843

844 | TECHNIQUE | WHAT’S IN MY BAG

For this shoot I required three bags of equipment.

I swear by Lastolite collapsible backdrops, Calumet portable stands, and Profoto Air TTL B2 lighting – all light and compact. My Apple MacBook and iPad Pro are essential kit. The iPad enables me to keep in touch with clients, show work and keeps me entertained while I’m on the road.

‘WE ARE NOT USED TO POSING FOR PHOTOGRAPHS’ Captain Scott Radcliffe shoots from the hip about Lewis’s portrait session Our initial reaction to Rory Lewis’s photo shoot was one of caution and perhaps slight negativity.

We are not used to posing for photographs or practised at donning our ceremonial gear and, as such, we were hesitant in 844 / THE RPS JOURNAL / NOVEMBER 2016 / VOL 156

committing to being portrayed so.

Rory was very forthcoming and after a short discussion he got on with the shoot.

Everyone involved enjoyed the experience and it has served to open our minds to further engagement with

the media in the future.

The images are fantastic. They strike a great balance between our focus on war, tenacious character, pride in ourselves and our comrades, and the respect and humility we feel as we reflect on our

history and on those who have served in this regiment before us.

We hope the photos will reinforce the reputation of the parachute regiment as smart, dedicated and disciplined men ready to deploy at short notice to any situation.

AUTHOR PROFILE RORY LEWIS As a portrait photographer, Lewis has captured images of politicians, actors and sportspeople including Sir Patrick Stewart, Toby Jones, Luis Suárez and William Hague. His exhibition Soldiery will open next year in Liverpool on Armed Forces Day, 24 June rorylewisphotography. com/soldiery

HILLARY CLINTON Attendees at a rally in Orlando, Florida, take selfies with the Democratic nominee, as captured by Barbara Kinney/ Hillary for America

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THE SELFIE ELECTION

The 2016 American presidential contest has had unprecedented coverage on social media.

Garrett White examines how photojournalists have retained a crucial role amid the storm of selfies VOL 156 / NOVEMBER 2016 / THE RPS JOURNAL / 847

848 | INSIDE STORY |

T 1960

THE ROAD TO THE WHITE HOUSE CANDIDATES CAUGHT ON CAMERA

JOHN F KENNEDY John F Kennedy and his wife Jackie campaign in New York on 19 October 1960, as captured by Hungarian American Cornell Capa

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1966

1976

1984

ROBERT KENNEDY Bill Eppridge photographed Robert F Kennedy at a rally in Sioux City, Iowa, in 1966, and would later capture the moments before and after the senator’s assassination

FORD vs CARTER President Gerald Ford and Jimmy Carter debate at the Walnut Street Theater, Philadelphia, on 23 September 1976. Image

by David Hume Kennerly

WALTER MONDALE Democrat Walter Mondale hosts an event outside his home in 1984 as he unsuccessfully campaigns to be president. Photograph

by Owen Franken

© INTERNATIONAL CENTER OF PHOTOGRAPHY/MAGNUM PHOTOS; © BILL EPPRIDGE / LOANED BY ADRIENNE AURICHIO/THE ESTATE OF BILL EPPRIDGE; © DAVID HUME KENNERLY / COURTESY THE GERALD R FORD LIBRARY; © OWEN FRANKEN

Abraham Lincoln on 27 February 1860, hours before his famous anti-slavery address at the Cooper Union

he race for the US presidency has always hinged upon the image. ‘When Abraham Lincoln came east seeking the Republican nomination,’ says photography historian Vicki Goldberg, ‘fellow Republicans sent him to Mathew Brady.’ The photograph that Brady took on 27 February 1860, hours before Lincoln delivered his famous anti-slavery address at the Cooper Union, changed history.

‘Brady posed him to look serious, indeed, presidential,’ Goldberg says, ‘with his hand on books, indicating that he was literate. At one point, Brady recalled, he asked if he could adjust Lincoln’s collar.

Pulling his collar up, Lincoln said, “Ah, I see you want to shorten my neck.” “That’s just it,” Brady said, and they both laughed.’

Thanks to the innovation of the carte de visite – small photographs cheaply produced in multiples – Brady’s image ‘went viral’. Currier & Ives made a print based on the photograph that further refined Lincoln’s features, and the photographs and prints sold in the tens of thousands.

‘Brady and the Cooper Union,’ Lincoln later said, ‘made me president.’ Photographic images and the evolving technologies for making and distributing them have played a central, sometimes decisive, role in every American presidential election since.

In our time, the digital revolution has transformed photography, upended the traditional print press,

| INSIDE STORY | 849

DIRCK HALSTEAD Prolific Time photographer Halstead caught George H W Bush, above, in a Washington DC hotel room before announcing his candidacy in 1979; and Richard Nixon as he saluted a rally in California in 1968.

and given rise to social media networks that contain billions of photographs. The unprecedented – some would say unhinged – 2016 US presidential campaign between Hillary Clinton and Donald Trump has been called the ‘selfie’, ‘Snapchat’ or ‘Instagram’ election – signifiers of a new world where candidates are present on smartphone screens far more actively than on the front pages of the daily news. Has this new world altered the time-honoured campaign imperative to craft a candidate’s image? Has the role of the photojournalist changed?

© DIRCK HALSTEAD/COURTESY DOLPH BRISCO CENTER FOR AMERICAN HISTORY/UNIVERSITY OF TEXAS, AUSTIN; MICHAEL E SAMOJEDEN/AP; © DAVID BURNETT/CONTACT PRESS IMAGES; © STEPHEN CROWLEY/THE NEW YORK TIMES; © ELLIOTT ERWITT/ MAGNUM PHOTOS

1988

MICHAEL DUKAKIS Michael Dukakis rides in an M1A1 Abrams tank, on 13 September, for a photo opportunity many believe contributed to his defeat

by George H W Bush

1992

2000

2009

BILL CLINTON David Burnett captures Larry King, Bill Clinton, and Al Gore backstage as they prepare for a television interview

GEORGE W BUSH George W Bush serves customers at a diner in Iowa during the 2000 campaign, photographed

by Stephen Crowley for the New York Times

BARACK OBAMA The inauguration ball for president Barack Obama, with his wife Michelle, in Washington, DC, in January 2009, as photographed

by Elliott Erwitt HonFRPS

VOL 156 / NOVEMBER 2016 / THE RPS JOURNAL / 849

CHRISTOPHER MORRIS Campaign trail stalwart Morris caught Dick Cheney, George W Bush and Donald Rumsfeld in Texas in 2004; the 1998 Ohio Republican convention, and Donald Trump as he greeted daughter Ivanka at the Republican convention on 21 July 2016.

‘Candidates can connect through social media,’ says Claartje van Dijk, assistant curator at the International Center of Photography (ICP) in New York, ‘and still have photographers on the campaign trail for photo ops, but now anyone with a smartphone is a photographer.’

Van Dijk and co-curator Susan Carlson explored the relationship between visual media and the presidential image in an ICP exhibition, Winning the White House: Press Prints to Selfies. From the 1960 debate between John F

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Kennedy and Richard Nixon, the first to be nationally televised, the exhibition charted a photographic path to Ronald Reagan in 1976 — ‘Asked if he was nervous before a debate with Jimmy Carter,’ van Dijk says, ‘Reagan replied, “No, I’ve been on the same stage as John Wayne”.’ – to Bill Clinton’s campaign in 1992 and the ascent of cable television, to 2004 and the rise of the internet and the camera phone, and on to the Obama years and the feverish social-media present. It’s a helpful shorthand view of how we got here.

Covering a campaign has always been a frenzied, fraught process. The media storm may now include an audience armed with smartphones and a candidate’s obligation to post images to social media (Clinton and Trump each have more than two million Instagram followers), but the basics haven’t changed — a voracious public appetite for news, the challenge of gaining access, and savvy — or savage — partisan use of the media.

A single image, whether from a pro or a civilian, can still give

© CHRISTOPHER MORRIS / VII

850 | INSIDE STORY |

| INSIDE STORY | 851

© MELINA MARA / THE WASHINGTON POST

’THE PACE HAS ALWAYS BEEN FAST. NOW IT’S IN HYPERDRIVE‘ candidates a news-cycle headache, or worse. And while posing for a selfie may have become the modern-day equivalent of signing an autograph, the most important constant hasn’t changed: the tireless effort of professional photojournalists — and the news organisations that employ them – to cut through the stagecraft and commotion.

Dirck Halstead is one of the great elder statesmen of American photojournalism. ‘If you want to figure out what sort of president a person’s going to be,’ he once said, ‘the best people to ask are the photographers.’

Halstead travelled in the 1968 Nixon campaign press pool for UPI, and covered every president from 1972 to 2000 during his career at Time magazine.

‘You’re looking for the surprise of the day,’ he says. ‘As a magazine photographer, I always hewed closely to what my instinct told me was the real story. I drove the advance people crazy. They’d go to all this trouble to create sets for the candidate, and I often went

looking for something else, a different angle.’

Halstead and his colleagues embraced the switch to digital in the mid-1990s. The dramatic new tools changed the business but not, he says, the eye behind the lens: ‘The process of trying to interpret events visually in a way that will stand up is a sophisticated procedure.

Professional photojournalists don’t rely on luck.’

Getting those pictures requires access, and as candidates have faced exponential media

exposure, pros on the front lines have seen authentic behind-thescenes access all but disappear.

‘Campaigns want control,’ says Christopher Morris, a Time contract photographer since 2000. ‘They want to make sure that an image that goes out won’t harm their candidate.’ Wary of an unflattering angle or an awkward pose, handlers try to manage the areas from which a photographer can shoot. ‘I’m there to document, not to make somebody look like a buffoon or evil,’ Morris says. ‘But if you break the rules, you risk

MELINA MARA Washington Post political staffer Mara took this image (top) of Democratic presumptive nominee Hillary Clinton in Charlotte, North Carolina in July 2016, and Republican candidate Donald Trump in New Hampshire, August 2015

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852 | INSIDE STORY |

BARBARA KINNEY As official photographer of the Hillary for America campaign, Kinney caught a Clinton family selfie, top, and Hillary Clinton with Barack Obama backstage at the Democratic National Convention, July 2016.

losing access. Journalists are put into an environment in which they have to get very creative, and it’s amazing the work that can still come out of that.’ Anyway, he adds, ‘the real pictures are often of the supporters. Who are these people?’

As the national political photographer for the Washington Post, Melina Mara is among half a dozen photographers in the press pool of top news organisations closest to the candidates, and has covered both Clinton and

852 / THE RPS JOURNAL / NOVEMBER 2016 / VOL 156

Trump during the 2016 campaign.

As a young contract photographer for the Associated Press, her first campaign was Bill Clinton’s in 1992.

‘It was a different world,’ Mara says. Photographers still travelled with darkroom equipment and primitive portable scanners.

Sending a black-and-white image over a phone line could take 10 minutes. ‘Now,’ she says, ‘our card readers are Velcroed to our computers. We have mini hard drives for extra capacity and two

© BARBARA KINNEY

‘I’VE GONE FROM DOWNLOADING MY IMAGES AT THE END OF THE DAY TO SENDING PHOTOS DIRECTLY FROM MY NIKON D4’

or three mi-fi broadband connections in case one of them is slow. If we’re in a hurry we can send right from our cameras with a wireless transmitter. The pace has always been fast. Now it’s in hyperdrive. But speed has to go hand in hand with quality, and today we have some of the smartest, most educated photojournalists ever.’

Like her colleagues, Mara stresses the ethics of her profession. ‘I’m not on the editorial page. I’m in the newsroom. I’m a political photojournalist documenting history, and this is a historic election. I love the challenge of telling stories with pictures.’

No photographer has more access than a candidate’s personal photographer. Barbara Kinney is the official photographer for the Hillary for America campaign. ‘My duty,’ Kinney says, ‘is to document the campaign for historical purposes. I have worked with secretary Clinton since 1993, so she is comfortable around me and gives me incredible access.’

It’s fair to say that Kinney has been one of the busiest photographers on the 2016 trail.

In addition to documenting the campaign, her work feeds its requirements for social media, advertising, videos, and print. ‘On a normal day,’ she says, ‘I choose selects and send them to the team at campaign headquarters.’

As the pace of the campaign progressed, she adapted with technology. ‘I’ve gone from downloading my images at the end of the day to sending photos directly from my Nikon D4 via wireless transmitter to my photo editor. This has given me more freedom to continue to shoot rather than stop to edit and possibly miss something.’

‘My goal is to present secretary Clinton in a positive way,’ Kinney adds. ‘I try to shoot images where she looks good, positive, presidential.’

In that role she is perhaps closer to Mathew Brady, and his game-setting portrayal of Lincoln, than her colleagues on assignment, but Kinney holds herself to the same high standards of photojournalism: ‘I consider my work a document of and for history.’

| INSIDE STORY | 853 Simon Roberts caught a birds-eye view of Gordon Brown’s encounter with Gillian Duffy, which hit the headlines (inset)

A VERY BRITISH VIEW

© SIMON ROBERTS HONFRPS

In 2010, Simon Roberts HonFRPS was commissioned to follow candidates for a different take on politics. The result was the Election Project

I

n 2009, I was commissioned by the parliamentary advisory committee on works of art to create a visual record of the following year’s general election.

When I first approached the project, I reflected on how photography was becoming increasingly stage managed by parties in British politics. Through the Election Project I wanted to move beyond this media bubble

and offer a more representative insight into the variety of the British public’s political views.

When the election was called in April 2010, I began following campaigns around the country.

Photographing from the roof of my motorhome removed me from the constraints of news media and allowed me to create a series of tableau landscapes, which encompassed entire scenes peopled by politicians and their campaign teams.

The day I spent with Gordon Brown was especially significant as it was the day he was tackled

by Gillian Duffy and called her a bigoted woman, which became this huge media spectacle. Using my tripod-mounted large-format plate camera I was able to capture the various dynamics of tension, drama and citizen journalism unfold.

You can view the Election Project at www.theelectionproject.co.uk

SIMON ROBERTS HonFRPS Born in 1974, his work deals with our relationship to landscape, and notions of identity and belonging

VOL 156 / NOVEMBER 2016 / THE RPS JOURNAL / 853

854 | COMPETITION |

PRIZE PAGES

The winners of this year’s Society photobook competition discuss what motivated them to produce their prize-winning work

FIRST

HOMETOWNS

By John MacLean, UK Hometowns is a complex and layered series of photographs, but it has its origin in a simple idea that I jotted down in my notebook.

‘Photograph the hometowns of your heroes’, the note read. I wanted to acknowledge my artistic influences, 854 / THE RPS JOURNAL / NOVEMBER 2016 / VOL 156

including William Eggleston and Lee Miller, by photographing the places where they spent their formative years.

I also wanted to confront the fact that every new photograph I make is an accumulation of other images I have seen. I wanted to celebrate rather than ignore this heritage.

Last month, I travelled to Belgium to oversee the printing of the final, hardback version of the book before launching it at Paris Photo in November. Promoting and distributing a self-published book can feel like a full-time job, but it will give me the chance to look for new exhibition opportunities.

© JOHN MACLEAN

Bringing it all back home

| COMPETITION | 855

ABOUT THE AUTHOR

Born in Buckinghamshire, John MacLean spent most of his childhood in Canada and the USA. After studying mathematics, physics and geology he changed direction and completed a degree in photography at the University of Derby. He has worked at The Royal College of Art, and is now an independent photographer

OPPOSITE PAGE

The hometown of John Gossage, Staten Island, New York TOP

The hometown of Robert Frank, Wipkingen, Zurich FAR LEFT

Spread from the Hometowns photobook NEAR LEFT

The hometown of Bridget Riley, Padstow, Cornwall VOL 156 / NOVEMBER 2016 / THE RPS JOURNAL / 855

856 | COMPETITION |

ABOVE AND LEFT

Four decades, four techniques ENTRE

By Arnaldo Pappalardo, Brazil This project began with me revisiting my archive – spanning 40 years of taking pictures – looking at thousands of images and trying to make associations between them.

The book presents a nonlinear sequence of photographs, mixing four different series of images and techniques: black and white photographs (35mm film); colour photographs (digital); photograms (gum bichromate printing process); and photographic fusions (gum bichromate printing process combined with fine art inkjet printing).

Photobooks are the most enjoyable and intimate way to experience photos. You can touch them, you can control the distance between your eye and the image. There are so many other reasons: the paper, the smell ...

856 / THE RPS JOURNAL / NOVEMBER 2016 / VOL 156

BELOW

The abstract front cover of Entre

ABOUT THE AUTHOR

Brazilian photographer Arnaldo Pappalardo studied architecture before moving into fine art. He is interested in exploring the relationship between photography, drawing, painting, architecture and cinema

© ARNALDO PAPPALARDO

SECOND

Two images from Entre, highlighting the different techniques on display

| COMPETITION | 857 THIRD

London’s haunted spaces MISSING BUILDINGS

By Thom and Beth Atkinson, UK We are siblings, both with our own individual practices, and Missing Buildings is the first project we’ve collaborated on together.

We have family who lived in London during the Blitz, so we became very interested in the stories and the mythology surrounding that period.

The landscape of London was greatly affected by the bombing.

The work came out of a feeling that London seemed haunted by the bombing and we wanted to explore that idea. Towards the end of shooting, after a period of six years, we decided to publish a book. It also coincided with the 75th anniversary of the Blitz last year, which was a happy coincidence.

ABOUT THE AUTHORS

Brought up in Leicestershire, Thom and Beth Atkinson are London-based photographers interested in mythology and history.

Missing Buildings is published by Thom’s imprint Hwæt Books, founded in 2014

HONORARY MENTION

© JEFF HUTCHINSON

Northern exposures

FIVE DAYS IN NORTHUMBERLAND WITH DORIS

By Jeff Hutchinson, UK Originally from Northumberland, I now live in Sussex, and every time I visit family up north, including my motherin-law Doris, I make a book.

All the photos in Five Days were

taken over Easter weekend this year. It is a personal look at the region and its people, and I often photograph places that are significant to me.

Meanwhile, I combine each image with quotes from the people I meet, including Doris and my brother.

ABOUT THE AUTHOR

A member of the Society’s Contemporary Group, Jeff Hutchinson has been making photobooks since 1977 and has produced an estimated 200 publications

VOL 156 / NOVEMBER 2016 / THE RPS JOURNAL / 857

Your images, printed.

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Use “rps10” on checkout for 10% off your 1st order + ask us about permanent discounts for RPS members

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MUST TRY

NOVEMBER 2016 THE LATEST TECHNOLOGY, TECHNIQUES AND SKILLS

Fujifilm GFX 50S

Gavin Stoker enjoys an early try with this Photokina-launched digital medium-format camera

W

ith the all-new-format GFX – of which the 50S is the first iteration – Fujifilm’s move into the medium-format market feels bold, and was arguably the biggest news at September’s Photokina trade show.

Rumoured to cost just under $10,000 when the it arrives in the first half of next year, the 50S’s GFX-format sensor, at 43.8x32.9mm, is 1.7x larger than a 35mm sensor. Fuji is introducing a line of ‘G’ mount lenses to make the most of the

format, and which resolve the GFX’s 51.4MP resolution (8,256x6,192 effective pixels).

The 50S is comparable in dimensions to a pro-grade 35mm film-based SLR, but Fujifilm says that sometimes the world does not conveniently fit into a 35mm frame.

Feeling lightweight despite its chunky looks, the 50S is able to offer a host of aspect ratios: 4:3 at 51.4 megapixels, 3:2 at 45.4MP, 16:9 at 38.3MP etc. In other words, we can maintain a decent number of pixels at any

Price: TBC, but ‘under $10,000’ Sensor: 51.4MP, 43.8x32.9mm Lens: Fujifilm G mount (six GF lenses pr omised) LCD: Small top-plate LCD plus tilting, multi-angle backplate screen Weight: 800g More: fujifilm.co.uk Summary: Fujifilm steps up its courtship of high-end interchangeable-lens camera users with its first digital medium-format model, roughly the size of a pro DSLR

aspect ratio we choose. The camera further features a waistlevel tilting screen, and a fully rotating eye-level viewfinder that is detachable. We also get a top-plate LCD window displaying key shooting info.

Fujifilm promises the option to shoot tethered will be available from day one, while six dedicated ‘GF’ dust and weather-resistant lenses are due for sequential introduction.

Fuji’s intention to gun for medium-format glory may just pay off.

VOL 156 / NOVEMBER 2016 / THE RPS JOURNAL / 859

860 | THE CRAFT | LATEST KIT

1

3

2

Panasonic Lumix Olympus OM-D DMC-G80 From £699.99 body only E-M1 MkII £TBC High-end CSC will sit just below manufacturer’s flagship model panasonic.co.uk

Classically styled CSC flagship gets 4K-shooting upgrade olympus.co.uk

With a splash-anddustproof body, and 4K video capture from which 8MP stills can be extracted, the G80 compact system camera (CSC) displays its semi-pro credentials.

Not to be not to be confused with the manufacturer’s GX80, with which it shares a sensor, the G80 now matches competing Olympus OM-D cameras by incorporating five-axis image stabilisation, the effect of which is a claimed equivalent of five stops, plus a new shutter unit and useful tilting touchscreen with 1,040K-dot resolution.

It also features an eye-level OLED viewfinder with large magnification, focus and aperture bracketing, plus an economy mode that allows us to stretch battery life from 320 shots to 800-900.

This 20-megapixel Four Thirds mirrorless revamp of Olympus’s E-M1 range topper considerably ups the ante.

Offering 18fps burst shooting at full resolution and in raw format, for instance, it can also pre-empt the decisive moment when shooting action, courtesy of buffering allowing for 14 frames to be captured in raw format before the shutter is pressed. The electronic viewfinder is also so sharp that it is nigh indistinguishable from an optical alternative.

Including 4K video capture and a new TruePic VIII processor, the camera is also dustproof, splashproof and freezeproof, while its five-axis image stabilisation is as useful for wobble-free video capture as it is for blur-free stills.

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860 / THE RPS JOURNAL / NOVEMBER 2016 / VOL 156

GEAR SPY

Sony A99 II £3,000

Improved iteration of full-frame Alpha series range topper sony.co.uk A new flagship Panasonic is on the way in the GH5. The new CSC promises to evolve the capture of 4K video and 4K photo – as well as introducing the ability to record 6K imagery at 30P, enabling an 18-megapixel still to be grabbed from said footage. We’ll also get 4K video at 60P; allowing the selection of an 8-megapixel still from a rapid 60fps burst of frames.

Planned GF series lenses for the new Fuji GFX medium format include the GF63mm f/2.8 R WR standard prime lens, (a 50mm equivalent in the 35mm format), plus a GF120mm f/4 macro lens (pictured).

The arrival of a new flagship model, bucking Sony’s trend for mirrorless CSCs, is timely. The A99 II offers full-frame capture and a 42.2MP resolution, 12fps continuous shooting, 79 cross-type AF points and body-integral fiveaxis anti-shake. So speed and image quality are, theoretically at least, second to none.

Construction is solid too, thanks in part to a magnesium alloy body that is dust and moisture resistant.

Handy for video and stills shooting is a back-plate LCD screen that can be tilted about three axes, alongside an eyelevel XGA OLED viewfinder.

Compatible with all existing A-mount lenses, there are now some 74 pieces of Sony glass to choose from.

3

| THE CRAFT | 861 5 MEMBER TEST

SEEN AT

4

Sigma 20mm f/1.4 DG HSM Art First 20mm f/1.4 ultra-wide-angle lens

F Canon EOS M5 From £1,049 body only

Nikon KeyMission 80 £249.99

Canon’s latest mirrorless EOS M5, which arrives alongside a new 18-150mm zoom, more closely resembles a DSLR than a compact.

It is DSLR-like on the inside too; a 24.2-megapixel APS-C sized sensor at its heart plus a latest-generation Digic 7 processor and the ability to eke out detail in the dim thanks to light sensitivity up to ISO 25,600.

Suggesting itself as an all-rounder, the camera is able to capture up to 7fps with continuous AF, or 9fps with fixed AF. Unlike latest-generation CSCs from competitors, however, there is no 4K video – but full HD video is nevertheless a cinematic 60fps. Rounding out the features are the useful touch-panel LCD and centrally placed eye-level viewfinder.

Nikon’s delayed KeyMission 360 action camera – a first for the brand – is now ready, and joined by two further models in the 170 and 80: hands-free ‘wearable’ cameras all.

While the lure of the 360° (£419.99) and 170° (£329.99) shooting models is obvious, the 80 is the most cleverly compact of the bunch, its upright design recalling a smartphone handset.

It will sit comfortably in a top pocket, or one can utilise the snap-on magnetic attachment for attaching it to the strap of a camera bag or backpack.

The waterproofed, lightweight KeyMission 80 offers automatic interval shooting, touch-panel operation, panoramic mode and a smartphone-like second camera for the capture of the ubiquitous selfie.

Fledgling CSC series slowly edges toward semi-pro status canon.co.uk 4

One of three new hands-free ‘wearable’ cameras nikon.co.uk 55

irst, the downsides.

Inevitably for such a fast lens, it’s very heavy (at nearly a kilogram), while its bulbous front means it can’t take screw-in filters for protection or image adjustment. However, its fixed lens hood should help prevent damage.

The drawbacks are outweighed by its ability to provide images with a very shallow depth of field – a compositional advantage in the sort of landscape pictures for which this lens is ideal. A great sense of depth can be achieved with sharp foreground detail and a soft background. The wide aperture enables a faster shutter speed to be used and results in a

bright viewfinder image, even in dull conditions.

I used the 20mm lens on a full-frame Canon.

On an APS-C body, the focal length would be equivalent to a more versatile 32mm. The lens is available for Canon, Nikon and Sigma SLRs. With a luxurious matt finish, the lens has a feeling of real quality. Its wide, ribbed focus ring is smooth to operate and autofocus is rapid and accurate. It produces very sharp, crisp images.

I wouldn’t like this as my only lens, since the very wide angle limits its applications. However, I’d be delighted to have it as part of my kit and was extremely impressed with the resulting images.

John Humphrey tries out the Sigma and, top, one of his images AUTHOR PROFILE JOHN HUMPHREY FRPS Humphrey runs Society workshops on macro photography and art techniques in Photoshop.

His work can be viewed on johnhumphrey.uk

VOL 156 / NOVEMBER 2016 / THE RPS JOURNAL / 861

862 | THE CRAFT |

Dodge and burn using curves

W

John McIntire reveals how to improve contrast in your portraits using Photoshop

ith portraits, no matter how right you get it in camera there is always scope for adjustments in postprocessing. Even the most beautifully lit photographs can be brought to life with the help of Photoshop.

One of the most useful techniques is dodge and burn. By allowing you to control small, local areas of contrast, dodge and burn gives you almost unlimited control over the tonality and contrast in your images.

The technique can be used to make large, sweeping adjustments, or it can be used in small areas, such as the eyes, to give your images extra depth.

SET!UP

BURN

Firstly, complete any required colour corrections or blemish removal. Start by creating two curves adjustment layers, name one ‘highlights’ and the other as ‘shadows’.

Choose the ‘highlights’ layer, click towards the centre of the 1

curve and drag it upwards slightly. Feel free to overdo it, as you can change it later. In your ‘shadows’ layer, drag the curve down. Invert both layer masks by selecting the layer mask and pressing ctrl+I (cmd+I). They should now be black.

To begin dodging, select a large soft brush with the opacity around 10-15 per cent.

Set your foreground colour to white and click on the layer mask for your ‘highlights’ layer.

Painting on the image will

your image, as burning in highlights can lead to unnatural-looking results.

If you feel you’ve gone wrong on either layer, press shift+f5 (cmd+f5) to fill the layer mask with black and start again.

SOFTEN THE EDGES

DODGE 2

To begin burning, select the layer mask for your ‘shadows’ layer and repeat the process you used for dodging.

If the effect is too intense, try reducing the opacity of your brush. Again, try to follow the shadows as they appear in 3

brighten any tones. Keep to areas of highlight to ensure natural results. Continue building up brush strokes until you are happy with the results. Your image may look overcooked, but will be adjusted in later steps.

862 / THE RPS JOURNAL / NOVEMBER 2016 / VOL 156

You should now have a fairly contrasty image.

Masking your brush strokes will make it more natural. Select layer mask for your ‘highlights’ layer and in the menu choose: filter > blur > Gaussian blur.

4

Choose a radius between 20-35 pixels to blend the shifts in contrast. The radius varies between images depending on the size of the areas you work on. Do the same for your ‘shadows’ layer.

| THE CRAFT | 863

MASTER CLASS

AFTER Practice makes perfect when it comes to post-processing

Five top tips that will make your portraits pop

1

Don’t be afraid to overdo it. You can always dial it back later.

Messed up? Fill the layer mask with black and start again.

Use several sets of Curves layers to work on areas such as eyes and lips separately.

Subtlety is important. Try reducing your opacity until you can barely notice the effect.

A graphics tablet can be a great help with getting natural brush strokes.

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3

4 5

FINAL TWEAKS The last step is to reduce the overall strength of the dodge and burn effects. Select your ‘highlights’ layer and find the opacity slider in layer palette. Drag the slider to the left while watching the effect it has. When 5

you are satisfied with the highlights, choose your ‘shadows’ layer and reduce its opacity.

If the effect is still too strong, return to your curves layers and adjust the curves in their respective properties tabs.

| SIGN UP |

AUTHOR PROFILE JOHN McINTIRE is a Barnsley-based professional photographer specialising in high-quality portraiture.

He draws inspiration from popular fashion to produce his images johnmcintirephotography. com

Why not join an introduction to Photoshop workshop? See page 868 VOL 156 / NOVEMBER 2016 / THE RPS JOURNAL / 863

INTERNATIONAL PHOTOGRAPHY FESTIVAL

HABITAT 24 MARCH - 23 APRIL 2017 DERBY / UK

EXHIBITIONS / WORKSHOPS / COMMISSIONS / PORTFOLIO REVIEWS /

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| THE CRAFT | 865

How to retouch skin Pat David shares the secret to stopping his subjects from turning into mannequins

T

he wavelet decompose plug-in for GIMP is great for skin retouching. It breaks down your images to multiple layers, each containing a specific set of details based on their relative size, and a residual layer with colour/ tonal information. This means we can modify details on one layer without affecting details from other layers, or adjust colours/tones without modifying details.

My normal workflow is to have all layers visible so that I can constantly see the overall image results. Then I simply select each wavelet scale as I work on it. For each area, I work with detail scales first, and follow up with touch-ups on the residual scale if needed.

MY METHODS There are three main processes I follow: Area selection with Gaussian blur to even out overall tones at a particular scale Paint with grey, clone and heal on wavelet scales to modify specific details Clone/heal on wavelet residual scale to modify underlying skin tones/colours (but leave details intact)

1

2

3

ABOUT THE AUTHOR PAT DAVID He writes photography tutorials focusing on free and open-source software.

Read more at pixls.us

BEFORE

IN DEPTH

SMOOTH TONES With an area selected, for example, the forehead, I’ll often run a Gaussian blur over the skin to smooth out imperfections.

The radius you use is dependent on how strongly you want to smooth out the tones. Too much, and you’ll obliterate the details on that scale, so start small

Face-to-face challenge I usually work in sections, considering the forehead, nose, cheeks to smile lines, chin, and upper lip one by one

LIGHTEN UP With the dark tones under and around the eyes I work on the residual layer, using the heal tool to sample from a brighter area of skin near the eye, then carefully paint into the dark tones to brighten them up, and to even out the colours with the surrounding skin.

The same can be done for red tones on the cheek, and at the edge of her jaw

DOWN THE LINES I’ll look at specific areas of the skin that I may want to touch up, such as frown lines. I may not want to remove them completely, but just downplay how visible they are. Wavelet scales are perfect for this, as you can paint with medium grey RGB(128,128,128) to completely remove something from a detail layer AFTER With a few other minor adjustments, a polished but natural portrait is complete

WHAT WAVELET SCALES LOOK LIKE Wavelets are great for retouching skin because you can make changes to certain details on certain layers without losing others that you may wish to preserve – and save your subject from becoming a mannequin

VOL 156 / NOVEMBER 2016 / THE RPS JOURNAL / 865

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MEMBER A meeting of minds

Two Society members will share their wealth of photography experience

T

he RPS Creative Group and East Anglia Region welcome two speakers to their joint meeting in Cambridgeshire on 13 November.

With a passion for photography, Dianne Owen FRPS has lectured and judged in local clubs and international salons all over the UK and Ireland.

She gained her Fellowship in 2008 with a panel in the visual arts category, and is on the PAGB (Photographic Alliance of Great Britain) judging list.

Having moved from darkroom to Photoshop, Owen is constantly exploring new ways of producing creative images. Her process

always ends with a physical print, because ‘holding a print is the final step of any image’.

The day’s second speaker, Glyn Edmunds ARPS, shares Owen’s passion for traditional media; in this day of digital everything, he still loves to work with film.

Edmunds is an active judge and lecturer in the PAGB regions, and is fascinated by images that reveal something invisible to the naked eye. His subject matters are wide ranging and include urban landscapes, studio-based portraits and travel photography.

| GUIDE | 867

GUIDE

YOUR RPS EVENTS ! COURSES PROGRAMME

NOV!DEC!JAN

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

Above: Close Call

by Glyn Edmunds ARPS Left: Old pier by Dianne Owen FRPS Below: Red & Green, Seattle, by Glyn Edmunds ARPS

For more details turn to page 871 or see the Society website VOL 156 / NOVEMBER 2016 / THE RPS JOURNAL / 867

868 | GUIDE |

WORKSHOPS

Hear from the experts and hone your skills

Wedding photography Wed 9 November / 10:00-17:00

`` £145/£120 Society

A beginners’ guide to product photography Fri 25 November / 10:00-16:30

members `` Nottinghamshire

`` £95/£71 Society members `` Amersham

Introduction to mindfulness, meditation and how this links to photography

Introduction to your digital camera

Thu 10 November / 10:00-16:30

`` £95/£71 Society members `` Amersham Night shoot Sat 12 November / 18:00-22:00

`` Fully booked `` £35/£26 Society members `` Bath Abbey Sat 10 December / 18:00-22:00

Sat 26 November / 10:00-17:00

`` £85/£63 Society members `` Bath HQ Sat 28 January / 10:00–17:00

`` £85/£63 Society members `` Bath HQ Art nude photography Sat 26 November / 10:00-17:00

`` £120/£95 Society members `` Lacock

`` £35/£26 Society members `` Bath Abbey

Creative dance photography lighting

Wildlife photography

`` £120/£95 Society members `` Learn how to create multi-

Sat 12 November / 10:00-16:30

`` £45/£33 Society members `` Bath HQ Macro and art photography Fri 18 November / 10:00-16:30

`` £55/£41 Society members Amersham

Lightroom introduction Sat 19 November / 10:00-16:30

`` £95/£71 Society members `` Bath HQ Weddings (two days) Sat 19 – Sun 20 Nov / 10:00-17:00

`` £165/£140 Society members

`` Lacock

Digital photobooks Sun 20 November / 10:00-16:30

`` £95/£71 Society members

`` Bath HQ Portrait photography and getting the most from your subject Wed 23 November / 10:00-17:00

`` £115/£90 Society members `` The morning explores the skills, practicalities and knowledge needed to take great portrait shots. The afternoon will be spent in the studio shooting with various light sources and set-ups `` Amersham

Creative techniques in Photoshop Thu 24 November/ 10:00-16:30

`` £115/ £90 Society members `` Amersham

Sat 26 November / 10:00 – 17:00

image and strobe effects as well as getting the chance to work alongside a top model and professional ballet dancer `` Surrey

How to photograph children and babies

An introduction to mindfulness, meditation and how this links to photography workshop will be held on 10 November

REGIONS

`` Smethwick Photographic

CENTRAL

‘An evening with Frank’

by Frank McGowan

Meet photographers and view work in your area

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

Distinctions advisory workshop (Creative/ Pictorial) (LRPS, ARPS) Tuesday 1 November / 19:30-22:00

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

`` £120/£95 Society members `` Lacock

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

Introduction to Photoshop

‘The Cotswold lad returns’

by Martin Fry FRPS

Sun 27 November / 10:00-17:00

Sun 27 November / 10:00-17:00

`` £95/£71 Society members `` Bath HQ Sun 29 January / 10:00-17:00

`` £95/£71 Society members `` Bath HQ Developing personal projects and storytelling with Ben Cherry Fri 9 December / 10:00-17:00

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

Studio portraiture Sat 28 January / 10:00– 17:00

`` £165/£140 Society

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

Workshops for 2017 can be found at rps.org/ learning/workshops

868 / THE RPS JOURNAL / NOVEMBER 2016 / VOL 156

Thursday 3 November / 19:30-22:00

`` £3 Society members `` Smethwick Photographic

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

‘Our life in photography’

by Gwen Charnock FRPS and Phil Charnock FRPS Thursday 10 November / 19:30-22:00

`` £3 Society members `` Smethwick Photographic

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

‘Contemporary photography from the Netherlands’ by Armando Jongejan FRPS

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

Thursday 15 December / 19:30-22:00

`` £3 Society members `` Smethwick Photographic

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

‘My passion or obsession’

by Graham Hodgkiss ARPS Thursday 19 January / 19:30-22:00

`` £3 Society members `` Smethwick Photographic

Society, Churchbridge, Oldbury, Birmingham B69 2AS `` Mike Sharples ARPS, as above EAST ANGLIA IAN WILSON ARPS, 07767 473594 IAN(GREENMEN.ORG.UK

Dianne Owen FRPS and Glyn Edmunds ARPS Sunday 13 November / 10:30-16:30

`` £15/£10/£5 region and group members

`` Joint meeting with RPS Creative Group

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

`` Ian Wilson ARPS, as above EAST MIDLANDS STEWART WALL ARPS, 07955 124000 STEWARTWALL(ICLOUD.COM

Thursday 17 November / 19:30-22:00

`` £3 Society members `` Smethwick Photographic

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

‘PG Tips: the latest brew’,

by Peter Gennard Thursday 8 December / 19:30-22:00

`` £3 Society members

Research day at Bromley House Library Saturday 12 November / 10:30-15:30

`` £5 spectators `` The Gallery, Bromley House

Library, Angel Row, Nottingham NG1 6HL `` Geoff Blackwell ARPS, 0114 266 8655, gblackwell@fastmail.fm

| GUIDE | 869 ‘How to develop your photographic practice’

by Brian Griffin HonFRPS and Shy Burhan

`` The Prince of Wales, 138

Upper Richmond Road, Putney SW7 2RL `` London Web, Londonweb@rps.org

Sunday 20 November / 10:30-16:00

`` £10 `` Whatton Jubilee Hall, Church

Street, Whatton in the Vale NG13 9EL `` Stewart Wall ARPS, as above EIRE MICHAEL O’SULLIVAN INFO(MOSULLIVANPHOTO.COM

SW7 5BD

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

London Region street walk

JUDY HICKS AND NEIL CORDELL LONDONEVENTS(RPS.ORG

Imaging Science Group AGM and talk Wednesday 2 November / 14:30-16:00

`` Talk by Dr John Allen on

‘Microvascular imaging and vascular optics’, followed by the Imaging Science Group AGM `` 63 Bayswater Road, London W2 3PH `` Richard Stevens, stevensrf@tiscali.co.uk

The art of product photography at the Nikon School Tuesday 8 November / 10:30-16:30

`` £129/£99 Society members `` Nikon Centre of Excellence,

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

londoncave@rps.org

The Combined Royal Colleges Lecture

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

`` £5/£3 Society members `` Invention of capsule

Wednesday 16 November / 18:30-21:00

`` The Crusting Pipe, 27 The

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

and unemployed people

`` The London Naturally Group

is arranging a Sunday-morning visit to the exhibition `` Natural History Museum, Cromwell Road,London

Tuesday 13 December / 19:00-21:00

`` The Prince of Wales, 138

Upper Richmond Road, Putney

`` London Web, Londonweb@ rps.org

Regular meeting of the SW London Group Monday 9 January / 19:00-21:00

`` The Prince of Wales, 138

Upper Richmond Road, Putney SW7 2RL `` London Web, Londonweb@ rps.org

Getting started with macro photography at the Nikon School

Saturday 10 December / 10:00-16:00

Friday 13 January / 10:30-16:30

`` £129/£99.99 Society

London Region street walk: Columbia Road flower market Visit the Wildlife Photographer of the Year Exhibition with the London Region on 27 November Image: Audun Rikardsen

Regular meeting of the SW London Group

`` £74/£42 concessions `` The latest in the series of

Good Picture symposia organised by the Imaging Science Group `` University of Westminster, 309 Regent Street, London W1B 2UW `` Dr Mike Christianson, 01753 890 480, pandm@ christianson.freeserve.co.uk

`` The Bookworm Club

Sunday 27 November / 10:15-13:00

Thursday 1 December / 18:30-21:00

Good Picture 2016: Facets of Imaging

endoscopy: a lecture at the Royal College of Surgeons, London, by Dr Gavriel J Iddan DSc `` Royal College of Surgeons, 35-43 Lincoln’s Inn Fields, London `` Jo Macdonald, 01225 325721, jo@rps.org

`` £9/£5.60 seniors, students

Joe McNally FRPS – talk

photographer Joe McNally talks about a professional photographer’s life over the span of a 30+-year career `` Wetherby Preparatory School, 48 Bryanston Square, London W1H 2EA `` London Events, londonevents@rps.org

Saturday 12 November / 9:45-13:00

`` London – to be confirmed `` London Cave,

Visit to Wildlife Photographer of the Year Exhibition 2016

london-naturally@rps.org

`` £25/£15 Society members `` World-renowned

Tuesday 15 November / 18:30-21:00

LONDON

`` London Naturally,

members

`` An informative and interactive entry-level workshop for anyone interested in learning how to shoot close-up and macro images, combining practical shooting situations with bite-sized theory `` The Nikon Centre for Excellence, 63–64 Margaret Street, London W1W 8SW `` London Events, as above

Breathing London project

Sunday 11 December / 9:45-14:00

Friday 20 January – Monday 17 April

`` Please note date change from

`` We’re in. Are you? Sign up

Saturday 17 to Sunday 11 December `` Shoreditch High Street overground station, Braithwaite Street, Shoreditch, London E1 6JU `` London Cave, londoncave@ rps.org

here to take part in our project ‘Breathing London’, to photograph the diversity of the UK capital’s open spaces `` London `` Judy & Jen, greenlondon@rps.org NORTH WALES MARTIN BROWN LRPS, 01691 773316 NORTHWALES(RPS.ORG NORTH WEST DR AFZAL ANSARY ASIS FRPS, 07970 403672 AFZALANSARY(AOL.COM

Ray Spence FRPS & Nick RobertsonBrown FRPS Sunday 13 November / 10:30-16:00

`` £10 Society members `` Two Fellows present and discuss their work

`` Hough End Centre, Mauldeth Road West, Manchester M21 7SX `` Afzal Ansary FRPS, as above

Lake District day – Ullswater, Aira Force, Borrowdale Thursday 17 November / 9:00-18:00

`` Lake District, Aira Force car park, Ullswater CA11 0JY

`` Ken Rennie,

km.rennie61@gmail.com

Third meeting of the NW Digital Imaging Group VOL 156 / NOVEMBER 2016 / THE RPS JOURNAL / 869

870 | GUIDE | Introduction to Distinctions in Eastbourne Saturday 12 November / 10:30-17:00

`` £15/£10 Society members `` Kings Centre, 27 Edison

Road, Eastbourne, East Sussex BN23 6PT `` Terry McGhie ARPS, as above

Long exposure: coastal exploration Sunday 4 December / 10:00-16:00

`` £10/£5/free group members

`` Fully booked `` Old Fort Road, Shoreham `` Richard Ellis, sre868@gmail.com

Sunday 27 November / 10:00-15:00

`` £15/£13 group members `` Two lectures to help you with

your photography, including a ‘Bring a print’ competition, and a light lunch `` Lowton Church of England High School, car park via Clayhill Grove, Lowton, Warrington WA3 1DU `` Peter Jarvis, LRPS, 01704 220980, peterjarvisphoto@mail.com

JAMES.FROST11(BTINTERNET.COM

Photo forum Edinburgh Sunday 6 November / 10:30-16:00

`` £10/£8 Society members `` Edinburgh PS, 68 Great King Street, Edinburgh EH3 6QU `` James Frost FRPS, as above

Scottish Region members’ print exhibition 2016/17 – Shambellie House Wed 16 – Wed 30 Nov/ 10:30-16:00

Christmas lunch Sunday 18 December / 11:00-16:00

`` £16.50 `` Details to follow `` Hough End Centre, Mauldeth Road West, Manchester

`` Afzal Ansary FRPS, as above NORTHERN GERRY ADCOCK ARPS, 01661 830882 GERRY(GERRYADCOCK.CO.UK

Northern Documentary Group meeting Friday 4 November / 10:30-12:30

`` Kibblesworth Village

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

Lake District weekend 2016

`` Shambellie House, 40 Main Street, New Abbey DG2 8HQ

`` Laura Hudson Mackay LRPS, info@hudsonmackay.com

Visit to the Scottish National Photographic Collection, Edinburgh Fri 25 Nov–Sat 26 Nov/ 15:00-18:00

`` £10/£5 Society members `` A chance to view the

collection, both as an exhibition and as selected images, and to visit some of the locations of Hill and Adamson’s best-known work `` Scottish National Portrait Gallery, 1 Queen Street, Edinburgh `` Donald Stewart FRPS, 01592 840277, Donaldstewart42@aol.com

Celebration of Distinctions

Fri 11 – Sun 13 November / 18:00-13:00

Saturday 3 December / 10:30-16:00

`` £250/£230 sharing room `` A residential event held in an

`` £15/£10 Society members `` A selection of successes `` Bridge of Allan Church Hall,

amazing part of the country with lectures, time to explore and take photos, and the opportunity to display your work `` Burnside Hotel, Bowness, Windermere LA23 3HH `` Gerry Adcote or Sandra Taylor, 01661 830882 or 0191 488 6900, gerry@gerryadcock.co. uk or staylorr@hotmail.com NORTHERN IRELAND RICHARD CORBETT 07805 381429

Keir Street, Bridge of Allan

`` James Frost FRPS, as above DIG Scotland Centre – printing workshop Sunday 4 December / 10:30-16:00

`` £12/£10/£5 group members `` Edinburgh Photographic Society, 68 Great King Street, Edinburgh EH3 6QU `` Doug Berndt ARPS, digscotland@rps.org

RICHARD(RICHARDCORBETTPHOTOGRAPHY.COM SOUTH EAST SCOTLAND JAMES FROST FRPS 01578 730466/07881 856294

TERRY McGHIE ARPS, 01323 492584 SOUTHEAST(RPS.ORG

870 / THE RPS JOURNAL / NOVEMBER 2016 / VOL 156

The South West Region will be holding its annual ‘Blow the cobwebs away’ event on 2 January in Hayle

SOUTH WALES MIKE LEWIS, 07855 309667, 01446 710770 MIKEGLEWIS101(BTINTERNET.COM

Lee Filters factory HQ tour Saturday 26 November / 10:00-12:30

`` £20 Society members `` Lee Filters HQ, Walworth

Business Park, Central Way, Andover SP10 5AN `` Paul Gilmour LRPS, as above

Distinctions advisory day (LRPS/ARPS) Saturday 3 December / 10:00-16:00

`` £15/£10 spectators `` Old Basing Village Hall, Old Basing, Basingstoke

`` David Ashcroft LRPS,

07710 302684, southernsecretary@rps.org

DIG Southern Centre: photography, Photoshop and Lightroom

by Glyn Dewis Sunday 4 December / 10:30-16:00

SOUTH WEST MICK MEDLEY, 01626 824865/07980 073808 RPSSWREGION(GMAIL.COM

Distinctions advisory day Saturday 26 November / 10:30-16:00

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

Road, Bovey Tracey TQ13 9AL

`` Di Wilkins LRPS,

01392 469149, dianawilkins15@hotmail.com

Introduction to Distinctions

`` £12/£10 group members `` Dewis will be discussing and

demonstrating how he takes and makes his distinctive images using Photoshop and Lightroom `` Greyfriars Community Centre, 44 Christchurch Road, Ringwood BH24 1DW `` Barry Senior HonFRPS, 01425 471489, digsouthern@rps.org

A talk with Jeremy Walker and the use of filters

Sunday 11 December / 10:30-16:00

Sunday 15 January / 11:00-16:00

`` £15/£10 Society members `` The Dolphin Hotel, Station

`` £25/£15 Society members `` Walker will talk and

Road, Bovey Tracey TQ13 9AL

`` Martin Howse ARPS, 01326

221939, mghkh@btinternet.com

Annual ‘Blow the cobwebs away’ Monday 2 January / 10:30-15:30

`` A day in Hayle to blow

away the Christmas and new year blues `` Graham and Carol’s chalet, Towans, Phillack, Hayle TR27 4AE `` Graham Hodgson, graham. hodgson@artslive.org.uk

demonstrate his work with examples, followed by a discussion into the techniques and use of filters for landscape photography `` Hamworthy Club, Magna Road, Wimbourne BH21 3AP `` Dave Peckham, 07434 170644, davepeckham@mac.com

How I achieved my Distinction Sunday 29 January / 10:15-16:15

`` £25/£15 Society members `` Learn about the process of

Littleton, The Hall Way, Winchester SO22 6QL `` Paul Gilmour LRPS, as above

applying for a society Distinction - the criteria, specialist categories, and see how others achieved theirs `` Otterbourne Village Hall, Cranbourne Drive, Otterbourne, Winchester SO21 2ET `` Lilian Hobbs LRPS, 07785 264684, lmh@dbevolution.co.uk

Meet and share your photography

MARK BUCKLEY,SHARP ARPS, 020 8907 5874

Sunday 13 November / 11:15-15:00

MARK.BUCKLEY,SHARP(TISCALI.CO.UK

SOUTHERN PAUL GILMOUR LRPS, 07899 042372 SOUTHERN(RPS.ORG

Southern Region AGM Sunday 13 November, 10:30-11:00

`` Millennium Memorial Hall,

`` Millennium Memorial Hall,

Littleton, The Hall Way, Winchester SO22 6QL `` Paul Gilmour LRPS, as above

THAMES VALLEY

Distinctions and the RPS Thursday 10 November / 19:45–21:45

`` Watford Camera Club,

| GUIDE | 871 The Friends Meeting House, 150 Church Road, Watford WD17 4QB `` Terri Adcock, terriadcock@hotmail.com

DIG Thames Valley: Paul Gallagher ARPS and Mike Jones ARPS – ‘The colour-managed workflow and printing’ Sunday 20 November / 10:00-15:30

`` £25/£20 group members `` Woosehill Community Hall,

Emmview Close, Wokingham Berkshire RG41 3DA `` Laurie Pate, digthamesvalley@rps.org

Dorset’s Jurassic Coast

`` Merryfield Village Hall, Ilton, Nr Taunton

`` Paula Fernley,

paula.fernley@iCloud.com

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

Members’ Christmas party and show-and-tell Sunday 11 December / 10:00-12:30

`` Prints and digital images `` RPS HQ, Fenton House, 122

Sunday 22 January / 10:00-16:00

`` Amersham, Community

Centre, Chiltern Avenue, Amersham HP6 5AH `` Kathy Chantler, 01296 483469/07738 112775, kathychantler@gmail.com WESTERN

DIG Western Centre: David Clapp – professional landscape photography unveiled `` £10/£8/£6 group members `` Clapp is presenting a

Western Region at Fenton House Sunday 13 November / 10:00-12:30

`` £2 `` ‘Making images count: the

PHOTOBOX50(GMAIL.COM

Open International Photobook Exhibition Saturday 12 November / 10:30-16:30

value of pictures in marine and freshwater conservation projects’ by Paul Colley ARPS, a professional photographer who works with various conservation agencies `` RPS HQ, Fenton House, 122 Wells Road, Bath BA2 3AH `` David Norfolk ARPS, as above

`` An exhibition of winners and

Hignnam meeting

RPS Great Yorkshire AV Day

Sunday 20 November / 10:00-13:00

`` £5 `` Show-and-tell session

plus Bev Williams ARPS on ’Pattern in the environment’ `` Parish rooms in the community centre, Newent Road, Highnam GL2 8DG `` Bob Train LRPS, 07825 325799, photography@ bothtrains.co.uk

Ilton meeting Sunday 20 November / 10:00-13:00

`` £5 `` An excellent opportunity to

show your results of the August field trip `` Merryfield Village Hall, Ilton, Somerset Mick Humphreys `` mick@somersite.co.uk

DIG Western Centre: Stephen Bank ‘Dorset Scouser’ – stargazing Sunday 4 December / 10:00–4:00

`` £8/£7/£5 `` Capturing the Milky Way on

shortlisted entries for the Society Open International Photobook Exhibition 2016.

Books can be browsed by visitors `` Impressions Gallery, Centenary Square, Bradford BD1 1SD

`` Ian Wilson ARPS, 07767

473594, ian@greenmen.org.uk

Open International Photobook Exhibition

JANET HAINES

Saturday 12 November / 10:30-16:30

DIGCHAIR(RPS.ORG

DIGITAL IMAGING

DIG Thames Valley: Paul Gallagher ARPS and Mike Jones ARPS – ‘The colour-managed workflow and printing’ Sunday 20 November / 10:00-15:30

`` £25 `` Woosehill Community Hall,

Emmview Close, Wokingham, Berkshire RG41 3DA `` Laurie Pate, digthamesvalley@rps.org

Saturday 19 November / 14:00-17:00

`` Central Buildings, 13 Bull

Ring, Third Floor, Suite 4, Wakefield WF1 1HB `` Patricia A Ruddle ARPS, 07572 124290, patriciaruddle@btinternet.com

YORKSHIRE MARY CROWTHER ARPS, 07921 237962

Creative Group

`` Foxton Village Hall, Hardman

WORDSNPICSLTD(GMAIL.COM

Contemporary Group North East November meeting

showcase and workshop on his professional photography. He will unveil his intricate use of computer technology `` Clyst St Mary Village Hall, Clyst St Mary, Nr Exeter EX5 1BG `` Paula Fernley, 07734 172350, paula.fernley@icloud.com

`` Joint meeting with RPS Road, Foxton CB22 6RN

CONTEMPORARY PETER ELLIS LRPS, 07770 837977

shortlisted entries for the Society Open International Photobook Exhibition 2016. Books can be browsed by visitors `` Impressions Gallery Bradford, Centenary Square, Bradford BD1 1SD

DAVID NORFOLK ARPS, 07771 515273 WESTERN(RPS.ORG

HOWARD.BAGSHAW(NTLWORLD.COM

`` An exhibition of winners and

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

Sunday 29 January / 10:00-16:00

Thames Valley advisory day

group members

AUDIO VISUAL HOWARD BAGSHAW ARPS, 01889 881503

Stephen Bank will share fascinating insights into his work capturing Dorset’s night skies Image: Stephen Banks, Reflections at Kimmeridge

CREATIVE BARRY COLLIN LRPS CREATIVECHAIR(RPS.ORG

Dianne Owen FRPS and Glyn Edmunds ARPS Sunday 13 November / 10:30-16:30

`` £15/£10/£5 region and

Third meeting of the NW Digital Imaging Group Sunday 27 November / 10:00-15:00

`` £15 Society members `` Two lectures to help your

photography, including a ‘Bring a print’ competition, and a light lunch `` Lowton Church of England High School, car park via Clayhill Grove, Lowton, Warrington WA3 1DU `` Peter Jarvis LRPS, 01704 220980, peterjarvisphoto@mail.com

Sunday 20 November / 10:30-17:00

`` Leeds Trinity University,

Browberrie Lane, Horsforth, LS18 5HD `` Bryan Stubbs, bryan@ stubbsav.com, 0113 266 1448

SPECIAL INTEREST GROUPS

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VOL 156 / NOVEMBER 2016 / THE RPS JOURNAL / 871

872 | GUIDE |

COUNCIL REPORT ! AUGUST 2016 MINUTES OF THE PREVIOUS MEETING `` Vanessa Slawson asked that the minutes noted that a staff pension scheme needed to be in place by January 2017 and would commence from March 2017.

Subject to this addition the minutes of 19 July 2016 were approved.

MATTERS ARISING

`` Del Barrett noted the

new website sitemap and suggested that it be moved to the top of the home page. Richard Tucker welcomed recent changes to the layout and organisation of the website. Robert Albright had allocated regions for trustees to visit. The visits were intended to be supportive to the region and an opportunity for trustees to hear directly from members.

presence of the Society significantly. The need for detailed business and fundraising plans would be essential if a bid from the Society was accepted by the church commissioners. The chief executive noted that even after the acceptance of a bid the Society was not committed and could withdraw if significant building or planning issues arose or fundraising had not progressed satisfactorily. `` The president took a vote.

A majority of the trustees supported the decision to authorise the chief executive to prepare a bid for the property. The chief executive was authorised to inform the staff of the trustees’ decision.

HONORARY FELLOWS MEETING `` Walter Benzie reported on a meeting he and Robert Albright had held with two London-based Honorary Fellows and others. Robert Albright noted that the meeting had been constructive and there had been a useful exchange of views. Del Barrett gave some additional background to the meeting and the original London Region breakfast she had arranged with the Honorary Fellows.

She had reported on this at the January meeting.

It had suggested that the Society was not realising its potential and it was considered insular and focused on a particular style of ‘camera club’

photography which needed broadening. `` There was an extended discussion around the views and a proposal to change the way the president was elected. The general consensus, from the majority of trustees, was that the proposal was not one that would be helpful, would be difficult to implement, and the criticisms of the Society were made without sufficient knowledge about the Society. Some of the suggestions made would be followed up. It was suggested that the Society’s regional lecture programme be discontinued and replaced with a programme of talks from the Honorary Fellows and direct Fellows. The chief

SOCIETY FINANCE

`` Geoff Blackwell reported

that the Society’s cash flow was satisfactory. The investment committee had met recently and the Society’s investment managers had dealt with the immediate aftermath of the Brexit vote well but were cautious about its future impact. `` Nick Rogers, Simon Bibb and Alan Hitch were reviewing membership statistics and income.

SOCIETY PREMISES

`` During the morning the

Society’s trustees and staff had toured Holy Trinity, Bath, as a possible future headquarters building for the Society. This had been followed by a joint meeting where the building was discussed. The president held a joint discussion with the staff before the trustees met separately. Another trustee considered the Society would be well placed to secure the property if it bid.

A number of aspects were reviewed, including the need to develop new courses and training, and possible options for the proposed interior layout. The vicepresident felt that the space clearly had the potential to raise the profile and

Holy Trinity church in Bath, a possible future headquarters building for the Society, which trustees and staff have visited, and for which a bid is being submitted

872 / THE RPS JOURNAL / NOVEMBER 2016 / VOL 156

executive was asked to discuss with the Society’s education manager how this might be managed and to report back.

ADVISORY BOARD MEETING `` The next advisory board meeting would take place after the AGM on 24 September. Two main agenda items were noted: the Society’s governance review and changes to the advisory board. The chief executive was asked to check if Douglas May would be available to report to the meeting.

ANY OTHER BUSINESS

`` Richard Tucker presented a

revised draft of MP005 dealing with the chapters.

It had been simplified and reflected current practice.

Geoff Blackwell questioned the use of the phrase ‘limited agent’ and would supply a form of words that reflected the need to keep chapters financially and administratively separate from the Society.

Thought was needed over the definition of the term ‘chapter’. Richard Tucker agreed to incorporate the points made and circulate a new draft. `` Walter Benzie reported on a discussion with Roger Reynolds. He and Robert Albright would meet him to review the Distinctions report and to discuss how the consultation with the DAB should be undertaken.

It was suggested that another member of the DAB might be invited to the meeting. Tony Kaye had responded to Vanessa Slawson’s queries over some of the numbers in the report and he would pass these on. `` Del Barrett advised that the trustees undertake a midterm review to determine its effectiveness over its first year, and to assess its immediate objectives and to ensure that they matched against the Society’s charitable aims. She would circulate information from the NCVO and other organisations that would be helpful.

| GUIDE | 873 Good Picture 2016: ‘Facets of imaging’ Saturday 10 December / 10:00-16:00

`` £74/£42 concessions `` University of Westminster, 309 Regent Street, London

`` Dr Mike Christianson,

01753 890480, pandm@ christianson.freeserve.co.uk LANDSCAPE TIM PARISH LRPS LANDSCAPE(RPS.ORG

Lake District day – Ullswater, Aira Force, Borrowdale Thursday 17 November / 9:00-18:00

`` Walk through Aira Beck and

Gowbarrow followed by a pub lunch, ending the day on either Grange Crags or to King’s How, where the cover of Joe Cornish’s new book was shot. `` Lake District, Aira Force car park, Ullswater CA11 0JY `` Ken Rennie, km.rennie61@ gmail.com

DIG Western Centre: Stephen Banks ‘Dorset Scouser’ – stargazing Sunday 4 December / 10:00-16:00

`` £8/£7/£5 group members `` Capturing the Milky Way on Dorset’s Jurassic Coast

`` Merryfield Village Hall, Ilton, Nr Taunton

`` Paula Fernley,

paula.fernley@iCloud.com

DIG Scotland Centre – printing workshop

professional photography.

He will unveil his intricate use of computer technology `` Clyst St Mary Village Hall, Clyst St Mary, Near Exeter EX5 1BG `` Paula Fernley, 07734 172350, paula.fernley@icloud.com DOCUMENTARY MO CONNELLY LRPS, 01590 641849 DVJ(RPS.ORG

`` £12/£10/£5 group

Northern Documentary Group meeting

`` Edinburgh Photographic

`` Kibblesworth Village

Sunday 4 December / 10:30-16:00

members

Society, 68 Great King Street, Edinburgh `` Doug Berndt ARPS, digscotland@rps.org

DIG Southern Centre: photography, Photoshop and Lightroom by Glyn Dewis Sunday 4 December / 10:30-16:00

`` £12/£10 group members `` Dewis will be discussing and

demonstrating how he takes and makes his distinctive images using Photoshop and Lightroom `` Greyfriars Community Centre, 44 Christchurch Road, Ringwood BH24 1DW `` Barry Senior HonFRPS, 01425 471489, digsouthern@rps.org

DIG Western Centre: David Clapp – professional landscape photography unveiled Sunday 29 January / 10:00-16:00

`` Clapp is presenting a

showcase and workshop on his

Friday 4 November / 10:30-12:30

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

Joe McNally FRPS – talk Thursday 1 December / 18:30-21:00

`` £25/£15 Society members `` World-renowned

photographer Joe McNally talks about a professional photographer’s life over the span of a 30+-year career `` Wetherby Preparatory School, 48 Bryanston Square, London W1H 2EA `` London Events, londonevents@rps.org HISTORICAL JENNIFER FORD ARPS, 01234 881459 JENNYFORD2000(YAHOO.CO.UK

Research day at Bromley House Library Saturday 12 November / 10:30-15:30

`` £5 spectators `` Ten-minute presentations on new projects or work in progress are especially

welcome, as well as a limited number of 20-minute papers on completed projects where researchers can report on their outcomes `` The Gallery, Bromley House Library, Angel Row, Nottingham NG1 6HL `` Geoff Blackwell ARPS, 0114 266 8655, gblackwell@fastmail.fm

Joe McNally FRPS is giving a talk in London on 1 December, Image: Untitled

by Joe McNally

MEDICAL AFZALANSARY(AOL.COM

The Combined Royal Colleges Lecture

`` £10/£5/free to group

IMAGING SCIENCE KEN.MACLENNAN(BTINTERNET.COM

Imaging Science Group AGM and talk Wednesday 2 November / 14:30-16:00

`` Talk by Dr John Allen on

‘Microvascular imaging and vascular optics’, followed by the Imaging Science Group AGM `` 63 Bayswater Road, London W2 3PH `` Richard Stevens, stevensrf@tiscali.co.uk

members

`` Fully booked `` Old Fort Road, Shoreham `` Richard Ellis,

DR AFZAL ANSARY ASIS FRPS, 07970 403672

Fri 25 Nov–Sat 26 Nov/ 15:00-18:00

KEN MACLENNAN,BROWN

Sunday 4 December / 10:00-16:00

`` £10/£5/free to group

sre868@gmail.com

Visit to the Scottish National Photographic Collection, Edinburgh members `` Scottish National Portrait Gallery, 1 Queen Street, Edinburgh `` An opportunity to see photographs from the Scottish National Collection, both as an exhibition and as selected work, and to visit some of the locations of Hill and Adamson’s best-known photographs `` Donald Stewart FRPS, 01592 840277, Donaldstewart42@aol.com

Long exposure: coastal exploration

Tuesday 15 November / 18:30-21:00

`` £5/£3 Society members `` Invention of capsule

Your events

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

endoscopy: a lecture at the Royal College of Surgeons, London,

by Dr Gavriel J Iddan DSc `` Royal College of Surgeons, 35-43 Lincoln’s Inn Fields, London `` Jo Macdonald, 01225 325721, jo@rps.org NATURE RICHARD REVELS FRPS, 01767 313065 RICHARD.REVELS(TALKTALK.NET TRAVEL KEITH POINTON LRPS, 01588 640592 BAGPOINT(AOL.COM

Cambodia overland photo tours – November Saturday 12 – Thursday 24 November

`` £950 group members `` Highlights include Phnom

Penh, the temples of Angkor and Tonle Sap lake `` Keith Pointon, as above VISUAL ART VIVECA KOH FRPS, 07956 517524 VIVECA.KOH(GMAIL.COM

VOL 156 / NOVEMBER 2016 / THE RPS JOURNAL / 873

874 | GUIDE | Rollright Visual Art Group autumn meeting Saturday 26 November / 10:30-16:00

`` £13 entry,

£5 ploughman’s lunch

`` A day with Dr Anthony

Kaye FRPS and Philip Joyce ARPS `` The Village Hall, Main Street, Long Compton `` Andreas Klatt ARPS, rpsva@klatt.co.uk

PATRONAGE

The following salons/exhibitions have RPS-approved patronage:

The Wrekin Salon 2016 Closing date: 9 November `` `` wrekinartspc.com `` RPS 2016/57 42nd Smethwick International Closing date: 10 November `` `` smethwickinternational.com `` RPS 2016/66 1st Photovivo Singapura Photo Cup Closing date: 14 November `` `` singapuraphotocup.com `` RPS 2016/70

The Germany Chapter’s next meeting will take place in Dortmund

9th PSA China International Exhibition of Photography Closing date: 25 November `` `` salon.psachina.org/ `` RPS 2016/73 4th Cork International Salon of Photography Closing date: 1 December `` `` corkcameragroup.net/ `` RPS 2016/75

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

OVERSEAS CHAPTERS `` AUSTRALIA Elaine Herbert ARPS, eherbert@alphalink.com.au `` BENELUX Richard Sylvester richard.sylvester@ skynet.be Frank Geraedts landscape workshop Saturday 12 November / 10:00-16:00

Grindweg 4361, Westkapelle Netherlands

Didier Verriest studio visit Saturday 3 December / 10:00-16:00

Sint-Veerleplein 5, Ghent, Belgium

1st CHKFPA International Salon of Photography 2016 Closing date: 2 December `` `` chkfpa.com.hk/ `` RPS 2016/74

`` RPS 2016/76

`` RPS 2017/08

15th PSI International Salon 2016 Closing date: 12 December `` `` photographicsocietyofindia.

Maitland International Salon of Photography Closing date: 16 January 2017 `` `` maitlandsalon.myphotoclub.

1st Knowledge Bowl International Photography Award Closing date: 7 December `` `` kb2007.com `` RPS 2016/72

`` RPS 2016/58

`` RPS 2017/02

10th NBPC Salon of Photography 2017 Closing date: 3 January 2017 `` `` nbpcraiganj.org `` RPS 2017/07

49th Howarth Colour Salon 2017 Closing date: 17 January 2017 `` `` sophowrah.net `` RPS 2017/03

1st digiRAP International Photography Award Closing date: 8 January 2017 `` `` digirap.sg

Salon Photo de Riedisheim Closing date: 29 January 2017 `` `` spr-photo.fr `` RPS 2017/10

11th International Salon Circuit ‘With Love to Women’ 2016 Closing date: 7 December `` `` galleryprostir.com

com.au/

Royal Photographic Society members around the world

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

874 / THE RPS JOURNAL / NOVEMBER 2016 / VOL 156

com

Chapter meeting Saturday 12 November / 11:00-15:00

Dortmund, Dortmunder U, Leonie-Reygers-Terrasse 2, Dortmund 44137 German Chapter, germany@rps.org

`` HONG KONG Shan Sang Wan FRPS, shansangwan@ yahoo.com.hk `` INDIA Rajen Nandwana, rajennandwana@gmail.com `` INDONESIA Agatha Bunanta ARPS, agathabunanta@ gmail.com `` ITALY Olivio Argenti FRPS,

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

`` SWISS CHAPTER Richard Tucker ARPS, tucker42@bluewin.ch `` TAIWAN Joanie Fan Hui Ling ARPS, djpassionfoto@gmail.com `` USA ATLANTIC CHAPTER Carl Lindgren, lindgren.carl@gmail.com `` USA PACIFIC CHAPTER Jeff Barton, rps@vadis.net `` SOCIETY HEADQUARTERS Overseas advisory day Wednesday 2 November / 11:00-16:00

`` Overseas members only `` Fenton House, 122 Wells Road, Bath

`` Ben Fox, ben@rps.org

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SHOWCASE 876 | GUIDE | MEMBER

Eyes wide shut

Juliet Chenery-Robson on the personal inspirations behind her exhibition at Fenton House and her mission to educate audiences about the hidden realities of living with myalgic encephalomyelitis (ME)

T

his month Dr Juliet Chenery-Robson’s exhibition, Portrait of an Invisible Illness, is on show at Society HQ in Bath.

Chenery-Robson began her career as a photojournalist with the Lincolnshire Standard group of newspapers and worked as a freelance photographer, writer and editor until her daughter was diagnosed with myalgic encephalomyelitis (ME) in 2004. Influenced by her daughter’s ongoing battle with the illness, Chenery-Robson carried out doctoral research focused on the visual representation of ME.

A Society member since 2015, CheneryRobson is currently honorary treasurer of the Medical Imaging Group. Here, we hear about her attempts to give a voice to those living with this oftenmisunderstood illness.

Can you tell us how the project began?

When my daughter Emilia was diagnosed with ME, I became a traveller between the two worlds that Susan Sontag defined as ‘the kingdom[s] of the well’ and ‘the sick’.

Judged by outward appearance alone, Emilia became the

876 / THE RPS JOURNAL / NOVEMBER 2016 / VOL 156

CLOCKWISE, FROM ABOVE LEFT

Portraits of Courtney, Philip and Jen, all from the series Portrait of an Invisible Illness, previously exhibited in Singapore’s International Photography Festival 2014

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

victim of the derisory comments associated with invisible illnesses.

This aura of misconception motivated me to pursue a master’s degree to see if photography could help render this invisible illness ‘visible’ to a disbelieving audience.

After receiving a distinction for my MA in 2008, I continued my research thanks to grants from Arts Council England (ACE) and the Arts and Humanities Research Council (AHRC), with the latter enabling me to complete my PhD at the University of Sunderland.

How did you approach invisible illness via photography?

Deciding against documentary-style portrayals of my daughter’s illness, I explored metaphorical substitutes for symptoms and emotions by photographing the everyday objects and spaces that resonated with our lived experiences.

To expand upon the personal, I photographed other young ME sufferers in their homes, which evolved into the portrait series Kingdoms of the Sick (2008-ongoing) and my book Unpredictable Patterns (2008).

EXHIBITIONS

LESLEY GOODE,

EXHIBITIONS MANAGER 01225 325720, LESLEY'RPS.ORG

Weather Photographer of the Year 2016 MONDAY 7 " FRIDAY 18 NOVEMBER

`` Images from the 2016

Weather Photographer of the Year competition, organised by The Royal Meteorological Society and the RPS, go on tour `` Hymers College, Hull `` weather@rps.org

RPS International Print Exhibition 159 – Royal Albert Hall WED 16 NOVEMBER " SUN 11 DECEMBER

`` Royal Albert Hall,

JULIET CHENERY&ROBSON; OIL TANKER GUANABURA HIT BY LIGHTNING, GRAHAM NEWMAN; HATTVER, ROSS BROWN; LAS COMPARSAS D CUBA, SALVATORE DI GREGORIO

Kensington Gore, London SW7 2AP `` David Gamble, dgamble@royalalberthall.com

What approaches have you utilised for this exhibition?

Working with ME sufferers and medical researchers, I examined the illness through a combination of portrait, medical and domestic photographs, textual illness narratives, SenseCam images and Google Earth maps.

The portraits of ME sufferers with their eyes closed offer a metaphorical representation of their

invisible illness and lives lived in the shadows of social exclusion, misdiagnosis and loss of identity.

Bringing sufferers into the light through portraiture enables an acknowledgement of their existence and suffering. By photographing my subjects with their eyes closed I invite viewers to invest the portraits with their own eyes, and thus see through the eyes of the ME sufferer.

VISIT

BIT.LY/ CHENERYROBSON TO SEE THE REST OF THE SERIES

What do you hope visitors take from the exhibition?

I hope it helps them become more aware of the controversy and misinformation surrounding ME. Although art and science exist in quite different spheres, it’s possible that such cross-pollination can contribute to raising awareness and a broader understanding of ME as a genuine disabling illness.

RPS International Print Exhibition 159 – Taunton SAT 14 JANUARY " SAT 11 MARCH 2017

`` Museum of Somerset,

Taunton Castle, Castle Green, Taunton TA1 4AA `` Sam Astill, sam.astill@swheritage.org.uk THE RPS JOURNAL / 877

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Full Frame

18mm F2 XF.......................£498 18-55mm F2.8/4 OIS ......£618 18-135mm F3.5/5.6 XF...£649 23mm F1.4 XF ...................£788 23mm F2 XF R WR ...........£418 27mm F2.8 XF ...................£348 35mm F1.4 XF ...................£498 35mm F2 R WR..................£368 50-140mm F2.8 R OIS ..£1328 50-230mm F4.5/6.7 XC OIS ..................................£269

8-15 F4 L USM Fisheye. . . . . . . £999 11-24 F4 L USM . . . . . . . . . . . .£2497 16-35 F2.8 L USM MKIII . . . . .£2348 16-35 F4 L IS USM. . . . . . . . . . . £849 17-40 F4 L USM . . . . . . . . . . . . . £547 20 F2.8 USM . . . . . . . . . . . . . . . . £379 24 F1.4 L II USM. . . . . . . . . . . .£1248 24 F2.8 IS USM . . . . . . . . . . . . . . £439 24-70 F2.8 L II USM. . . . . . . . .£1649 24-70 F4 L IS USM. . . . . . . . . . . £669 24-105 F3.5/5.6 IS STM . . . . . . £329 24-105 F4 L IS USM MKII. . . .£1128 28 F2.8 IS USM . . . . . . . . . . . . . . £388 35 F1.4 USM LII . . . . . . . . . . . .£1798 35 F2 IS USM. . . . . . . . . . . . . . . . £398 40 F2.8 STM . . . . . . . . . . . . . . . . £168 50 F1.2 L USM . . . . . . . . . . . . .£1128 50 F1.4 USM . . . . . . . . . . . . . . . . £278 50 F1.8 STM . . . . . . . . . . . . . . . . £109 70-200 F2.8 IS LII USM. . . . . .£1828 70-200 F2.8 non IS L USM. . .£1179 NIKON DX NON FULL FRAME LENSES 10.5 F2.8 DX Fisheye . . . . . . . .£599 10-24 F3.5/4.5 AFS G . . . . . . . .£729 16-80 F2.8/4 AFS ED VR. . . . . .£858 16-85 F3.5/5.6 AFS VR . . . . . . .£568 18-55 F3.5/5.6 AFS VR . . . . . . . .£99 18-105 F3.5/5.6 AFS G no box £239 18-140 F3.5/5.6 AFS VR . . . . . .£458 18-300 F3.5/6.3 AFS VR . . . . . .£628 35 F1.8 AFS G . . . . . . . . . . . . . . .£178 40 F2.8 AFS G macro . . . . . . . .£238 55-300 F4.5/5.6 AFS VR . . . . . .£289 NIKON FX FULL FRAME LENSES 14-24 F2.8 AFS G ED. . . . . . . £1638 16 F2.8 AFD Fisheye . . . . . . . . £699 16-35 F4 AFS VR . . . . . . . . . . . .£947 18-35 F3.5/4.5 AFS G . . . . . . . .£598 20 F1.8 AFS G ED. . . . . . . . . . . .£647 24 F1.4 AFS . . . . . . . . . . . . . . . £1788 24 F1.8 AFS G ED. . . . . . . . . . . .£628 24 F3.5 PCE . . . . . . . . . . . . . . . £1498 24-70 F2.8 AFS G ED VR. . . . £1998 24-85 F3.5/4.5 AFS VR . . . . . . .£428 24-120 F4 AFS G ED VR . . . . . .£897 28 F1.8 AFS . . . . . . . . . . . . . . . . .£549 28-300 F3.5/5.6 AFS VR . . . . . .£797

55-200mm F3.5/4.8 OIS XF...................................£618 56mm F1.2 R APD .........£1158 56mm F1.2 XF ...................£828 60mm F2.4 XF ...................£578 90mm F2 R LM WR ..........£828 100-400 F4/5.6 OIS WR ..£1578 1.4x XF TC WR ....................£368 2x XF TC WR .......................£349 11mm extension tube ..... £64 16mm extension tube ..... £64

70-200 F4 L IS USM. . . . . . . . .£1019 70-200 F4 L USM . . . . . . . . . . . . £549 70-300 F4/5.6 L IS USM . . . . .£1028 70-300 F4/5.6 IS USM. . . . . . . . £368 85 F1.2 USM L II. . . . . . . . . . . .£1679 85 F1.8 USM . . . . . . . . . . . . . . . . £278 100 F2.8 IS L USM macro . . . . £747 100 F2.8 Macro USM . . . . . . . . £398 100-400 F4.5/5.6 IS LII U . . . .£1747 200-400 F4 IS L USM . . . . . . .£9444 200 F2.8 II L USM . . . . . . . . . . . £628 300 F2.8 IS L USM II . . . . . . . .£5298 300 F4 L IS USM. . . . . . . . . . . .£1099 400 F2.8 IS L USM II . . . . . . . .£8388 400 F4 DO II IS USM . . . . . . . £6777 400 F5.6 L USM . . . . . . . . . . . . . £997 500 F4 IS L U II . . . . . . . . . . . . £7589 500mm F4 IS L UII

600 F4 IS L USM II . . . . . . . . . £8894 1.4x III converter . . . . . . . . . . . . £338 2x III converter. . . . . . . . . . . . . . £338 12mm EF MKII ext tube. . . . . . . £69 25mm EF MKII ext tube. . . . . . £119 MR-14EX MKII Ringflash . . . . .£478 430EX III RT Speedlight . . . . . . £228 600EX-RT II Speedlight . . . . . . £539 600EX-RT Speedlight . . . . . . . . £428 35 F1.4 AFS G . . . . . . . . . . . . . £1497 35 F1.8 AFS G . . . . . . . . . . . . . . .£438 35 F2 AF-D. . . . . . . . . . . . . . . . . .£254 50 F1.4 AFS G . . . . . . . . . . . . . . .£377 50 F1.8 AFS G . . . . . . . . . . . . . . .£188 58 F1.4 AFS G . . . . . . . . . . . . . £1347 60 F2.8 AFS . . . . . . . . . . . . . . . . .£477 70-200 F2.8 AFS VRII . . . . . £1798 70-200 F4 AFS G ED VR . . . . £1037 70-300 F4.5/5.6 AFS VR . . . . . .£497 80-400 F4.5/5.6 AFS G VR . . £1899 85 F1.4 AFS G . . . . . . . . . . . . . £1347 85 F1.8 AFS G . . . . . . . . . . . . . . .£428 105 F1.4 AFS E ED . . . . . . . . . £2419 105 F2.8 AFS VR macro . . . . . .£748 200 F2 AFS ED VRII . . . . . . . . £4199 200-500 F5.6 AFS E ED VR. . £1178 300 F2.8 AFS ED VRII . . . . . . £4499 300 F4 AFS E PF ED VR. . . . . £1497 400 F2.8 G E FL ED VR . . . . £10398 500 F4 E AFS FL ED VR . . . . . £8147 600 F4 E AFS FL ED VR . . . . . £9699 TC14EIII converter. . . . . . . . . . .£428 TC17EII converter . . . . . . . . . . .£347 TC20EIII converter. . . . . . . . . . .£377 SB500 flash . . . . . . . . . . . . . . . . .£194 SB700 flash . . . . . . . . . . . . . . . . .£238 SB5000 flash. . . . . . . . . . . . . . . .£489 R1C1 commander . . . . . . . . . . .£599

16-300 f3.5/6.3 Di II VC PZD £428 150-600 F5/6.3 VC USD G2£1350 150-600 F5/6.3 SP VC USD ..£828 18-200 F3.5/6.3 Di II VC........£189 Kenko Converters 1.4x Pro 300 converter.........£159 2x Pro 300 converter ............£159 Auto ext tube set .............£109.99

Family Run Pro Dealership With Friendly, Knowledgeable Staff. Open 7 Days Per Week. Prices Inc VAT - Correct 17/10/2016. P&P Extra. E&OE. FREE COURIER DELIVERY FOR NEW ITEMS ORDERED ON-LINE (U.K. Mainland only)

Although we are the best stocked dealer in the West Country, we cannot always have every item listed in stock at all times, so we are happy to reserve new & used items for customers planning to visit. Prices correct 17/10/2016 but subject to change without notice. See website for up to date prices. E&OE.

Website altered daily inc. manufacturers cashback & promotions

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QUALITY USED EQUIPMENT. See website for full list. Call us to check condition. 6 Month warranty on most secondhand.

Used Canon

Used Nikon

EOS 5D MKIII body £1799

Used Sony

D4s body £3699

A7RII body £2499

l EXC++ condition

l EXC++ condition

l EXC++ condition

l With box A workhorse full-frame camera that is ideally suited to both professional and advanced amateur use.

l With box With a huge saving over buying the D5 new, the D4s is a fabulous camera that outperforms others.

l With box Full frame shooting in a small and light body, with more lenses available it is now a ‘system’.

Used Canon

EOS 1DX MKII body box

£4599

Used Canon

EOS 1DX body box

£2999

Used Canon

1D MKIV body box

£1499/1999

Used Canon EOS 5DsR body box

£2349

Used Canon 5D MKII body

£599/899

Used Canon 16-35 f2.8 USM LII

£899

Used Canon 70-200mm f2.8 LI IS USM

£899

Used Canon 100-400mm f4.5/5.6 L IS USM

£899

Used Canon 300mm f4 L IS USM box

£849

Used Canon 500mm f4 LI IS USM

£4499

BRONICA ETRS 645 USED ETRSi + 75 F2.8 PE + RFH £399 40 F4 MC ..............................£149 50 F2.8 E...............................£149 105 F3.5..................................£99 135 F4 PE M- box ..............£249 150 F3.5 E ..............................£99 150 F3.5 PE M- Box...........£149 200 F4.5 PE..........................£199 E14 ext tube .........................£49 E42 ext tube .........................£49 120 RFH ..................................£69 Polaroid Back .......................£39 Plain prism ............................£59 Rotary prism .........................£99 Angle viewfinder E...........£129 Winder early .........................£79 Speed Grip E.........................£39 Tripod adapter E .................£39 Winder early .........................£49 Metz SCA 386 .......................£49 BRONICA SQ 6x6 USED SQA + 80 + back + prism .£249 SQB complete ....................£399 40 F4 S ..................................£299 50 F3.5 PS ............................£299 50 F3.5 S...............................£149 110 F4.5 PS macro ............£399 135 F4 PS M-.......................£229 150 F3.5 S ..............................£79 150 F4 PS ................... £149/199 180 F4.5 PS..........................£399 200 F4.5 PS M- box ..........£199 2x PS converter M- ...........£179 135N back ...........................£119 SQA Polaroid back..............£59 SQAi 120 RFH .......................£79 SQA 120 RFH ........................£49 SQAi prism late ..................£299 45° Prism box .....................£129 Plain Prism S Boxed ...........£69 AE Prism Early ......................£79 ME Prism Finder ..................£69 Metz SCA 386 .......................£49 Pro shade S ...........................£59 Lens Hood 65-80.................£20 SQAi Motorwinder ...........£149 Speed grip S .........................£69 CANON DIGITAL AF USED 1DX MKII body box .......£4599 1DX body box .................£2999 5DsR body box ...............£2349 1D MKIV body ..... £1499/1999 1Ds MKIII body box..........£999 1Ds MKII body....................£799 1D MKIII body ....................£499 7D body ...............................£499 6D body ...............................£949 5D MKIII body box.........£1799 5D MKII body ..............£599/899 5D MKI body box ......£399/499 70D body ................................£549 60D body ................................£399 50D body ................................£299 600D body .............................£249 450D body .............................£149 BG-E2.........£39 BG-E2N .......£49 BG-E4 box .................................£69 BG-E6.........£89 BG-E7 ..........£89 BG-E8. .........................................£69 BG-E9 box .................................£79 BG-E11.....£199 BG-E13 ....£139 BG-E16 box ............................£149 ECG-1 grip for M10 ...............£35 CANON AF USED EOS 1V HS body box .......£699 EOS 650 body ......................£39 EOS 600 body ......................£39 EOS 50E/300V body each £29 EOS 500N/1000 b/o each £29 10-18 F4.5/5.6 IS STM......£169 10-22 F3.5/4.5 U ................£299 16-35 F2.8 USM LII............£899 16-35 F2.8 USM LI.............£749 16-35 F4 L ............................£699 17-40 F4 L ............................£499 17-55 F2.8 EFS IS USM ....£449 17-85 F4/5.6........................£199 18-55 F3.5/5.6 IS EFS .........£89 18-55 F3.5/5.6 IS STM............ £99 18-55 F3.5/5.6 EFS .................. £59 18-200 F3.5/5.6 IS..................£299 20-35 F3.5/4.5 USM..............£179 24 F3.5 TSE MKII box.........£1199 24 F3.5 TSE MKI box.............£799 24-70 F2.8 LII USM box....£1199 24-70 F2.8 L USM box .........£799 24-105 F4 L...............................£549 28 F1.8 USM box ...............£259 28 F2.8 ..................................£129 28-90 F3.5/5.6 ......................£79 28-135 F3.5/5.6 IS USM ..£229 50 F1.2 L USM box............£999 50 F1.4 USM........................£219 60 F2.8 USM EFS mac ......£279 70-200 F2.8 IS USM LII .£1299 70-200 F2.8 IS USM LI......£899 70-200 F2.8 USM L ...........£799 70-200 F4 U L .....................£399 70-300 F4/5.6 L IS USM...£799 70-300 F4/5.6 DO IS U.....£399

70-300 F4.5/5.6 IS USM ..£299 75-300 F4/5.6 MKII .............£99 85 F1.8 M-............................£219 100 F2.8 USM box.............£319 100-400 F4.5/5.6 L IS U... £899 135 F2 M- box ....................£549 300 F2.8 LI IS U..................£2999 300 F4 L IS USM box ......... £849 400 F5.6 L box ..................... £799 500 F4 LI IS USM...............£4499 1.4x extender MKIII ........... £289 2x extender MKII ................ £219 2x extender MKIII..............£299 2x extender MKI ................£169 Teleplus 2x DG conv ..........£89 Kenko ext tube set DG ......... £89 PB-E2 drive fits EOS1/3 ...£149 CANON DIGITAL M USED 22 F2 STM ...............................£149 Mount adapter EOS-M........£89 SIGMA CAF USED 10-20 F4/5.6 HSM box .£219 12-24 F4.5/5.6 EX DG ..........£399 17-70 F2.8/4 DC .....................£129 18-125 F3.8/5.6 OS DC .....£149 18-200 F3.5/6.3 HSM OS..£199 24-70 F2.8 HSM....................£469 50 F1.4 EX DC........................£249 50 F2.8 EX macro ............... £149 120-300 F2.8 DG Sport ...£999 120-300 F2.8 EX DG .........£749 120-400 F4/5.6 DG ...........£399 150-500 F5/6.3 HSM ..........£499 150-600 F5/6.3 DG OS ........£999 180 F3.5 EX DG HSM mac.£399 1.4x EX conv .............................. £99 2x EX conv .................................. £99 Kenko Pro 300 1.4x conv..... £99 Kenko ext tubes....................... £79 OTHER CAF USED TAM 18-200 F3.5/6.3........£119 TAM 28-75 F2.8 XR Di ......£199 TAM 28-300 F3.5/6.3 Di VC PZD .......................................£399 TAM 28-300 box ................£149 TAM 70-300 F4/5.6 Di VC.£219 TAM 70-300 F4/5.6 ............... £99 TAM 90 F2.8 VC ....................£279 TAM 90 F2.8 ...........................£179 CANON FLASH USED CP-E3 batt pack ...................£49 ST-E2 transmitter ................£79 430EXII..................................£169 430EZ non digital ...............£39 550EX ....................................£129 580EX box ...........................£179 600EX RT box .....................£279 CANON FD USED A-1 body ................................£99 28 F2.8 ....................................£49 28-85 F4 box.......................£199 35-70 F3.5/4.5 ......................£49 50 F1.4 ...................................£99 70-200 F4 ...............................£79 100-300 F5.6 .........................£79 135 F2 ...................................£399 2x extender B .......................£49 299T or 300TL flash each .£25 CONTAX 645 AF USED 45 F2.8 ..................................£599 CONTAX 35mm AF USED 45 F2....£399 90 F2.8 .......£299 CONTAX MF USED 28-70 F3.5/4.5 MM ...........£199 FUJI DIGITAL USED X-T1 body graphite box .£699 X-T1 body black.................£599 X-Pro1 body ........................£299 X-E2s body silver...............£299 X-M1 body blk box...........£149 18-55 F2.8/4 XF .................£399 27 F2.8 XF box ...................£199 50-230 F4.5/6.7 XC ...........£169 56 F1.2 XF ............................£599 60 F2.4 macro ....................£369 90 F2 XR ...............................£679 1.4x converter ....................£269 X-T1 vertical grip...............£129 FUJI MED FORMAT USED GSW690 III ...........................£599 HASSELBLAD XPAN USED X-Pan II + 45 ............................£1699 Centre filter 49mm.................£129 HASSELBLAD 6x6 USED PM5 prism 45°....................£149 PME prism box...................£149 45° Prism late .....................£149 45° Prism early .....................£69 NC1 prism..............................£69 WLF late ...............................£110 WLF chrome late.................£99 WLF early ...............................£49 Sports viewfinder ...............£69 Chimney.................................£89 A12 chrome latest ............£299 A12 late blk/chr .................£129 Polaroid back tatty .............£79 Winder Cw...........................£229 50 F4 CF FLE .......................£849 80 F2.8 CF ............................£479 140-280 F5.6 CF.................£799

150 F4 chrome...................£199 250 F5.6 CF .........................£399 Ext tube 21, 55 each ..........£39 Vivitar 2x conv .....................£49 Pro shade 6093....................£99 Lens hoods various ..... £20/50 LEICA M COMPACT USED IIIg body chrome ..............£799 5cm F3.5 Elmar ..................£249 CF flash ...................................£49 LEICA SLR USED R7 body black ....................£379 R5 body black ....................£199 LEICA OPTICS USED Televid 77 scope + 20x60 .£699 Trinovid 10x42 ...................£799 Ultravid 8x32 HD ..............£999 LIGHTMETERS USED Minolta Flashmeter V ......£199 Minolta Spotmeter M......£199 Sekonic L478DR ................£299 MAMIYA 645 MF USED Plain prism (645 Super) ....£39 Polariod Back HP401 .........£29 Polaroid back .......................£29 120 Insert...............................£20 HA401 120 RFH Box...........£49 120 Back.................................£39 Winder ....................................£79 50 F4 shift ............................£299 55-110 F4.5 box.................£299 120 F4 macro .....................£269 150 F2.8 A............................£199 150 F3.5 N .............................£79 210 F4 N M- ..........................£79 Ext Tube 1, 2, 3S each .......£29 Teleplus 2x converter ........£49 Vivitar 2x converter............£39 MAMIYA TLR 6x6 USED C330 F Body + WLF ..........£149 55 F4.5 ..................................£199 65 F3.5 box late .................£199 65 F3.5 serviced.................£149 80 F2.8 late serviced ........£139 180 F4.5 ................................£149 250 f4.5 late serviced.......£249 250 f4.5 early serviced .£179 Prism .......................................£99 Paramender ..........................£49 Porrofinder ............................£59 MAMIYA 7 RF 6x7 USED 50 F4.5 L + VF .....................£699 80 F4.5 L M- box................£699 150 F4.5 M- .........................£399 MAMIYA RB 6x7 USED Pro SD comp M- ................£649 Pro S body ...........................£149 Pro S body scruffy ..............£99 WLF ..........................................£79 120 645V back .....................£99 90 F3.5 KL ............................£299 127 F3.5 KL..........................£299 Ext tube 2.................................... £49 MAMIYA RZ 6x7 USED RZ ProII + 90 + WLF + 120 RFH ............................£499 RZ Pro body ........................£149 120 RFH Pro II.......................£99 120 RFH Pro I ........................£49 WLF.........£79 Winder II ......£69 50 F4.5 W .............................£199 65 F4 box M- ......................£399 90 F3.5 W M- box ..............£299 180 F4.5 W...........................£199 Pro shade...............................£49 MINOLTA/SONY DIGITAL USED Sony A7RII body box......£2499 Sony A6300 body .............. £799 Sony A77 II body................ £749 Sony A77 body ................... £399 Sony A350 body................. £149 Sony VGB30AM .....................£79 Sony VG-C1EM .................... £149 Sony VG-C70AM................. £139 Sony HV56AM ..................... £169 Sony F42AM......................... £129 SONY NEX USED A6000 body .............................£329 NEX 5 body ..............................£129 FE 16-35 F4 ZA OSS E..........£999 FE 16-50 F3.5/5.6 EZ ............£149 FE 55-210 F4.5/6.3 ................£159 FE 90 F2.8 macro ...................£799 Samyang 12 F2 ......................£199 Samyang 100 F2.8 macro .£229 MINOLTA/SONY AF USED Dynax 9 body box ............£299 800Si body ............................£69 7xi body .................................£49 7000i body ............................£39 300Si body ............................£19 20 F2.8 ..................................£199 20-35 F3.5/4.5 M- box .....£249 24 F2.8 AF ............................£199 24-50 F4 .................................£99 28 F2......................................£299 28 F2.8 ....................................£99 28-80 F4/5.6..........................£39 28-85 F3.5/4.5 ......................£99 35-70 F4 .................................£39 35-70 F3.5/4.5 ........................... £25

35-80 f4/5.6 ................................ £25 35-105 F3.5/4.5 ........................ £99 50 F1.4 AF .................................£169 50 F1.7 AF ................................... £89 50 F2.8 macro .........................£149 75-300 F4.5/5.6 ........................ £99 85 F1.4 ........................................£549 100-300 F4.5/5.6 APO .........£149 VC700 grip.................................. £39 RC1000S/L cord ....................... £15 AW90............................................. £49 MD90 + BP90-M ...................... £79 Angle finder VN........................ £79 SONY LENSES USED 16-50 F2.8 DT SSM................£279 16-80 F3.5/4.5 ZA DT...........£449 18-55 F3.5/5.6 SAM ................ £59 18-200 F3.5/6.3 DT ...............£199 55-200 F4/5.6 DT SSM .......... £69 70-300 F4.5/5.6 G SSMII box £549 75-300 F4/5.6 ..........................£129 SIGMA MIN/SONY AF USED 18-35 F1.8 Art...................... £449 28-135 F3.8/5.6 ......................£79 28-300 F3.5/6.3 macro..... £149 50 F1.4 .................................... £149 50 F2.8 EX DG macro ....... £169 55-200 F4/5.6 .........................£69 70-300 F4/5.6 DG OS ......£169 70-300 F4/5.6 APO DG ......£99 150-500 F5./6.3 DG ..........£499 170-500 F5/6.3...................£299 1.4x EX conv .........................£99 TAM 10-24 F3.5/4.5 DiII ..£239 TAM 18-200 F3.5/6.3..........£99 TAM 70-300 F4.5/5.6 Di box......................................£79 TAM 90 F2.8 .............. £179/249 Teleplus 1.4x conv ..............£69 Teleplus 2x conv .................£79 Kenko 1.4x Pro 300DG ....£149 Min 5200i...............................£29 Min 5400HS ..........................£39 Min 5600HSD M-.................£99 NIKON DIGITAL AF USED D4s body box ..................£3699 D4 body box....................£2499 D3s body box ..................£1799 D3 body box....................£1199 D800 body .......................£1299 D700 body box..................£699 D500 body box...............£1499 D300 body box..................£299 D200 body box..................£149 D7200 body box ...............£629 D7000 body .............. £299/349 D5500 body box ...............£479 D5000 body ........................£169 D80 body .............................£149 D50 body ...............................£79 MBD-17 grip .......................£299 MBD-15 grip .......................£149 MBD-14 grip .......................£179 MBD-12 grip .......................£229 MBD-10 grip M- box ........£149 MBD-10 grip .........................£89 MBD-200 box .......................£69 MBD-100 ................................£39 Coolpix P900 compact ...£429 NIKON AF USED F5 body ................................£399 F4 body ................................£349 F4E body ..............................£299 F801 body ...................... £29/59 F601 body .............................£29 F55 body ................................£25 10.5 F2.8 AFS DX ...............£419 10-24 F3.5/4.5 AFS DX ....£549 12-24 F4 DX ........................£399 14-24 F2.8 AFS M- box ..£1099 14-24 F2.8 AFS ................£999 16 F2.8 Fisheye AFD .....£519 16-35 F4 VR.......................£799 16-85 F3.5/5.6 AFS VR ...£399 17-55 F2.8 AFS ......................£499 18-35 F3.5/4.5 AFS ..............£479 18-35 F3.5/4.5 AFD .............£299 18-55 F3.5/5.6 AFS ................£79 18-70 F3.5/4.5 AFS ..............£119 18-105 F3.5/5.6 AFS VR .....£169 18-135 F3.5/5.6 DX..............£149 18-200 F3.5/5.6 AFS VRI ....£199 20 F2.8 AF................................£279 24 F2.8 AFD ............................£299 24-70 F2.8 AFS box .............£849 24-85 F3.5/4.5 AFS VR .........£329 24-120 f4 AFS VR ...................£699 28 F1.8 AFS G ..........................£479 28-100 F3.5/5.6 AF G ............. £69 28-105 F3.5/4.5 AFD ............£149 35 F1.8 DX.................................£139 35 F2 AFD .................................£199 35-70 F3.3/4.5 AF .................... £59 50 F1.8 AFD...........................£99 50 F1.8 AF ..............................£79 55-200 F4/5.6 AFS VR ........£99 55-200 F4/5.6 AFS ..............£79 60 F2.8 AFS .........................£349 60 F2.8 AFD.........................£249 60 F2.8 AF ............................£199 70-200 F2.8 AFS VRII .....£1299

70-200 F2.8 AFS VRI .........£799 70-200 F4 VR.......................£899 70-300 F4/5.6 VR ...............£369 70-300 F4/5.6 AFD ...........£129 70-300 F4 G...........................£79 80-200 F2.8 AFD................£349 85 F1.4 AFD.........................£499 85 F1.8 AFD.........................£249 85 F3.5 DX M- box ............£269 105 F2 AFD..........................£699 105 F2.8 AFS VR.................£579 105 F2.8 AFD ......................£399 180 F2.8 AFD M- box .......£499 200-400 F4 AFS VRII ......£3499 300 F2.8 AFS VRII M- .....£3199 300 F2.8 AFS VRI ............£2699 300 F4 AFS M- box ...........£699 300 F4 AFS box..................£599 400 F2.8 AFS VR..............£5899 600 F4 AFS VR .................£5999 TC14EII ..................................£299 TC17EII ..................................£249 TC20EIII M- box .................£249 TC20EII. .................................£199 TC20E ....................................£149 SIGMA NAF USED 10-20 F4/5.6 EX DC ..............£249 18-50 F2.8 EX DC Mac.........£199 18-200 F3.5/6.3 DC OS ......£199 24-70 F2.8 EX DG .................£299 28-300 F3.5/6.3 early..........£129 30 F1.4 EX DC ........................£199 50 F1.4 Art M- box...............£499 50 F1.4 DG Mint ......... £199/239 50-500 F4/6.3 EX DG .......£499 50-500 F4/6.3 DG..............£399 70-300 F4/5.6 APO DG......£99 80-400 F4.5/5.6 DG OS ...£399 105 F2.8 EX DG ..................£269 105 F2.8 EX .........................£199 120-300 F2.8 DG OS .....£1399 120-400 F4/5.6 DG ...........£399 150-500 F5/6.3 DG OS ........£499 500 F4 EX DG .......................£1999 1.4x EX DG M- .........................£149 1.4x EX .......................................... £99 2x EX DG box ..........................£149 2x EX.............................................. £99 TAMRON NAF USED 10-24 F3.5/4.5 DiII .................£239 11-18 F4.5/5.6 .........................£219 18-250 F3.5/6.3 ......................£149 19-35 F3.5/4.5 ........................... £99 70-300 F4/5.6 ............................ £79 OTHER NAF USED TOK 10-17 F3.5/4.5 ATX ..£249 TOK 11-18 F2.8 ATX Pro..£329 TOK 12-24 F4 ATX pro .....£299 TOK 12-28 F4 ATX DX ......£399 TOK 80-200 F2.8 ATX Pro £299 FLASH / ACCESSORIES USED Sigma EM-140DG.................. £199 SB-24..........£49 SB-25.............£49 SB-28.........£69 SB-80DX ...... £79 SB-500 box ...............................£149 SB-600.....£169 SB-800........£149 SB-900.........................................£269 SB-R1C1 kit...............................£499 SD-8 batt pack.......................... £49 SU-800 ........................................£239 DR-5 angle finder box.........£149 DR-3 angle finder.................... £59 GP-1A box.................................£149 MB-10 (fits F90) ........................ £29 MB-23 (fits F4)........................... £69 MC-36 remote .......................... £79 MC-30 remote .......................... £39 MF-23 (date back F4) ............ £79 NIKON MF USED F3 body ................................£199 FM2n body chr box..........£349 FM2n body chr ..................£249 15 F3.5 AIS...........................£799 24 F2.8 AIS...........................£249 28 F2.8 AIS...........................£199 28 F3.5 AIS.............................£99 28 F2.8 E box ........................£69 28-85 F3.5/4.5 AIS.............£199 35-70 F3.3/4.5 AIS.............£129 35-70 F3.5 AIS ......................£99 35-105 F3.5/4.5 AIS ............£79 50 F1.4 AI .............................£149 50 F1.8 AIS pancake.........£139 50 F1.8 E.................................£59 55 F2.8 AIS...........................£199 105 F2.8 AIS macro ..........£249 180 F2.8 AIS ED scruffy ...£179 200 F4 AI ..............................£149 500 F4 AIS.........................£1499 500 F8 mirror early...........£279 TC200 ......................................£49 TC301 ....................................£149 SC-17 TTL lead .....................£25 DW-3 WLF find fit F3 .........£99 DW-4 6x mag find fit F3 ...£99 DW-21 fits F4 ......................£149 Nikon bellows II box ..........£89 OLYMPUS DIGITAL USED E10 body..............................£299 12-60 F2.8/4 SWD .............£379 14-42 F3.5/5.6 ......................£49

14-45 F3.5/5.6 ......................£79 14-50 F3.8/5.6 ....................£199 14-54 F2.8/3.5 ....................£149 35 F3.5 ....................................£99 35-100 F2 box .................£1299 40-150 F4/5.6 .......................£49 50 F2 macro ........................£279 25mm ext tube....................£79 FL-36 Flash ..........................£119 OLYMPUS PEN USED OMD-EM1 body M- box .£499 OMD E-M5 MKII b/o box £599 OMD E-M5 body box.......£299 OMD-EM10 MKII body ....£369 OMD-EM10 body ..............£299 12-40 F2.8 Pro ....................£599 12-50 F3.5/6.3 ....................£149 14-150 F4/5.6 .....................£399 40-150 F2.8 Pro .................£999 60 F2.8 ..................................£299 75-300 F4.8/6.7 MKII........£299 1.4x converter ....................£249 HLD-8 grip...........................£149 HLD-7 grip box ..................£109 VF-2 viewfinder .................£199 OLYMPUS OM USED OM-4T body .......................£249 OM-1n body chr................£169 OM-2SP body .....................£149 OM-2n body blk or chr ...£149 OM-1n body .......................£149 28 F3.5 ....................................£49 35-70 F3.5/4.5 ......................£79 35-105 F3.5/4.5....................£79 50 F3.5 macro ......................£79 200 F4 .....................................£79 PANASONIC DIGITAL USED FZ330 ....................................£399 FZ200 ....................................£199 LX7 compact ......................£279 G6 body black....................£299 G3 body box .......................£129 GX1 body box ....................£149 GF7 body silver box .........£199 GF3 body black ...................£99 GF1 body ................................. £79 14 F2.5 ..................................£199 14-42 F3.5/5.6 ......................£79 14-45 F3.5/5.6 ....................£149 14-140 F3.5/5.6..................£399 20 F1.7 ..................................£199 25 F1.4 ..................................£329 35-100 F4/5.6 .....................£199 LVF2 box ..............................£149 BG-GH3 grip .........................£99 PENTAX DIGITAL USED K3 body ................................£549 Km body ..............................£149 PENTAX 35mm AF USED MZ5N body ...........................£69 10-17 F3.5/4.5 ED .............£239 16-45 F4 ...............................£199 17-70 F4 SDM M- box .....£299 18-55 F3.5/5.6 ......................£29 28-80 F3.5/5.6 ......................£49 50-135 F2.8 SDM...............£379 55-300 F4/5.8 HD DA ED WR ...................................£249 55-300 F4/5.8 ED box......£229 70 F2.8 Limited ..................£349 70-300 F4/5.6 .......................£79 100-300 F4.5/5.6 .................£89 SIGMA PKAF USED 10-20 F4/5.6........................£229 18-250 F3.5/6.3..................£199 TAM 17-35 F2.8/4 Di ........£199 TAM 70-300 F4.5/5.6 Di ....£79 PENTAX 645AF USED 645N body ..........................£399 AF500FTZ flash ....................£79 PENTAX 645MF USED 645 + 75 F2.8 ......................£249 645 body + insert .............£199 45 F2.8 ..................................£249 55 F2.8 ..................................£249 150 F3.5 EX++ ....................£149 200 F4 ...................................£149 300 F4 ...................................£249 1.4x converter ....................£199 120 Insert M- box................£49 PENTAX 67 USED 135 F4 macro late .............£249 200 F4 latest .......................£169 200 F4 early .............................£99 300 F4 early scruffy ............. £99 Pentax rear conv 1.4x ........ £249 2x rear converter...............£179 Auto ext tubes .....................£49 Vivitar 2x conv .....................£49 SAMSUNG USED 50-200 F4/5.6 III M- box ....£99 TAMRON ADII USED 90 F2.5 SP ............................£149 VANGUARD SCOPES USED Endeavour HD65A............£269 Endeavour HD82A............£339 VOIGTLANDER USED 15 F4.5 + VF M- box .........£269 ZEISS USED Victory Diascope 85 T* FL + 20x60 box .....................£1699

Used Nikon D4 body box

£2499

Used Nikon D3s body box

£1799

Used Nikon D3 body box

£1199

Used Nikon D800 body

£1299

Used Nikon 14-24mm f2.8 AFS M- box

£1099

Used Nikon 70-200mm f2.8 AFS VRII

£1299

Used Nikon

200-400mm f4 AFS VRII

£3499

Used Nikon

300mm f2.8 AFS VRI

£2699

Used Nikon 400mm f2.8 AFS VR

£5899

Used Nikon 600mm f4 AFS VR

£5999

ITEM YOU REQUIRE NOT LISTED? PLEASE GIVE US DETAILS OF WHAT YOU ARE LOOKING FOR AND WE WILL CONTACT YOU WHEN THAT ITEM BECOMES AVAILABLE. Mail order used items sold on 10 day approval. Return in ‘as received’ condition for refund if not satisfied (postage not included - mail order only). E&OE.

880 | TIMES PAST | FROM THE RPS COLLECTION

Standard bearer

A look at Alfred Stieglitz’s campaigning Camera Work magazine

A

t the beginning of the 20th century, popular photography was on a roll – both literally and metaphorically. Marketed as easy to use and with the ability to record the world in an accurate and realistic manner, photography was now commonplace.

In parallel with this populism were some dissenting voices, not least of all those who saw photography as fine art and not mere reproduction. In the UK the pro-fine art contingent was represented by the Brotherhood of

the Linked Ring and in the USA by the Photo-Secessionists, whose tireless advocate was Alfred Stieglitz. For him, and those of a like mind, photography was deserving of a higher status than it was accorded by the arts establishment of the time.

As part of his campaign, Stieglitz founded Camera Work which he identified as the mouthpiece of the ‘cause’. Author and academic Richard Whelan said it was the ‘most beautiful of all photographic magazines’.

Stieglitz exerted rigid editorial

880 / THE RPS JOURNAL / NOVEMBER 2016 / VOL 156

Clockwise from top left: The Faun

by Clarence Hudson White; Adam and Eve by Frank Eugene; the magazine’s cover

control over all aspects of the publication process, including active editing of the images, from selection to occasional retouching, as well as physically gluing in the images themselves. He also commissioned Edward Steichen to design all the typography and his art nouveau-like cover adorned every issue.

Camera Work comprised both images and text, and writers included George Bernard Shaw, HG Wells, Oscar Wilde and Gertrude Stein. The images attest to the significance that Stieglitz attached to both the aesthetic content and the quality of the print, emphasising his aim that ‘the pictorial will be the dominating feature of the magazine’.

The photogravures, often printed on to unusual and delicate papers, show subtle gradations of tone and finish, and must count as prime examples of what high quality the process could achieve.

The overall impression the reader gets is of a magazine that is an art object in its own right.

The Society’s Collection includes all 53 issues of Camera Work, which were produced over its 14-year lifespan. Received by subscribers from 1902, the last issue was published in June 1917.

The first edition, the cover of which is seen here, contained a mixture of technical, news and discursive articles.

PETER HARVEY ARPS

ROYAL PHOTOGRAPHIC SOCIETY COLLECTION / NATIONAL MEDIA MUSEUM

‘THE IMPRESSION IS OF A MAGAZINE THAT IS AN ART OBJECT IN ITS OWN RIGHT’

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