The RPS Journal October 2014

THROUGH A MASTER’S EYES EXCLUSIVE IMAGES FROM CENTENARY MEDAL!WINNER STEVE McCURRY

DESTINATION DARKROOM HELP BUILD A NEW GROUP FOR ANALOGUE

SECOND

BY SECOND TIPS FOR TOP TIME!LAPSE SEQUENCES

THE

OCTOBER 2014 / VOLUME 154 / NUMBER 9 / WWW.RPS.ORG

AWARDS SPECIAL ROYAL PHOTOGRAPHIC SOCIETY

2014 AWARDS

© BRIAN MARCUS

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| OCTOBER 2014 | 577

OPENING SHOT

HEROES … THEY’RE LIKE BUSES

W COMING UP

IN FUTURE ISSUES Nick Danziger HonFRPS tells us about his favourite shots, images of the Berlin Wall then and now, a personal look at the Distinctions process and all the photobooks you’ll want for Christmas.

ow. There was a moment the other week when I found myself swapping smalltalk with not one but two of my photographic heroes; Magnum heavyweights Steve McCurry and Chris Steele-Perkins, both Honorary Fellows. I’ve been admiring their work for years and then, there I was, with one on each side.

That’s the beauty of The Royal Photographic Society’s annual awards. At the event on 9 September we saw the great, the good and the downright amazing gathered in London with one purpose – to celebrate the sheer quality, variety and far-reaching power of photography.

We celebrate the winners on page 608, accompanied by a fascinating interview with Centenary Medal-winner McCurry (who’s been so kind as to allow us to print some previously unpublished images), and a chat with Clare Acford FRPS, recipient of the Bill Wisden MBE HonFRPS Fellowship of the Year award. In future issues, we’ll look more closely at the work of many of the other winners,

including Progress Medal-winner Tim Webber, nature virtuoso Susan Derges and portrait king Harry Borden.

Elsewhere, David Healey ARPS proposes a brand-new Special Interest Group – to capture all things analogue. Reading his piece made me want to get back into the darkroom, so hopefully it will reawaken process-led passions in you too. Read more on page 626.

Landscape master Nigel Hicks discusses the best time of day for great views on page 638, and we talk stereoscopes with Dr Brian May and Denis Pellerin on page 592. Don’t forget – they’re giving an exclusive Society lecture this month at the Royal Institute of British Architects in London. Another chance, if you missed the Awards this year, to get inspired!

CLARE HARRIS Editor

MIKE WILKINSON

PATRON AND SPONSORS

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WWW.RPS.ORG

DESTINATION DARKROOM HELP BUILD A NEW GROUP FOR ANALOGUE

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OCTOBER 2014 / VOLUME 154 / NUMBER 9 / WWW.RPS.ORG

STEVE McCURRY HonFRPS ANALOGUE GROUP TIME'LAPSE PHOTOGRAPHY

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

THE RPS JOURNAL / OCTOBER 2014 / VOL 154 NO 9

IN THIS ISSUE

THROUGH A MASTER’S EYES EXCLUSIVE IMAGES FROM CENTENARY MEDAL!WINNER STEVE McCURRY

THE

AWARDS SPECIAL ROYAL PHOTOGRAPHIC SOCIETY

2014 AWARDS

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17/09/2014 17:22

583

Sandra Crook's Nets at Dawn won Gold at the International Images for Screen Exhibition

Patron Her Majesty the Queen President Derek Birch ASIS HonFRPS Vice-President Walter Benzie ARPS Treasurer Geoff Blackwell ARPS Director-General Dr Michael Pritchard FRPS Published on behalf of The Royal Photographic Society by Think Suite 2.3, Red Tree Business Suites, 33 Dalmarnock Road, Glasgow G40 4LA thinkpublishing.co.uk EDITORIAL ENQUIRIES Editor Clare Harris rpsjournal@thinkpublishing.co.uk 0141 375 0504 Deputy editor Andrew Cattanach andrew@thinkpublishing.co.uk Contributing editors Gavin Stoker, Geoff Harris Design Matthew Ball, Mark Davies, Alistair McGown Sub-editors Sam Bartlett Advertising Sales Adam Lloyds adam.lloyds@thinkpublishing.co.uk 020 8962 1253 Publisher John Innes john.innes@thinkpublishing.co.uk

580 | BIG PICTURE Aldwych station, disused platform

by Peter Dazeley FRPS

Every reasonable endeavour has been made to find and contact the copyright owners of the works included in this newspaper.

However, if you believe a copyright work has been included without your permission, please contact the publishers. Views of contributors and advertisers do not necessarily reflect the policy of The RPS or those of the publishers. All material correct at time of going to press.

583 | IN FOCUS Including the International Images for Screen Exhibition, our monthly competition winners, and an exclusive Society lecture

ISSN: 1468-8670

Cover A child of the Suri tribe, Omo Valley, Ethiopia, by Steve McCurry HonFRPS

602 Bryan Waddington's ARPS panel

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595 | BOOKS The work of Marc Aspland HonFRPS

596 | DISTINCTIONS Mick Durham FRPS Natural History and Bryan Waddington ARPS Visual Art 647 | MEMBER GUIDE Events, talks, outings and more, right across the country 656 | TIMES PAST The Kodak innovation that revolutionised photography

BRYAN WADDINGTON ARPS; SANDRA CROOK

EVERY MONTH

© 2014 The Royal Photographic Society.

All rights reserved.

| OCTOBER 2014 | 579

596

A Hawfinch, one of Mick Durham's Fellowship images

630

Dr R M Callender FRPS showcases standing stones

626

Guy Brown's Big Hat, printed using the collodion process

MICK DURHAM FRPS; DR R M CALLENDER FRPS; GUY J BROWN FRPS

FEATURES

608 | AWARDS SPECIAL All the winners from the Society's 2014 awards last month 612 | WORLD OF DIFFERENCE Exclusive images and an in-depth chat with Centenary Medalwinner Steve McCurry HonFRPS 620 | BEST SHOTS Clare Acford FRPS explains how her images come into being

THE CRAFT

626 | BACK TO THE FUTURE David Healey ARPS proposes a Society Special Interest Group, based on analogue photography 630 | MEMBER SHOWCASE Exhibiting this month at Society headquarters, Dr R M Callender FRPS and Paul Keene FRPS share their differing approaches to a shared interest – taking photographs of standing stones

635 | MUST TRY + LATEST KIT Review of the new Sony RX100 Mark III, plus other gear 638 | MASTERCLASS The best light for your landscapes 640 | IN DEPTH Shooting time-lapse sequences

636 The colourful Pentax K-S1

645 | MY FAVOURITE CAMERA Jane Hilton HonFRPS VOL 154 / OCTOBER 2014 / THE RPS JOURNAL / 579

580 | BIG PICTURE | Aldwych station, disused platform

By Peter Dazeley FRPS

580 / THE RPS JOURNAL / OCTOBER 2014 / VOL 154

THE ASSIGNMENT This shot, of the disused Aldwych/ Strand underground station was taken from a personal project to record my hidden London. For many years I’ve lived very

close to Battersea Power Station and have witnessed this famous grade II listed building in a sad state of decline.

In 2010 my assistants and I were given access.

The pictures became the starting point for a four-year journey of discovery.

EQUIPMENT The majority of the work was photographed on a

Hasselblad 503CW camera, with a Leaf Aptus-II 10, 5mp digital back. I also used a Nikon D800 camera shooting on a 14-24mm f/2.8 lens for ultrawide shots. Both

cameras were tethered to a MacBook Pro laptop.

TECHNIQUE I used available light and a long exposure.

TIPS Explore, research, then bang on doors, make contacts, schmooze.

Access is often difficult, and in old buildings health and safety is often an issue.

TRAINING I was educated at Holland Park comprehensive and left

school at 15 with no formal qualifications due to undiagnosed dyslexia.

My first job was in an advertising studio as an assistant photographer in the 60s.

Unseen London, with text

by Mark Daly, is published

by Frances Lincoln, ÂŁ30.

Dazeley will talk at the Richmond Literature Festival on 9 November.

See peterdazeley.com

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583

NEW KIT FROM COLOGNE What’s hot from Photokina 2014 584

HAUNTING HONG KONG New book reveals lost images 586

BRIGHTON BOUND Members show at Photo Fringe 591

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

Lyndsay Roberts’s Gold Medal-winning image Air ‘Sylph’

2014 INTERNATIONAL IMAGES FOR SCREEN EXHIBITION Royal Photographic Society Gold Medals for winners of international competition

LYNDSAY ROBERTS

The winners of the 2014 International Images for Screen Exhibition have been selected, based on three categories – Nature, Open

GO AND SEE!

(Creative) and Open (Traditional). The winners of each category will receive an engraved Gold Medal, and are Sandra Crook LRPS for her ‘perfectly captured’ Nets at Dawn, Lyndsay Roberts, for the ‘fabulously conceived’ Air ‘Sylph’ and VIEW THE EXHIBITION

Willem Kruger for Lioness and Cub Walking.

Also recognised by PSA and FIAP, the exhibition will have its inaugural screening in Edinburgh on October 25, with awards presented by Society President Derek Birch ASIS HonFRPS.

The exhibition CD will be available from the Society’s online shop from November, and can be used to show at camera clubs and photographic events.

For enquiries, contact exhibitions@rps.org

VENUES ACROSS THE UK WILL HOST THE INTERNATIONAL IMAGES FOR SCREEN EXHIBITION. FOR DATES SEE OUR MEMBER GUIDE FROM PAGE 646 VOL 154 / OCTOBER 2014 / THE RPS JOURNAL / 583

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FANTASTIC PHOTOKINA

We summarise the big news from the world’s largest photography fair Every two years in September, the German city of Cologne plays host to Photokina, the world’s biggest photography trade fair.

Established in 1950, it draws photo aficionados from across the planet.

This year’s event was as big as ever, with several major announcements. First is the Canon EOS 7D Mark II, a 20.2-megapixel, flagship consumer SLR which looks to be a speedy performer – 10 frames per second for 31 RAW files is possible in continuous shooting mode.

AF performance is improved too, with 65 cross-type AF points. The 7D Mark II is based on an APS-C sensor, however, so predictions Canon would release a new high-resolution full-frame SLR to take on the Nikon D610 and 810 proved unfounded.

The 7D Mark II comes hot on the heels of Nikon’s D750 DSLR, announced just before Photokina, which features a 24.4-megapixel CMOS sensor, 51-point AF system, 6.5 fps continuous shooting mode and tilting screen.

Canon also unveiled a new

power compact, the PowerShot G7X, with a 20.2-megapixel, one-inch sensor.

Meanwhile, Samsung unveiled its new flagship compact-system camera, the NX1. This 28-megapixel device is able to shoot at 15 frames per second without losing focus, and supports 4k video recording. And, just as we were going to press, Leica announced a special M edition 60, without a rear LCD, a new X series digital compact, and a brand-new film camera, the M-A. Excited, us?

WHAT’S HOT Photokina 2014’s top themes, as spotted by Director-General Dr Michael Pritchard FRPS 1. Connectivity – it’s all about linking devices to each other and to the cloud. Key product: SD cards with built in wi-fi 2. Drones or activity cameras, such as GoPro products and the DJI Phantom II drone 3. Look east – Chinese and Taiwanese manufacturers are seeking UK distributors.

The Leica M-A (silver), left

The Leica M Edition 60

fee of £100 for each application through APL, compared to a standard fee of £200. ‘This means that students successfully making APL applications for our five level I and II courses would be able to complete a photography degree with fees of less than £3,000,’ said the OCA’s Gareth Dent.

‘We are keen to encourage committed photographers to stretch themselves by studying at degree level.

Society members have shown dedication to their craft, so it makes sense to offer this discount.’

Save on the cost of a photography degree with your membership As part of a new partnership between the Open College of the Arts (OCA) and The Royal Photographic Society, members applying to study for a photography degree with OCA can get a 50 per cent reduction on applying via the Accreditation of Prior Learning (APL) scheme.

APL, a scheme used by all universities in the UK, allows students to use skills they already have to gain entry to the degree programme at level II or III. The tie-in means students who are Society members will pay a reduced

An image of New York City by Open College of the Arts graduate Tanya Ahmed

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For details see oca-uk.com/ subjects/photography

TANYA AHMED, FROM ‘WALKING THE GAMUT’; GEOFF HARRIS LRPS

SOCIETY MEMBERS GET DEGREE DISCOUNT

OCTOBER 2014

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FROM THE PRESIDENT

The Samsung NX1, left

ANNUAL AWARDS A GREAT SUCCESS Society hosts a glittering get-together

Canon EOS 7D Mark II, below

The Canon PowerShot G7X, below

, 4 913 IN NUMBERS

Images submitted, by 1,793 photographers, to the Taylor Wessing Portrait prize. Winners are at the National Portrait Gallery next month

THE SOCIETY’S AWARDS 2014 On September 9, the annual Royal Photographic Society Awards ceremony took place at the Royal Society in London, kindly supported by The Macallan. A total of 31 photographers, artists, researchers and scientists were recognised on the night.

To read about the winners and the event, turn to our Awards special feature on page 608

A

s you will see in this issue, the Society’s annual awards ceremony was widely praised and recognised some of the most valued photographers in the world, together with specialists in photographic science, education and curatorship, and contributors to the Society itself. Our thanks go to our awards manager Jo Macdonald for her work throughout the year as we seek nominations, then select the recipients, as well as the organisation of the event itself. Thanks also to the awards committee, chaired by past president Roy Robertson HonFRPS, with external advisors Anne Braybon, Philippe Garner, Guy Harrington, Mark Trow and Jacqui Wald, alongside senior Society contributors Walter Benzie ARPS, Geoff Blackwell ARPS, Tony Kaye FRPS, Roger Reynolds HonFRPS and Michael Pritchard FRPS, as well as independent consultant Simon James for planning the event and our sponsor for the ceremony, The Macallan. Lord Robertson LRPS, who conducted the presentation on the evening, was heartily applauded by all of those

at the Royal Society’s premises in London.

Steve McCurry HonFRPS, who received the Centenary Medal, was delighted to be there, with his sister and friends. Tim Webber, awarded the Progress Medal, was also thrilled.

Two days after awarding Honorary Fellowship to Marc Aspland in recognition of his skill as sports photographer, I had the real pleasure in being able to see him again at the launch of his book The Art of Sports Photography in the MCC Museum at Lord’s Cricket Ground in St John’s Wood, London. Of his award, Marc posted on Facebook: ‘Sitting in the same room with such incredibly talented photographers was inspiring - the likes of Magnum photographers Steve McCurry and Chris Steele-Perkins, and Harry Borden and John Swannell meant I did not even have the nerve to introduce myself and offer my congratulations.’

On October 25, I look forward to being in Edinburgh for a lecture by Tim Flach, who received his HonFRPS last year, and for the inaugural showing of the 2014 International Images for Screen Exhibition, presenting medal and ribbon winners who are able to attend.

Details of these events are listed here in the Members Guide and on the website.

DEREK BIRCH ASIS HonFRPS President of The Royal Photographic Society

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A LOST CITY, FOUND

DIARY 2015 AWARDS Nominations are now open for the Society’s 2015 Awards. These awards are made annually to individuals who have made significant contributions to the art and science of photography, and across all areas of imaging.

See more at rps.org/2015awards

Evocative portraits of a changing metropolis Hong Kong Yesterday, a new book of stunning black and white street photography from the 1950s, has been published by Fan Ho FRPS. Fan was fascinated by the street scenes in the former British colony, with its food and trinket sellers and early skyscrapers. Some locals took umbrage at being photographed, however.

‘A pig butcher said he would chop me,’ Fan told the South China Morning Post.

‘He wanted his spirit back.’

COMBINED ROYAL COLLEGES LECTURE This year’s lecture will be by Professor Anders Persson, a pioneer in medical imaging, from Linköping University in Sweden. The lecture addresses how hidden mysteries can be visualised with new technology and is at the Royal College of Obstetricians and Gynaecologists in London on Thursday 20 November.

See bit.ly/rpscombined SRI LANKAN FELLOW REMEMBERED Mr LE Samararatne FRPS of Sri Lanka sadly passed away on the morning of 28 August after a brief illness.

SPECIAL OFFER

TIME TO STOCK UP Paper supplier Fotospeed is offering 30 per cent extra paper in its packs from selected stockists.

Purchased through these outlets, packs of A4 and A3 Fotospeed Platinum Baryta 300gsm (used for the print pictured) and Fotospeed Photo Smooth Pearl 290gsm will have 30 per cent more sheets at no extra cost.

For full details go to fotospeed.com

See fanhophotography.com and modernbook.com

Hong Kong Venice by Fan Ho FRPS

Reminiscence

CHAPTER FOCUS

HONG KONG WE SPEAK TO CHAPTER CHAIR SHAN SANG WAN FRPS

First established The Hong Kong Chapter was first established in 1996 Members At present, there are 202 members in Hong Kong including two Honorary Fellows, 33 Fellows, 96 Associates and 18 Licentiates. We are one of the Chapters with the greatest number of Distinctions holders.

The two Honorary Fellows are Mr Shiu Gun Wong and Dr Leo KK Wong.

Achievement In the past five years, we have had the honour of welcoming visits from former Presidents of the Society,

586 / THE RPS JOURNAL / OCTOBER 2014 / VOL 154

A cityscape of Hong Kong, where there is a Chapter with 202 members

including Dr Barry Senior, Roger Reynolds, Rosemary Wilman, Roy Robertson, the current President Derek Birch, as well as the Director General Dr Michael Pritchard.

What’s coming up? An exhibition to show the local members’ work will be held

at the Exhibition Gallery of Hong Kong Cultural Centre in May 2015.

Best place to see photography in Hong Kong? Most of the photography and Salon exhibitions are held at the Hong Kong Cultural Centre and the Hong Kong Central Library.

OCTOBER 2014

365 WINNERS

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SUSHI FAST FOOD Les Welton This image was taken from the stairs that overlook the sushi bar at Bluewater Shopping Centre in Kent using a Sony A65 set at 100asa, f/11 at 0.8sec.

A number of images were taken at various shutter speeds to get the right amount of movement blur while still retaining the detail I wanted.

I was not able to use a tripod for the slow shutter speed as I had to lean over the bannister to take the picture. The image was taken in RAW, tweaked in Elements and Topaz, and then cropped very slightly to work the diagonals.

FOOD PHOTOGRAPHY August’s online competition winners

SEAFOOD KITCHEN Martin Burrage LRPS Seafood restaurants on the front in Nice have attractive displays of fare to attract customers, and this one assembled dishes

in an open-air kitchen. I have used Leica M since the mid-70s and bought the newly launched M9 digital full-frame body in late 2009. I took this photo with the 35mm

ENTER NOW

Summicron Asph lens fitted and set at ISO 1,000, hand-held at 1/30sec at f/4. The limited light was both a challenge and a benefit in providing atmosphere.

SUBMIT YOUR PHOTOS FOR THE NEXT COMPETITION AT RPS'365.ORG

HAND FEEDING THE FEEDER Henry Meyer The picture was taken in 1955 and is one of many I took while doing national service in the army and on this occasion on leave. It was taken on the Isle of Barra at the southernmost tip of the Outer Hebrides and

shows Mr McNeil with one of his few, much-cherished animals. I stayed at Mr and Mrs McNeil’s croft during my time on the island.

I took this using an Agiflex camera with an anastigmat f/3.5 lens with an iris diaphragm to f/32.

VOL 154 / OCTOBER 2014 / THE RPS JOURNAL / 587

588 | IN FOCUS |

TELL US

WHAT NOT TO MISS

about your upcoming exhibitions EMAIL: RPSJOURNAL+ THINKPUBLISHING.CO.UK

BEAUTIFUL VIEWS AND WILDLIFE OF NORTH!EAST LINCOLNSHIRE Cleethorpes Discovery Centre UNTIL NOVEMBER

Members Colin Smale ARPS and John Leslie ARPS show 70 photos of their local landscapes and wildlife in their biggest exhibition yet, which has been extended to November. bit.ly/viewsandwildlife

TIM HETHERINGTON, INFIDEL Photofusion, London UNTIL 31 OCTOBER

Tim Hetherington (1970-2011) was a British photojournalist killed while working in Libya. This exhibition includes photographs and video drawn from the series Infidel and Diary, focused on the experience of war from the individual perspectives. Infidel consists of large-scale images of the Korengal Valley in Afghanistan, and intimate portraits of the US troops stationed there. photofusion.org

OUT OF FOCUS Oxmarket Centre of Arts, Chichester A group of Chichester Camera Club members, including Society Members Cathy Hughes, Pietro Rocchiccioli and Joy Whiting, are holding a wide-ranging exhibition in aid of St Wilfrid’s Hospice. oxmarket.com OCTOBER ! NOVEMBER

ALSO SHOWING

COMMON GROUND: NEW DOCUMENTARY PHOTOGRAPHY FROM SCOTLAND AND WALES Street Level Photoworks, Glasgow UNTIL 19 OCTOBER

Common Ground brings together exciting new work from two photographic collectives taking an outward-facing view of their respective home countries.

Document Scotland and A Fine Beginning from Wales work with ideas associated with national and cultural visual inspiration. streetlevelphotoworks.org

EDWARD STEICHEN: IN HIGH FASHION, THE CONDÉ NAST YEARS 1923!1937 The Photographers’ Gallery, London

THE MODERN LENS: INTERNATIONAL PHOTOGRAPHY AND THE TATE COLLECTION Tate St Ives, Cornwall

31 OCTOBER 2014 " 18 JANUARY 2015

14 OCTOBER 2014 " 10 MAY 2015

Edward Steichen (18791973) was the first ‘modern’ fashion photographer, and this exhibition presents over 200 vintage prints, many on public display for the first time since the 1930s. They mark the period when Steichen was working for Condé Nast on its two most prestigious publications, Vogue and Vanity Fair. thephotographersgallery.org.uk

The largest photographic display to be held at Tate St Ives, The Modern Lens looks at developments in international photography from the 1920s to the 1960s. It uncovers the sense of curiosity and experimentation as artists harnessed photography in new ways and explored ideas of abstraction. tate.org.uk

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Multiplied Art Fair Christie’s South Kensington, London, 17-20 October Octet The Crypt Gallery at St Mary in the Castle, Hastings, 14-27 October Images of East Anglia Boat House Gallery, National Trust Bridge Cottage, East Bergholt, Suffolk, 5 November 2014 - 22 February 2015 Mark Neville Alan Cristea Gallery, London, 20 November 2014 - 24 January 2015 The Taylor Wessing Photographic Portrait Prize, National Portrait Gallery, London, 13 November 2014 – 22 February 2015

STEPHEN MCLAREN, FROM SCOTIA NOVA; TIM HETHERINGTON, FROM INFIDEL; COLIN SMALE ARPS; CATHY HUGHES ARPS, TWO; JUDIT KARASZ, DROUGHT; EDWARD STEICHEN, ACTRESS ANNA MAY WONG, 1930, COURTESY OF CONDÉ NAST ARCHIVE, CONDÉ NAST

7"12 OCTOBER

590 | IN FOCUS |

‘AN EXTENSIVE KNOWLEDGE’

Society past president Chris Roberts HonFRPS marks the passing of former Society general manager, Lord Brain Lord Brain, the Society’s general manager between 1982 and 1984, when it was in the Octagon, Bath, passed away on 15 August.

Christopher Langdon Brain was born in 1926 and became the second Baron Brain on the death of his father in 1966.

He joined Ilford Ltd in 1953, and worked on various engineering and production projects. He joined The Society in 1966, achieving his Associateship in 1970.

Chris Roberts HonFRPS, Society president from 1982 to 1984, remembers this knowledgeable and enthusiastic man.

‘I first met Christopher in 1982. He had applied and was chosen for the position of general manager of The Royal Photographic Society, of which I was president. We became good friends.

WISE WORDS

‘He had an extensive knowledge of the photographic industry because of his previous employment with Ilford Ltd, and had many contacts who proved to be invaluable.

‘In 1982, the Society hosted an exhibition on holography called Light Dimensions at the Octagon in Bath. It was one of the most successful in the Society’s history, attended by over 45,000 people. This was in no small part due to Christopher’s efforts. Not only did he negotiate support from Agfa-Gevaert, but after contact with the Palace, Princess Margaret agreed to open the exhibition.

‘After he left the Society, we met on several occasions, usually for lunch either at the Royal Society of Arts or the House of Lords.’

Sometimes I arrive just when God’s ready to have someone click the shutter ANSEL ADAMS

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An image from Travel ARPS Andrew John Eio

DISTINCTION SUCCESSES

Well done to the Members who achieved Distinctions in recent months ASSOCIATE TRAVEL 06/14 John Baird, Warrington Prof R Hermon Dowling, Berkshire Andrew John Eio, Buckinghamshire Tim Hancock, Lancashire Leslie Hill, Tyne and Wear Given Huin, Singapore Hoi Keung Lau, Hong Kong David Sage, Wiltshire Dawn White, Fife ACCREDITED SENIOR IMAGING SCIENTIST + FELLOW 07/14 Professor Norman Barker, Maryland, US LICENTIATE EXEMPTION 06/14 Angela Donnelly, Cambridgeshire Dion Elba-Porter, Lincolnshire Virginia Langer, Hampshire Anthony Lelliott, East Sussex Stephanie McMahon, Wiltshire Camila Osborne, Lincolnshire Benjamin Toomey, Warwickshire ASSOCIATE EXEMPTION 06/14 Steven Christopher Kenny, Kent Pauline Pentony, Durham

LICENTIATE EXEMPTION 07/14 Daniele Bonanni, Rome Roberta Consoli, Rome Roberta Di Maio, Rome Giorgio Pascolini, Rome Tommaso Proietti, Rome Fabrizio Rotili, Rome Sue Vinney, Northamptonshire ASSOCIATE EXEMPTION 07/14 Francesco Amorosino, Rome Paola Angelani, Rome Fabio Cameli, Rome Francesca Cervasi, Rome Laura Corrado, Rome Franceso Rombaldi, Rome ARPS EXEMPTIONS 08/14 Harry Hall, Wiltshire Sarah Kinsella, Cheshire Tom Owens, Suffolk Jane Salisbury, London LRPS EXEMPTIONS 08/14 Andrew Brenton, Mid Glamorgan David Ireland, Yorkshire Jessie Myers, Bath Lucilla Nitto, London Alan Whittaker, Cheshire

OCTOBER 2014

TIME(LAPSE MADE EASY

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I WISH I’D TAKEN

A new smartphone app can help you take time-lapse video Hyperlapse from Instagram makes it easy to speed up videos recorded on a phone, with a built-in gyroscope helping to iron out the jolts.

At present Hyperlapse only works on iOS devices, but Intagram’s Will Guyatt says it hopes to release a version for Android devices if they support the technology. itunes.apple.com Read more about time-lapse imagery on page 639

TONY WOROBIEC FRPS ON JOEL MEYEROWITZ’S ‘PROVINCETOWN, 1976’

COPYRIGHT JOEL MEYEROWITZ, COURESY HOWARD GREENBERG GALLERY

PROFILE TONY WOROBIEC FRPS Author and awardwinning photographer, Tony has images in the Society’s collection

So what is it with you and Joel?

Meyerowitz has the capacity to capture the seemingly ordinary, the prosaic, yet introduce a deep sense of mystery. Of the many images I admire, this one has been the most inspirational.

Why, exactly?

It gets more interesting as it ages. It was taken in the 1970s, don’t forget, when many observers would have dismissed the scene as unremarkable.

Although Meyerowitz worked in black and white early in his career, he is the master of colour. Seen in isolation, so many of the colours here would normally clash, but his

instinctive awareness of tone overcomes this. While he has introduced complementary hues into the mix, this photograph retains a compelling harmony.

Why does this image work so well?

The apex of the yellow kiosk is the fulcrum from which the remainder of the image is structured. Each element is carefully weighted so a delicately asymmetrical balance is achieved; note how the truncated vehicle to the extreme right holds the eye in, working as a visual full-stop. Even the telegraph wires serve a purpose, creating a frame round the parked vehicles.

It’s a masterpiece!

MEMBERS EXHIBIT AT BRIGHTON

Work from three Associates on show at Photo Fringe 2014 Society Members will see their work on show at this year’s Photo Fringe, part of the Brighton Photo Biennial.

Throughout October, Brighton and Hove will be packed with images of all sorts during the UK’s largest photography festival. As part of this, Steve Boyle ARPS,

Audrey Marshall ARPS and Colin Miller ARPS will be showing work from their portfolios. They join Sylwia Liszak, Nicola Miles and Laura Morgan to present a series of events and workshops during the exhibition period, including a presentation on street photography, with a

photowalk and workshop.

Six Photographers Under One Roof is at Artista Studio and Gallery, 42 Waterloo Street, Brighton from 4 October to 2 November.

Find out more at bpb.org.uk/2014 and photofringe.org

Aviles, by Audrey Marshall ARPS

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Taking Sight, a stereoscopic image of the type popular in Victorian Britain, and an image of Isambard Kingdom Brunel, below

BRIAN MAY TO GIVE STEREOSCOPY LECTURE Stereoscope experts are back with more on a unique art, reports Lucy Davies This month stereoscopy experts Dr Brian May CBE and Denis Pellerin will present an exclusive Society lecture on the subject of their latest book, The Poor Man’s Picture Gallery.

Stereo photography is the art of fusing two single images together in a viewer to produce a 3D scene. At its height between 1856 and 1870, millions of stereo BRIAN MAY ON STEREOSCOPES ‘My story began with a small stereo card depicting an animal that arrived, free of charge, in my Weetabix cereal packet when I was young. The card looked nice, but insignificant.

However, viewed in the stereoscope they supplied at a price, it sprang into lifelike splendour. I was hooked. What was the point of making 2D pictures when you could make 3D ones? That feeling has

cards were sold by the London Stereoscopic Company (LSC).

In 2008, the LSC was revived by Queen guitarist and astrophysicist, May. With fellow enthusiast and scholar Pellerin, May has turned the company into a vast information resource.

The Poor Man’s Picture Gallery takes its title from an 1858 Times article praising the stereoscope for ‘placing within the means of a poor household the power of possessing excellent

Denis Pellerin and Dr Brian May CBE

never left me. Through school and university, and 40 years of touring with Queen, my fascination only deepened as I discovered the world in 3D.’

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transcripts of nature and works of art’.

The book, which reveals the connections between stereo images and the paintings, cartoons, theatre and sculptures of the day, coincides with an exhibition at Tate Britain, where 12 works from its Victorian and Pre-Raphaelite collection will be shown alongside their 3D doubles.

‘Stereography was very accessible entertainment,’ says Pellerin. ‘Every middleclass home had a stereo viewer and a stack of cards.

There were even places where you could hire a viewer for an evening.’

Some of the most famous photographs we know today – Isambard Kingdom Brunel in front of the ship’s chains at Millwall for example, are halves of original stereograms.

Pellerin has been studying stereography since he was 17, when he found a viewer and some cards in his grandmother’s house.

‘It was a photo of Tuileries Palace. I felt as if I was inside it,’ he says.

Denis Pellerin and Dr Brian May present ‘Stereoscopy and Victorian Painting’ on 9 October at the Royal Institute of British Architects, London. See page 648 or go to rps.org/stereo

INTRODUCING A BRAND NEW PHOTOGRAPHY COMPETITION

THE EUROPEAN B&W ANALOGUE PHOTOGRAPHY COMPETITION Tetenal - one of the world’s oldest photographic companies, are pleased to announce their inaugural European B&W Analogue Photography Competition.

In this year where we celebrate the 175th birthday of photography, what better way to acknowledge the Across 5 categories covering Portrait, Lifestyle/ Reportage, Architecture, Landscape and Wildlife you are invited to send in your traditional prints to be in with a chance of being called; European B&W Analogue Photographer of the Year!

For further details regarding prizes, eligibility and how to enter visit: since1847.tetenal.com We look forward to seeing your work!

European Black & White Classics Award

You can also request further information via e-mail to craig.bird@tetenal.uk.com

BOOK REVIEWS

MASTERING LANDSCAPE PHOTOGRAPHY David Taylor Ammonite (£19.99) Although this book’s cover image is a little disappointing, it shouldn’t put you off. Its pages are packed with the information needed to get stuck into good quality landscape photography, from equipment to general photographic principles, landscape photographyspecific techniques, to basic post-production. The writing is mostly jargon free, only a couple of times becoming a little over-techie. The page layouts are easy on the eye, with easy-to-remember tips and illustrative photography.

The Ashes in the frame

SPORTING HERO

A master of the magical moment and precision timing

ASHES, © MARC ASPLAND

THE ART OF SPORTS PHOTOGRAPHY Marc Aspland HonFRPS Prestel Publishing Limited (£29.99) The striking photo adorning the cover of Marc Aspland HonFRPS’s inspirational book of sports photography sets the theme for the coming pages; it shows race horses in full flight on a snow laden track. More than anything, Aspland’s book celebrates the strength, agility and endurance of the sports men and women he photographs – as well as his own impressive talents.

Aspland has been the chief sports photographer at the Times and Sunday Times newspapers for over 25 years; he has covered most, if not all, of the major national and international events in the sporting calendar. His work was recently recognised by the Society at its annual awards, and this book contains samples from a range of sports, including cricket, football, rugby, tennis, golf, swimming, motor racing, and the summer and winter Olympics.

This portfolio encompasses a wide range of techniques such as: very fast and

| IN FOCUS | 595

very slow shutter speeds, motion blur, panning and high-speed flash, plus a nightmarish range of lighting conditions outside the control of the photographer.

All of this combines to show that Aspland is a master of his trade.

What defines Aspland’s work, for me, is an intuitive eye for the magical moment and precise timing of the shutter release. For many of the photos in this album a tenth of a second separates a great photo from an average one. In my opinion, a 10 frames per second burst would leave too much to chance, but these photos rely more on Aspland’s experience, observation and skill rather than the contingencies of continuous shooting.

The only thing missing is the settings for each photo: a simple list at the back of the book showing focal length, ISO, aperture setting, and shutter speed would be of great benefit to those of us trying to aspire to Aspland’s stratospheric standards. That said, this is an album to inspire any would-be sports photographer to get out there and give it a go.

GARRY MITCHELL LRPS

NIGEL HICKS

SOMEWHERE BETWEEN WAR AND PEACE James Hill Kehrer Verlag (£28) James Hill, who won the Pulitzer Prize in 2002 for his photographs of the war in Afghanistan, here tells the stories behind 50 of his photographs taken during the past few decades. An attractive design and portable format complements a generous amount of written content that gives compelling insight into the relationship between the photographer and his work, as well as the history he has documented.

ALEC MACKENZIE

CECIL BEATON: PORTRAITS AND PROFILES Cecil Beaton Frances Lincoln (£30) As well as being one of the most celebrated portrait photographers of the 20th century, Beaton was also a witty, insightful and often prescient writer who had something to say about every one of the figures he captured during his lifetime. Included in this collection are portraits and profiles of Picasso, Marilyn Monroe, Marlon Brando and HM Queen Elizabeth II. ANDREW CATTANACH

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596 | OCTOBER WHAT ARE DISTINCTIONS?

Distinctions set recognised standards of achievement throughout the world

LRPS Applicants must show variety in approach and techniques but not necessarily in subject matter

Mick Durham

FRPS Natural History Skilful use of digital technology has been key to capturing birds in all their natural splendour I have always had a great interest in birds and bird photography, and over the last few years have been concentrating on capturing images showing them in action. My images, some of which date back to June 2008, portray a variety of moods and atmospheres but they all reflect wild birds going about their daily lives.

The most important aspect is to capture an image that shows the subject behaving perfectly naturally without showing any knowledge of or nervousness towards the photographer.

The advent of high-quality digital photography has played a major part in the development of my own photographic skills. Many of the images I had used for my ARPS portfolio were taken during my first couple of years owning a digital camera – as I gained in Golden eagles: ‘It is most important to capture the subject behaving naturally’ 596 / THE RPS JOURNAL / OCTOBER 2014 / VOL 154

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

FRPS Images must be of an outstanding photographic and creative standard, and accompanied by a statement of intent

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DURHAM 598 | DISTINCTIONS | MICK FRPS NATURAL HISTORY

Hoopoe in flight

experience using this newer technology I have been able to develop my photographic style considerably. Highspeed flight photography, for instance, has become something that I do with more confidence these days.

I use a Nikon D3S DSLR with a range of lenses. My favourite is the 200-400 f/4 zoom which gives a great deal of flexibility when combined with either a 1.4x or a 1.7x converter. I also use a 70-200 f/2.8 zoom and a 500mm f/4 lens. I use a Gitzo carbon-fibre tripod with a monoball and Wimberley Sidekick. I use Aperture to sort my images and apply some basic adjustments.

Fine work is done in Photoshop but this is usually only dust-spot removal, some cropping and a little work with levels, curves, and maybe hue and saturation.

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Kingfisher, foot of page

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Peregrine falcon

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DURHAM 600 | DISTINCTIONS | MICK FRPS NATURAL HISTORY

ASSESSOR’S VIEW

ROGER REYNOLDS HonFRPS Chair of the Distinctions Advisory Board A Fellowship in Natural History is very difficult to achieve. It is an area which is popular, and where improvements in technology over the last two decades have seen the greatest advancement in what can be achieved in both image capture and conditions. Standards continue to rise at a fast pace.

Only a few years ago images of birds on branches or at the nest were seen as the pinnacle of this style of photography. Today the Fellowship requires so much more, and anything less than high-speed action shots or intimate behaviour will not cut the mustard. Then of course you have to do this with a large variety of species, each with its own distinct behaviour. Sometimes the action lasts for milliseconds, but as the photographer, you need to understand when it is going to happen and be ready, sometimes after a wait of hours.

Cartier-Bresson talked about the ‘decisive moment’. In my view his version had nothing on the skill required by the nature photographer to capture such a moment, something essential for success at this level.

It is sometimes easy to look at a Natural History Fellowship panel and compare it to the wonders we see on television. This is of course a benchmark. However, you have to realise that what we see on the small screen is the collaboration of hundreds of people and an investment of millions of pounds, not the work of an individual, acting alone. When you take that step back you see what an outstanding body of work Mick Durham has submitted, one worthy of a Fellowship of the Society.

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FACTFILE

A wildlife photographer for more than 30 years, Mick learned his skills in north Wales before moving to south-west Scotland. Otters are one of his favourite subjects.

He was awarded his Fellowship in 2013

FEATURE SPONSORED BY

HANGING PLAN

‘Today the Fellowship requires so much more than images of birds on branches’

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WADDINGTON 602 | DISTINCTIONS | BRYAN ARPS VISUAL ART

Eighteen months in the making, this panel covers a breadth of species, viewpoints and weather conditions

Bryan Waddington

ARPS Visual Art

Adopting a disciplined approach led to gradually being able to see the creative wood for the trees

FACTFILE

Bryan developed an interest in photography from a young age and joined his local camera club in his teens.

His prints have been accepted and won awards for a number of international exhibitions including the Society’s Visual Art Exhibition

My portfolio captures many moods and atmospheres; the loneliness of a single tree, the cold and stillness of trees in the snow, and the almost claustrophobic feeling of fog.

Having started this project, I found it challenging to take interesting images of trees and present them in monochrome. On occasions when I was lacking in inspiration I thought about changing, but it became a personal mission.

My previous images of trees have been subjects I have come across by chance but I was now working on a project and that discipline

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was new to me. I started to focus more and more, and would visit the local woodland to absorb the experience, sometimes without taking photographs.

This allowed me to develop creatively and my images became a more personal view of trees. I work mostly in monochrome, and have done for about six years, and I can see an improvement in the tonal range and depth of my images which is largely a result of better image processing and printing.

It took me about 18 months to produce this set of images.

Most were taken with a

Canon 5D MkII using a 24-105mm zoom, 35mm prime lens or a 70-200mm zoom. A couple were taken with an Olympus OM-D E-M5 Micro Four Thirds camera. I use a Manfrotto tripod, and always use a cable release and mirror lock-up when using a tripod.

I catalogue my images using Lightroom and use it as my RAW converter, taking the files into Photoshop for further processing. I find printing a fascinating part of the image-making process and print my images myself on my Epson Stylus Pro 3880 printer.

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WADDINGTON 604 | DISTINCTIONS | BRYAN ARPS VISUAL ART

ASSESSOR’S VIEW

PETER PATERSON FRPS Chair of the Visual Art panel Bryan’s panel theme is trees, which could have been a problematic, narrow choice, but he has presented a selection in different lighting and weather conditions – even adding a reflection of the trees in water – and giving us different viewpoints with the wider views and the more intimate ones.

The choice of doing a mono panel works well with the subject matter, giving us the subtlety of tones in the misty images, and the texture and detail in the bark of the pine tree images. There was also a quality to the light.

There was a good balance to the way the hanging panel was put together, mixing light with dark.

This comes over in the centre vertical and the centre horizontal row that works very well with the darker images on the bottom row.

Overall the panel was well presented, with a good standard of mono printing, and well mounted, giving a very coherent feel.

This was a panel by a photographer who had given a lot of thought to the subject matter, both in content and the execution at the taking stage, producing work well up to the Associate standard.

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| DISTINCTIONS | 605 FEATURE SPONSORED BY

HANGING PLAN

‘There was a good balance to the way the panel was put together, mixing light with dark’

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606 | DISTINCTIONS |

FEATURE SPONSORED BY

ADVERTISING PROMOTION

‘YOU CAN TELL IT’S A REALLY HIGH!QUALITY PRODUCT’

Mooring Ring on Harbour Wall, by Susan Brown FRPS

Behind the scenes

Susan Brown FRPS is an assessor on the LRPS and Visual Art panels. So how does she make those all-important calls?

What strikes you most about the images you see?

I am always surprised at how the standard appears to keep lifting, just when you think it can improve no more. Trying to be different becomes more difficult as time goes on, yet still innovation in photography continues to astound and inspire me.

Do you know at once what’s going to get through?

It took a while to have the confidence to pass or fail a panel but the newly introduced induction days for new panel members remove that initial anxiety – ‘have I got it right’? Panel members understand the stress levels of participants and really wish success to all.

What are your memories of having your own work assessed?

It is a long time ago but the memory of each step lives with me.

How did you feel on achieving your Fellowship?

Surprise, then delight. When I applied for my Fellowship, it was a man’s world, so I was very proud to be a woman who achieved the highest accolade the Society has to offer.

SUSAN’S TOP THREE TIPS FOR A PROSPECTIVE LICENTIATE 1. Always try to attend an advisory day 2. If seeking advice, get the advice from a panel member – they understand the standard required at each level 3. If you are not successful, treat the experience as a learning curve

ATTEND A DISTINCTIONS ASSESSMENT DAY For the latest dates for Distinctions Assessment Days, please visit rps.org/events or contact Ben Fox on 01225 325751 or ben@rps.org EXPERT ADVICE Turn to our member guide on page 647 to find dates for advisory days, where you can gain expert advice on your portfolio

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PermaJet’s success at Photokina has cemented its place as an industry leader when it comes to inkjet photographic papers.

Here’s what we learnt from Australian photographer James Partridge.

With the quality of creative inkjet papers being so high, it is easy to forget about the staple products every photographer should have by their computer, ready to feed in whenever they want to print images. PermaJet’s Gloss 271gsm paper is great for adding punch to images.

‘Gloss is not my thing, it’s just not, but – and it’s a big but – this is a good-looking paper. My first impressions are it has a beautiful thick sheen. It looks as though it’s been laminated. The colour reproduction is very accurate with a great range of tones. My image almost looks three dimensional, such is the feeling of the paper. Just holding the print you can tell it’s a really high-quality product. The bright white colour of the paper provides a wonderful contrast to the deep colours that it produces. I can see this fitting into my range of papers in the future.’

You can pick up a 25-sheet pack of A4 Gloss 271gsm paper for just £13.95 from the PermaJet website. As a comparison, James tested the Museum 310gsm paper – a

sumptuous, textured, fine-art media.

‘I love the detail in this paper. The colour in the prints is 100 per cent spot on, displaying every tone as it is on my screen. The paper’s base colour is a slight off white, with a subtle warmth to it. This is a beautifully constructed fine-art paper that I can see being a big hit with PermaJet customers. I’m very much inclined to use this paper for a number of my photographs that I’m due to display in a gallery early next year.’

It is an ideal paper for special gifts, exhibitions or one-off prints. As a heavy fine-art material, the expense is often high but an A4 25-sheet pack costs £28.95, which offers very good value. Head to permajet.com to find out more about any of these papers and make an order. www.permajet.com Twitter: @PermaJet info@permajet.com

WINNERS 608 | AWARDS | 2014 ROYAL PHOTOGRAPHIC SOCIETY

2014 AWARDS

THE ROYAL PHOTOGRAPHIC SOCIETY AWARDS

OUR WINNERS The Society’s annual awards celebrate the men and women who have achieved success and raised the bar in the art and science of photography

Progress Medal and Honorary Fellowship TIM WEBBER Special effects master; won an Oscar for his work on Gravity

Centenary Medal and Honorary Fellowship STEVE McCURRY HonFRPS Photojournalist and traveller, known for the striking Afghan Girl image. See page 612

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The Award for Outstanding Service to Photography and Honorary Fellowship TERENCE PEPPER OBE HonFRPS Curator extraordinaire

Honorary Fellowship MARC ASPLAND FRPS The Times chief sports photographer, who captures the heart of the action

Honorary Fellowship HARRY BORDEN Portrait photographer whose portfolio goes from Margaret Thatcher to The Spice Girls

2014 WINNERS

| AWARDS | 609

Clockwise, from left: a still from the film Gravity, for which Tim Webber won an Oscar; Richard Harris by Harry Borden; an Icelandic glacier in retreat by James Balog

PORTRAITS: TONY FRENCH; IMAGES COURTESY OF WARNER BROS. PICTURES AND FRAMESTORE. HARRY BORDEN; JAMES BALOG

ON A SUNNY EVENING IN SEPTEMBER, some of photography’s most fascinating names gathered at the annual Royal Photographic Society Awards ceremony, kindly supported by The Macallan.

The RPS Journal was there to capture the spirit of the event, and it was a truly inspiring evening. From the shock and awe of James Balog’s time-lapse sequences of glaciers in retreat, to the

Honorary Fellowship SUSAN DERGES Photographic artist who harnesses the delicate spirituality of nature to create painterly images

mind-blowing views of the planet, created for the film Gravity by Tim Webber, the work on show revealed just how powerfully the art and science of photography can be employed.

For many members who attended, the evening was also a chance to meet their heroes. Members’ Award-winner Patricia Ruddle ARPS told of her chat with Centenary Medal-winner Steve

Honorary Fellowship DAVID LAND Having edited The RPS Journal for 12 years, Land has interviewed the genre’s leading lights

Honorary Fellowship CHRIS STEELE,PERKINS Magnum great whose images have inspired generations to take up a camera

McCurry – the two photographers, by chance, share the same alma mater.

Read more about each winner in the special booklet enclosed with this issue. The Society Awards are open to any photographer, whether or not they are a member of the Society.

Nominate your candidates for next year’s Awards at rps.org/2015awards

Honorary Fellowship JOHN SWANNELL FRPS A doyen of high fashion, Swannell created one of the most famous portraits of Princess Diana and her sons

Honorary Fellowship HUGH TURVEY Science becomes art with Turvey, who harnesses the X-ray with striking results

VOL 154 / OCTOBER 2014 / THE RPS JOURNAL / 609

WINNERS 610 | AWARDS | 2014

ON SUITCASES !

CAMERA BAGS

I just retired another suitcase. I thought if this gets lost it would be tragic. Over time, it became something of an art piece. It should be part of an exhibition. In my camera bag I keep lens caps, lens tissue, memory cards, a battery, a pen, maybe a book. I don’t use it when I’m working – I carry an open

shoulder bag just for the camera, maybe a bottle of water. I carry everything I’ll need for the shoot.

If I need a tux, I take that too. I put red strips on my suitcase to make it distinctive, and buy one that’s inexpensive, so if it gets lost or stolen it doesn’t really matter.

It’s kind of a Buddhist approach to cases.

Colin Ford Award DR SOPHIE GORDON Senior curator of photographs at Royal Collection Trust, whose special interest lies in the south Asian continent

Davies Medal PETER LAWRENCE A professional stargazer, Lawrence has pushed the boundaries of imaging science

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Education Award CORINNE NOORDENBOS A photographer and academic, Noordenbos is at the forefront of ‘new’ photography

J Dudley Johnston Award DAVID CAMPANY Author of all the photography books you’ll ever need to read

Lumière Award ROBBIE RYAN Cinematographer who gets great images on film, including in Philomena, Red Road and The Angels’ Share

JOHN SWANNELL; VIC ODDEN; MARC ASPLAND

Clockwise, from above: An image from Empire by Jon Tonks; one of Marc Aspland’s sporting shots; and Princess Diana and her sons by John Swannell FRPS

2014 WINNERS

| AWARDS | 611

SOCIETY STARS

PATRICIA RUDDLE ARPS; ANDY FINNEY; JUDITH PARRY; JENNY LEATHES ARPS; ROBERT TAPPER ASIS FRPS

The Fenton Medal and Members’ Award recognise those who have made a difference at the roots of The Royal Photographic Society

There are two categories of award that celebrate individuals who have furthered the work of the Society.

The Fenton Medal, named after the Society’s first secretary Roger Fenton, recognises those who have made an outstanding contribution to the work of the Society. The Members’ Award celebrates ordinary Members who have shown extraordinary support for the Society over a sustained period.

This year’s Fenton Medals were awarded to infrared pioneer Andy Finney, former Journal assistant editor Sue Harper, medical imaging expert Robert Tapper ASIS FRPS, and Jenny Leathes ARPS, who was presented with her award earlier this year before she succumbed to terminal illness.

The Members’ Award was presented to Judith Parry and Patricia Ruddle ARPS. As secretary of the Smethwick Photography Club, Parry has ensured that free exhibition space is available for Society members to show and develop their work. ‘It’s so important,’ she says. ‘Many photographers have never had their work displayed, and the process of exhibiting it can really help them develop their photography.’

For Ruddle, the award is the culmination of the great enthusiasm she has for photography, and for the Society. Since joining in 1988, she has served in various roles and is now on the committee of the Contemporary Group. ‘The Society is unequalled anywhere in the world,’ she says. ‘To be at the heart of it is such a privilege.’

Chair by window, by Judith Parry (Members’ Award)

Sunflower, by Andy Finney (Fenton Medal)

Mannequin, by Patricia Ruddle ARPS (Members’ Award)

WINNERS NOT SHOWN

Vic Odden Award JON TONKS Globetrotting documentary photographer whose work has captured an empire

Gannets Feeding, by Jenny Leathes ARPS (Fenton Medal)

Combined Royal Colleges Medal EMERITUS PROFESSOR ADOLF FRIEDRICH FERCHER A visionary whose work on optical coherence tomography has advanced medicine Hood Medal JAMES BALOG Environmentalist whose work reveals the realities of climate change Selwyn Award DR WEN LUO

Groundbreaking researcher in the field of colour and imaging science The Bill Wisden MBE HonFRPS Fellowship of the Year CLARE ACFORD FRPS Hard work pays off, as Acford has progressed through her Distinctions with impressive speed. See page 620 Fenton Medal & Members’ Award For details of the winners see ‘Society Stars’, above

An image of the eye, by Robert Tapper ASIS FRPS (Fenton Medal)

BURSARIES Watch this space for more on the 2014 bursary winners who, thanks to the Society’s awards, will be starting work soon on each of their projects. The winners this year are: JOAN WAKELIN BURSARY ,IN PARTNERSHIP WITH THE GUARDIANManuela Henao Restrepo

THE PHOTOGRAPHIC ANGLEMarcus Doyle (Over 25) Charlotte Sams (Under 25)

ENVIRONMENTAL AWARENESS BURSARY ,IN PARTNERSHIP WITH

THE RPS POSTGRADUATE BURSARY Marilene Ribeiro

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McCURRY HonFRPS 612 | INTERVIEW | STEVE

Steve McCurry Eyes on the world Š AHMET SEL

Garrett White meets the Centenary Medal-winning photographer, who has granted The RPS Journal exclusive, previously unpublished images

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ROYAL PHOTOGRAPHIC SOCIETY

2014 AWARDS

McCURRY HonFRPS 614 | INTERVIEW | STEVE

F

ew photographers have been as closely associated with a single image as Steve McCurry and the Afghan Girl, one of the best-known photographs in the world nearly three decades after it appeared on the June 1985 cover of National Geographic. The subject was a 12-year-old Pashtun girl who McCurry had met in a Pakistani camp for refugees fleeing the war in Afghanistan.

The defiant questioning and fierce beauty in her eyes – the harrowing story in her portrait – spoke to millions.

McCurry, 64, continues to be grateful for that experience, but the story of the Afghan girl is only one aspect of a career that has produced many of the most indelible photographs of our time.

A Pennsylvania native, McCurry got hooked on photography while studying film at Penn State University and working for its newspaper. In 1978, after a two-year stint at a small-town daily, he bought a one-way ticket to India, taking only two bags, one for clothes and another for film. He intended to travel for a few weeks but stayed for two years, and by the time he returned to the USA, he was a fully fledged, working photojournalist.

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A year into that first journey, McCurry travelled to Pakistan, where he met a group of Afghan mujahideen who offered to smuggle him into Afghanistan and show him the reality of the war they were fighting against the Soviet-backed government in Kabul.

Despite the risks, he felt welcomed by the men. ‘There was no electricity, no running water, nothing to buy,’ he says.

‘I was in the country illegally, in a war zone. We were wandering around in remote areas. It was a real adventure.’

He returned to Afghanistan several times that year, and sold photo stories to a few small magazines and the New York Times. After the Soviet invasion in December 1979, he sold pictures to Time and Newsweek. In 1980, he won the Robert Capa Gold Medal for Best Photographic Reporting from Abroad, the first of many major awards, including, most recently, The Royal Photographic Society Centenary Medal for Lifetime Achievement.

The early lessons he learned continue

WHEN YOU’RE YOUNG YOU TAKE EVERY ASSIGNMENT. NOW I SHOOT THINGS THAT ARE IMPORTANT TO ME

to serve him – caution and respect, finding the right contacts, waiting and observing while working out how to get inside a foreign culture. ‘You need to know what you can and can’t do,’ he says, ‘the security situation, how comfortable people are with a camera.

I was in Addis Ababa recently, and many people there don’t want to be photographed. Even if you don’t photograph them, they react to the camera, whereas in a place like Myanmar you can photograph anything, anywhere, and nobody’s going to be upset. Other places, you’re always worried that somebody’s going to take your camera or beat you up. All things being equal, I’d rather work in a place that’s stress free.’

McCurry’s long association with Afghanistan, together with stories through the years on Sri Lanka, Kashmir, the Gulf War, Lebanon, Iraq, and elsewhere, has led many to consider him a conflict photographer, but it’s something of a misnomer. ‘I’m always kind of surprised when people think of me that way,’ he says. ‘I’ve only done that now and then. The last time I went to Afghanistan was five years ago.’

Since starting out in the era when print magazines were a photographer’s bread and butter, the balance of McCurry’s activities has inevitably

ALL IMAGES © STEVE MCURRY

Previously unpublished, this image shows children of the Suri tribe in Ethiopia (above), and right, one of McCurry’s best-known images, taken in Rajasthan in 1983

McCURRY HonFRPS 616 | INTERVIEW | STEVE

shifted. The advent of the internet is part of the new equation, but so is success. McCurry still goes out on editorial assignments, although probably in pursuit of a story he has suggested. There are also corporate commissions for which he is given a free hand, such as a project for Lavazza coffee in Ethiopia, as well as speaking engagements and a constant stream of international exhibitions. But he spends most of each year doing what he always has, following his curiosity and taking pictures that reveal a common humanity. ‘The passion to explore and see new places and photograph people is the same,’ he says. ‘You can ask that about anything – why do you do it?

Why does a painter paint? Why does a writer write? We all have different needs for creativity.’

Based in New York since 1982, McCurry maintains two studios, one in Long Island City – a warehouse district in Queens favoured by artists – and another in Philadelphia run by his sister. Shelves in the New York studio are stacked to the high ceiling with boxes of prints, posters, and books above computer stations where several assistants help to meet the demands of a thriving and diverse photographic enterprise. McCurry has been making his own Epson prints since 2002, and 616 / THE RPS JOURNAL / OCTOBER 2014 / VOL 154

Afghan Girl, the photograph of 12-year-old Sharbat Gula with which McCurry is most associated

switched to digital photography in 2004, and much of the office’s work involves digital management – organising an archive of close to a million photographs, maintaining the website, tracking exhibitions, making and selling prints, and producing books.

One measure of McCurry’s achievement is the freedom to go anywhere he chooses. ‘When you’re

young,’ he says, ‘you take every assignment. It was the only way I could travel. Now I don’t want to do just anything. I’m more interested in making every day count, going places and shooting things that are important to me. The best scenario is to go to a place on my own, no assignment, just to explore with my camera. It’s great to be able to just think about where I haven’t been or where I’d like to go again.’

Among the places he has never been and would like see—there are not many—he lists Madagascar, Iran, and Saudi Arabia. Several of his books have been devoted to his attraction to the vibrant, colourful cultures of Asia. He hopes to return to China and Vietnam, and India remains a touchstone (he has been there more than 80 times).

In 1986, McCurry joined Magnum Photos, the celebrated agency co-founded by Henri Cartier-Bresson.

‘I used to go to Henri’s place on the Rue de Rivoli,’ he recalls. ‘We had been to many of the same places – India, China, Indonesia. He was never a big fan of colour photography but he was always very generous and complimentary. I’d go there when I had a new book out. I always responded to his work, even before I was a photographer. There is great humanity in it but also profound artistry and masterly design. It isn’t

ALL IMAGES © STEVE MCURRY

Two boys at a carnival in Myanmar, previously unpublished, which McCurry describes as a country where ‘you can photograph anything, and nobody’s going to be upset’

STEVE McCURRY HonFRPS

| INTERVIEW | 617

Heads they win: a previously unpublished image of Shaolin monks in training, taken at their monastery in Henan Province, China, in August 2004

about great prints and tonality. It’s more about a great story in the moment.’

Other photographers McCurry admires are also among the great storytellers: André Kertész, W Eugene Smith, Dorothea Lange (also often associated with one photograph, Migrant Mother), Margaret BourkeWhite, Garry Winogrand. ‘There are different types of photography,’ says McCurry, musing on the hoary distinction between photojournalist and artist. ‘Minor White and Edward Weston, Jerry Uelsmann and Duane Michals – it’s all beautiful work. I’m more in the line of Cartier-Bresson, Walker Evans, Dorothea Lange. I photograph people by and large – human behaviour, how people interact with each other and their environment.

‘If a picture takes you someplace, you learn something, you’re transported – it changes you. It burns into your psyche.

You go out with a camera and wander and see things you haven’t experienced before, and you get into another zone because you’re hypersensitive to what you’re seeing and hearing. It’s a meditative state in a way. In the end, you do what’s true for you, what comes naturally. I look at the work of Kertész, Josef Koudelka, Elliott Erwitt, or the portraits of August Sander, and if that’s not art, I don’t know what is.’

ON SUITCASES !

CAMERA BAGS

I just retired another suitcase. I thought if this gets lost it would be tragic. Over time, it became something of an art piece. It should be part of an exhibition. In my camera bag I keep lens caps, lens tissue, memory cards, a battery, a pen, maybe a book. I don’t use it when I’m working – I carry an open

shoulder bag just for the camera, maybe a bottle of water. I carry everything I’ll need for the shoot.

If I need a tux, I take that too. I put red strips on my suitcase to make it distinctive, and buy one that’s inexpensive, so if it gets lost or stolen it doesn’t really matter.

It’s kind of a Buddhist approach to cases.

There are many kinds of beauty in McCurry’s photographs, and images of delight and wonder in the exotic and the mundane are more plentiful than the depictions of suffering, poverty or war for which he is also known. Two of his favourites – Boy in Mid-Flight (Jodhpur, India) and Dust Storm in the Desert (Rajasthan, India) – are marvels of symmetry and intense colour in a fleeting human moment. Black and white transforms the colour we see into a basic architecture of form. McCurry does the same thing with radical contrasts of colour and, as he says, through shadow against shadow as often as shadow against light.

Other photographs portray the dignified humanity of fellow human beings, sometimes in difficult moments, and here the focus is on the immediate circumstances of the subject. After a monsoon in Porbandar, India, in 1983, McCurry – himself up to his chest in water – photographed a tailor crossing a flooded street. The tailor had managed to salvage his most precious possession, a sewing machine, which he carried on his shoulder just above the water. The smile on the tailor’s face is unforgettable. (The kindest people, McCurry has said, are ‘often those who live in the harshest conditions’.)

McCurry hopes that his photographs VOL 154 / OCTOBER 2014 / THE RPS JOURNAL / 617

McCURRY HonFRPS 618 | INTERVIEW | STEVE

After a monsoon in Porbandar, India, in 1983 McCurry took this much-loved image of a tailor crossing a flooded street after salvaging his most treasured possession

I DON’T THINK I SET OUT WITH THE IDEA OF TRYING TO MAKE A DIFFERENCE. I’M JUST REACTING TO A PLACE 618 / THE RPS JOURNAL / OCTOBER 2014 / VOL 154

ON RECEIVING THE SOCIETY’S CENTENARY MEDAL FOR 2014 It’s an honour to have this vote of confidence from The Royal Photographic Society, a distinguished organisation with one of the great photography collections in the world and a rich tradition of acknowledging valuable work.

Awards offer recognition.

Photographers, need feedback, reinforcement, to see that people appreciate what we do and that it changes or somehow moves them. I think we have a

need to share, to experience the world, and then to say I went and visited this place and this is what I saw, to make a

comment about human existence, the world we live in or our lives here at this point in time, to show something that’s overlooked or

needs to be preserved, or to find something that’s ordinary and mundane and invisible, then show it in all its glory.

Steve McCurry receiving his medal from Society president Derek Birch ASIS FRPS © THE ROYAL PHOTOGRAPHIC SOCIETY/NICK SCOTT PHOTOGRAPHY; © STEVE MCURRY

have a positive impact, although his intent is simply to show a reality that we might otherwise never see.

‘I don’t think I’m setting out with the idea of trying to make a difference.

I’m just reacting to a place like Rangoon or Bombay or Rio. The most interesting neighbourhoods in the world have life on the streets. You’re likely to have a far more visually interesting, richer experience in The Village or Harlem or Chinatown than, say, walking around the Upper West Side or down Park Avenue.’

McCurry’s decades of roaming the planet with a camera have enabled him to see the similarities and likeminded dreams of many people. He is not alone in this, of course, but it is a project of profound empathy, a life’s work, and he has not strayed far from where he began. ‘You go somewhere and take pictures, and there’s never any guarantee. Sometimes it works and sometimes it doesn’t,’ he says. ‘It’s a mysterious process.’

ACFORD FRPS 620 | BEST SHOTS | CLARE

Winning visions

Clare Acford FRPS was awarded the Bill Wisden MBE HonFRPS Fellowship of the Year at the Society’s Awards. She discusses her Fellowship images and more with Rachel Segal-Hamilton

620 / THE RPS JOURNAL / OCTOBER 2014 / VOL 154

BOY BLUE ‘This is one of the simpler pictures I’ve done lately. It has a wider appeal than some of my others – it’s brighter, more lighthearted. I shot the fields and the boy in Canada, in a recreated mining town in the south-west corner of British Colombia.

One weekend every year they harvest using threshing machines and have re-enactments from the 1940s and 50s.’

CLARE ACFORD FRPS

| BEST SHOTS | 621 ROYAL PHOTOGRAPHIC SOCIETY

2014 AWARDS

‘I

’m shocked. It’s a big achievement,’ says Clare Acford. After notching up her three Royal Photographic Society distinctions within just 18 months, she has now been awarded the Society’s Bill Wisden MBE HonFRPS Fellowship of the Year. Acford only started taking photographs seriously in the last six years. ‘I used to do holiday snaps, pictures of my kids, things like that, but I didn’t have time to progress,’ she says.

When her children grew up and moved out, she joined her local camera club in Duston, Northampton. ‘I went along for my first few meetings and got hooked. Once I’d seen some of the work going on there I thought I’d like to get myself up to that standard.’

Photoshop, in particular, was a revelation. She embraced the learning curve, developing a distinct style of post-production heavy photomontage: a surreal, fictional world, populated by strange characters, muted in tone but alive with meaning. ‘I like my images to be quite thought provoking,’ she says.

‘A lot of them show figures from behind.

I think it’s more atmospheric when you’re not influenced by the expression on someone’s face.’

These imaginary scenes are crafted from a palette of images Acford has amassed over the years, shot in the UK and abroad. ‘I have folders of backgrounds, textures, skies - it’s almost like a catalogue,’ she explains. This approach requires her to be adept at the whole gamut of

WHEN LUCK RUNS OUT ‘A theatre group at the Edinburgh Fringe was using this dice as a prop. My son’s outfit is from a charity shop. I used to live up on the coast in a place called Formby, where they have lovely, sandy, wide-open beaches. I spent a whole weekend up there, taking landscape shots for backgrounds.’

VOL 154 / OCTOBER 2014 / THE RPS JOURNAL / 621

ACFORD FRPS 622 | BEST SHOTS | CLARE

YOU HAVE TO BE METICULOUS ABOUT THE IMAGES, AND SHADOWS ARE IMPORTANT

photographic techniques, from portraiture to still life, wildlife and landscapes. Her starting point might be a mood, or a setting.

‘Sometimes when I see a background, I immediately know how that image will come together, but very often I start to make an image then scan through the backgrounds. I’ve got to find one that works well with the other components.’

With the Fellowship, and now the award, under her belt, Acford has been taking time to build up new images with which to experiment – most recently at the Edinburgh Fringe, which she visits each year with a group from the camera club.

‘Edinburgh always gives me a multitude of characters – enough material for at least the next six months.’

622 / THE RPS JOURNAL / OCTOBER 2014 / VOL 154

WAITING ‘The lady works at my hairdresser’s.

She always wears vintage-looking clothes. The dog is random. Something about the way it was sitting, staring, was ideal. I set up the table and chairs, and the floor image I had already. You have to be meticulous about cutting out the different images out so you can’t see that they’ve been blended. Shadows are important too.’

CLARE ACFORD FRPS

| BEST SHOTS | 623

WAITING FOR THE TRAIN ‘This picture has won several competitions.

I think it’s the light.

I don’t use any lighting equipment when I’m shooting, but put all my lights and shadows in afterwards with Adobe Photoshop CS5. The train was stationary but you really feel that it’s about to come at you.’

WAITING FOR THE DAY TO END ’My son is the model in all my Fellowship images. He was sitting in a deck chair in my garden and the background is Crosby Beach.

‘I always use a Nikon D300 camera, with a Sigma 10-20mm lens for landscapes and a Nikon 24-70mm for portraits.’

VOL 154 / OCTOBER 2014 / THE RPS JOURNAL / 623

ACFORD FRPS 624 | BEST SHOTS | CLARE

624 / THE RPS JOURNAL / OCTOBER 2014 / VOL 154

BILL WISDEN

An inspiration with a brilliant heritage The Fellowship of the Year award is named after Bill Wisden MBE HonFRPS. Having achieved his Fellowship of the Society in 1963, Wisden has been involved in the Distinctions process ever since. In 1994 he was awarded an Honorary Fellowship, and in 2001 a Fenton Medal for his contribution to the Society. In 2011, he was presented with an MBE for services to photography. On being awarded his MBE, Wisden said: ‘My Fellowship panel was a strange

mixture of traditional pictorialism, violent tone separation and multisolarisation.

There was no (Distinctions) advice available in those days and I think the panel caused a bit of a shock with its very wide style. But it gave me an identity.’

Wisden’s continued involvement in the Society and his local camera clubs has fed generations of photographers with inspiration and encouragement. It is fitting that Clare Acford’s work has now been recognised under his name.

TONY BOWALL FRPS

THE KING AND I ‘This is my latest picture. These guys were performers in Edinburgh. The cell behind them was in a graveyard. Although he’s dishevelled, he looks a bit king-like to me. Normally I’ll get a couple of images out of a set of people. A good three or four hours goes into putting together each one, as well as the shooting and processing.’

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One imaging technology has been the bedrock of photography since our forefathers began ‘fixing the shadows’: using silver (film) and other lightsensitive emulsions like Cyanotype to capture images. The purpose of this article is to propose the formation of a new special interest group: a group that will foster skills and interest in, and promote the potential of, film, darkroom and alternative photographic processes. For the moment lets call it ‘the analogue imaging group’.

Why? My last two years’ experience teaching photography to some one hundred 12 to 18 year olds has shown me how the young can enjoy film photography, developing and printing.

The cry ‘Sir, we want to learn how it used to be done’ indicates how predictable digital photography has become for a generation who know nothing else, and their desire to learn about film photography. As Winston Churchill said ‘the further back you look, the further forward you can see’!

The film renaissance is wider: in further and higher education, photographic darkrooms are not dying, and neither is film, especially in medium and large formats.

Professionally I meet photographic lecturers and technicians who are committed to teaching photography students both film and digital, and who testify to how satisfying many students find using film. In the industry, German photo company Spürsinn have recently introduced two new films and one ‘Images in Medicine: A developer. Harman Ilford’s universal Symposium film for Producers sales areand not declining – in fact, Users’ bringsthey together, for the are producing a steady stream of first time, thenew people producing analogue products. Film is still medical images withmanufactured those who being and Ferrania is use them in clinical practice. planning a comeback. Fuji Instax and Discussions will take place Impossible’s Polaroid replacement films across four areas in which are very popular. Amongst professional medical photography is and amateur photographers the APUG intimately connected withforums underline lively and FADU clinical medicine: dermatology, interest. ophthalmology,It’s oralnot & just about a renaissance in maxillofacial‘old’ surgery, and techniques.

Working in analogue medical education. can help digital photographers become This is a unique moreopportunity informed photographers. It is for anyone working or with widelyinconsidered that students who are good darkroom printers are better digital image editors. Using slide film— where almost everything has to be right before you press the shutter—teaches planning of framing, composition, lighting, filtration and exposure. And film does certain things uniquely: you cannot create a transparency with Fuji Velvia’s look and feel using digital. The success of Impossible’s Instant Lab

KING EDWARD VI ASTON SCHOOL

LEARN MORE ABOUT IMAGES IN MEDICINE

ABOUT THE AUTHOR DAVID HEALEY MSc ARPS David shoots film and digital, and has his own darkroom. A part-time film and digital photography tutor, he works for Keyphoto, a digital and analogue equipment and materials supplier to services including education, the police and museums.

He was awarded an Associateship for his MSc research on the development and marketing of the Advanced Photo System

FILM AND ANALOGUE

One imaging technology has been the bedrock of photography since our forefathers began ‘fixing the shadows’: using silver (film) and other light-sensitive emulsions such as Cyanotype to capture images. The purpose of this article is to propose the formation of a special interest group: a group to foster skills and interest in, and promote the potential of, film, darkroom and alternative photographic processes. Let’s for now call it ‘the analogue imaging group’.

Why? My last two years teaching photography to around a hundred 11 to 18-year-olds has shown me how the young can enjoy film photography,

| GROUPS | 627

developing and printing. The cry ‘Sir, we want to learn how it used to be done’ indicates how predictable digital photography has become for a generation which knows nothing else, and their desire to learn about film photography. As Winston Churchill said: ‘The further back you look, the further forward you can see.’

The film renaissance is wider: in further and higher education, photographic darkrooms are not dying, and neither is film, especially in medium and large formats. Professionally I meet photographic lecturers and technicians who are committed to teaching photography students both film and digital,

Back to our roots

David Healey ARPS proposes the formation of a Society Special Interest Group, based on analogue photography VOL 154 / OCTOBER 2014 / THE RPS JOURNAL / 627

PROCESSES 628 | GROUPS | ANALOGUE

and who testify to how satisfying many students find using film. In the industry, German company Spürsinn recently introduced two new films and one universal developer. Harman Ilford’s film sales are not declining – in fact, the firm is producing a steady stream of new analogue products. Film is still being made and Ferrania is planning a comeback. Fuji Instax and Impossible’s Polaroid-replacement films are very popular. Among professional and amateur photographers the Analogue Photography Users Group (APUG) and Film and Darkroom User (FADU) forums underline lively interest.

It’s not just about a renaissance in ‘old’ techniques. Working in analogue can help digital photographers become more informed photographers. It is widely considered that students who are good darkroom printers are better digital image editors. Using slide film – where almost everything has to be right 628 / THE RPS JOURNAL / OCTOBER 2014 / VOL 154

WORKING IN ANALOGUE CAN HELP DIGITAL PHOTOGRAPHERS BECOME MORE INFORMED before you press the shutter – teaches planning of framing, composition, lighting, filtration and exposure. And film does certain things uniquely: you cannot create a transparency with Fuji Velvia’s look and feel using digital. The success of Impossible’s Instant Lab iPhone printer underlines how analogue and digital technologies can work creatively together: it does not have to be ‘either/or’.

After the initial proposal from Dr Afzal Ansary ASIS FRPS went to the Society’s Council last year, Council has invited me to write this article to seek out those who would support and join such a group. The Society has again an opportunity to lead in promoting the

highest standards in this area of photography and respond positively to the rekindled interest in film and related traditional and historical imaging technologies, underline their relevance to the contemporary age, and encourage innovation.

What might a group do? A steering group consisting of at least a chair, treasurer, secretary, and publication editor is needed to explore the possibilities. We need to first find a name, then define our scope: a remit bounded I imagine by a definition of photography involving light creating a photochemical reaction (‘actinic light’ in its traditional definition) and chemical processing, but broad enough to include hybrid imaging, where both analogue and digital technologies are used.

Our tasks might begin by encouraging practitioners of this technology to share and discuss their work; organising occasional meetings, exhibitions, and

© TIM RUDMAN; PAUL MITCHELL FRPS; ANNE CASSIDY FRPS

Storm over Vestrahorn, by Tim Rudman FRPS, printed with silver gelatine selenium and thiourea toned

FILM AND ANALOGUE

| GROUPS | 629

NEW ANALOGUE PRODUCTS

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Equipment that will help with film or alternative processes

HARMAN’S ILFORD PINHOLE EDUCATION KIT Designed for schools and colleges that have no darkroom, it contains everything required to begin pinhole photography.

NIKON FM10 Available for education from Keyphoto, this entry-level manual SLR is an ideal start for film photography.

Also available is the Nikon F6.

SPÜRSINN BLUEPRINT PAPER This paper enables digital files to be printed on inkjet printers and then contact printed using traditional darkroom processes.

IMPOSSIBLE’S INSTANT LAB Enables digital images from most iPhones or iPod touch devices to be printed on Impossible film (which replaced Polaroid emulsions).

MASSIVE DEV CHART APP From Digital Truth, this app allows you to access the ‘Massive Dev Chart’, the world’s largest chart of black-and-white development times.

SPÜRSINN SAM VELVET, CLASSIC, AND GEMINUS Film developers that complement its HCD developers, having excellent speedincreasing and decreasing capabilities.

Margate, by Paul Mitchell FRPS, taken on an Ilford Obscura pinhole camera

An image by Anne Cassidy FRPS, who teaches fine art printing

workshops to share knowledge and expertise, especially for those new to film and darkroom; and producing a publication for new and more experienced analogue photographers to educate and encourage use of analogue imaging. There is no UK photo magazine which majors on film, darkroom, hybrid, alternative process and instant film photography: a Royal Photographic Society newsletter could begin to address a significant need.

An active group could play a really important role in drawing attention to film’s characteristics, history, legacy, creative potential and educational value. We might help people rekindle old skills and learn knew ones, and encourage young photographers who have dabbled in film (perhaps through a Lomo or Holga) to broaden their understanding of imaging in film and related alternative processes, and become involved in the Society.

JOIN US! If you think an Analogue Imaging Group should begin, would like to join in, or offer skills and experience, please contact David Healey by email at: jdhealey@keyphoto. com or call 07968 746211.

Assuming a good response from Members, Council will formally approve the formation of the Group and invite a committee to begin developing its programme.

VOL 154 / OCTOBER 2014 / THE RPS JOURNAL / 629

630 | SHOWCASE |

In a field of their own

Dr Ron M Callender FRPS and Paul Keene FRPS have a shared interest in photographing prehistoric stones and this month display their images at Fenton House

630 / THE RPS JOURNAL / OCTOBER 2014 / VOL 154

PAUL KEENE FRPS AND DR R M CALLENDER FRPS

| SHOWCASE | 631

Duddo, by Paul Keene FRPS (left) Crois nan Cnoca Breaca, South Uist, by Dr R M Callender FRPS (below)

I

n May 2012, the RPS Journal published back-to-back articles

by Paul Keene FRPS and Dr Ron M Callender FRPS. The aim was to compare their approaches to a subject – standing stones. It was the first time they had encountered each other’s work, and they began to swap notes. This month, the duo exhibit together for the first time at Fenton House, Bath. We find out what it is about standing stones that rocks their world.

Can you begin by telling me when you started taking photos of standing stones?

DR R M CALLENDER: Some of my earliest standing-stone photos originate from

around 1960 when the convention was 120 roll-film and ‘enprints’. In those days, it was prudent to be sparing in making exposures, even with a bursary from Kodak Ltd (to document the ancient lead mines of Scotland) and a travel award from the British Council (to study gold discovery in Finnish Lapland).

PAUL KEENE: I gained my Fellowship in 1991 with a panel of 20 stone circle prints. I was taking pictures for the Fellowship for at least five years before that so I guess I started taking the subject seriously sometime in the mid-1980s.

After the Fellowship I had a break from standing stones and only came back to stone circles around three years ago.

VOL 154 / OCTOBER 2014 / THE RPS JOURNAL / 631

632 | SHOWCASE |

Men-an-Tol by Paul Keene FRPS (left) Millennium Stone on Skye, by Dr R M Callender FRPS (below)

Why standing stones?

PK: They fascinate me. Our ancestors clearly made phenomenal investments in time and energy to construct these circles and they must have been really magnificent in their day, when you consider how much erosion has taken place since they were built 5,000 years ago. We still have a lot to learn about why they were constructed so I try to reflect this combination of mystery and awe in my pictures.

RMC: To me, the appeal is the chance to combine desktop research with an exploration in some lovely parts of Britain. There are more than enough sites awaiting investigation and a bonus is to enjoy ‘a good day out’ – even in snowstorms, rain and gale-force winds.

How does your work differ?

RMC: Paul’s approach is that of a distinguished pictorialist, whereas I relish thorough coverage at a site.

PK: I see myself as a pictorial photographer so I will often go to the same place many times to get the result I want. Ron will answer for himself of course but I think he would say that he is a documentary photographer who enjoys finding a new site. This contrasting approach should make the exhibition more interesting and we have tried to emphasise it.

What kind of equipment did you use?

RMC: After using an economical Fuji digital camera for a year, I invested in a Nikon D60 with two lenses. It does the job, but it is a bind if I need a battery when the spares are miles away in my car.

PK: Canon EOS 5D MkII and 5D MkIII, usually with 17-40 and 24-105 Canon lenses.

VISIT!

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632 / THE RPS JOURNAL / OCTOBER 2014 / VOL 154

What do you hope viewers will get from visiting your exhibition?

RMC: That the folks who view our displays depart with the thought, ‘How interesting, I did not know that! I must give it a go.’

PK: I hope they will enjoy it, find it interesting, and perhaps make plans to visit some of the circles to experience them at first hand.

Do you see yourselves as ‘collectors’ ticking off standing stones as you document them?

PK: No, I certainly don’t. There are well over 1,000 stone circles in the UK and I have only visited a few. I am much more interested in finding circles that will produce an attractive landscape picture.

RMC: For no good reason, up until now, I have concentrated on the standing stones of Scotland, although I am poised to enhance my coverage in north Wales, Anglesey, Shropshire and Derbyshire.

AUTHOR PROFILES

DR RON M CALLENDER Ron worked as a scientist at Unilever and for 16 years specialised in the photography of hair, skin and teeth. When he retired in 1990 he was Unilever’s chief photographer. Since, he has used photography to explore the things that interest him, including the world’s gold rushes and ancient lead mines

PAUL KEENE Paul gained his ARPS in 1975 with natural history slides. His first FRPS in 1991 was achieved with landscape colour prints, and he has just been awarded an MFIAP with a panel of environmental portraiture monochrome prints. He has been a prolific international exhibitor for many years and continues to exhibit

STANDING STONES AND STONE CIRCLES WILL RUN UNTIL THE END OF OCTOBER AT THE ROYAL PHOTOGRAPHIC SOCIETY, FENTON HOUSE, 122 WELLS ROAD, BATH BA2 3AH

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THE MUST TRY

CRAFT OCTOBER 2014

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

Sony RX100 Mark III

Premium fast-aperture compact should appeal to pros and selfie shooters, writes Gavin Stoker

This third-generation compact has features that will appeal to the selfie (ab)user, such as the flip-up 3-inch, 1.2 million-dot LCD panel that can face the subject, as much as the more serious professional. That camp will be enthused by the pop-up eye-level OLED viewfinder and fast f/1.8 maximum lens aperture, the former missing from the RX100 MKII, the latter retained in the newer MKIII. A lens ring affords a degree of hands-on control, including as a

default option control of the zoom itself, although a manually raised flash, hidden from view when not in use, is located where a physically larger model might find room for a hotshoe for accessory attachment.

There is a provision for shooting full-HD video, with a pinhead-sized record button for instant access, which we occasionally found too easy to accidentally activate, as it is set into the thumb rest at the rear.

We were impressed that Sony

PRICE: £700 SENSOR: 20.1 effective megapixels, 1-inch CMOS LENS: 24-70mm in 35mm terms (2.9x optical zoom) SCREEN: 3.0-inch, tilting, 1,229k -dot resolution WEIGHT: 263g body only MORE: sony.co.uk IN BRIEF: Premium-grade compact does well to pack in new features such as a pop-up OLED viewfinder, flash and flip-up LCD but really it’s all about image quality

has added a tiny dioptric adjustment lever for those of us who occasionally wear glasses.

With JPEG and Raw files, either shot separately or in tandem committed to a regular SD card or Sony’s proprietary memory stick, as expected what impresses most about this camera is the image quality.

That bright maximum aperture allows for some lovely bokeh effects while, this being a Sony, colours are well saturated and vital looking off the bat.

VOL 154 / OCTOBER 2014 / THE RPS JOURNAL / 635

636 | THE CRAFT |

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Fujifilm X30 £479.99

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Mid-range K-S1 DSLR has features of the semi-pro K-3 but a style all of its own ricoh-imaging.eu

The X20 replacement keeps the retro design but delivers a real-time electronic viewfinder fujifilm.co.uk

Ilford-branded inkjet media is back on sale thanks to a new buyer/owner for the business ilford.com

With a look that’s bound to divide opinion, plus the industry first of an illuminated LED strip on the handgrip that is green when shooting stills and switches to red when recording video, this Pentax, gimmicks aside, offers a respectable 20.12 megapixels from its APS-C CMOS sensor. Other features confirm the K-S1’s entry-to-mid-range status, including Pentax’s dust-removal function to eliminate specks on the sensor after swapping lenses. The optical viewfinder provides a useful 100 per cent field of view.

The lightweight (498g) body-only option is £549.99, a standard 18-55mm f/3.5-5.6 can be added for £50, or you can opt for a 50-200mm f/4-5.6. There is also a fistful of body colours available.

now, arrived in advance of new product from Photokina 2014, thereby avoiding getting buried in the crush.

‘Classic’ design aside, among additions is what Fuji calls a ‘real time viewfinder’ – an electronic rather than optical variety, plus 12-megapixel 2/3-inch X-Trans CMOS II sensor that follows the trend for omitting an optical low-pass filter to eke out a touch more detail rather than worrying about issues with moiré.

For the hobbyist market 12 megapixels is plenty, and features include an EXR Processor II engine and a new film mode in ‘classic chrome’; film modes being one of Fuji’s USPs. A manual zoom and lens control ring add to the feel that this is a camera that puts users in control.

collapse of Ilford Switzerland earlier this year, several noted and respected paper manufacturers seized the chance to bring out replacement inkjet papers for those previously offered by Ilford’s Galerie series.

But now Ilford is back; same brand, different owners. Ilford trademarks and associated assets were purchased by a partnership of Tokyo-based Chugai Photo Chemical Co Ltd and CR Kennedy and Co of Melbourne, Australia. A new company, Ilford Imaging Europe GmbH, has been established as a joint venture.

For the UK, distributor Tetenal will be stocking a large proportion of the previously available Ilford range, with more in development, it is promised.

IN BRIEF Feels a bit of the shame that Pentax is trading on gimmicks when its cameras are capable of great results for consumers without needing unnecessary ‘extras’ THREE MORE TO TRY Nikon D5300, Canon EOS 700D, Sony A58

IN BRIEF An innovative 2.36 million-dot electronic viewfinder, plus the build quality for which the X series is renowned, aims for a perfect blend of retro and modern THREE MORE TO TRY Panasonic Lumix DMC-LX7, Olympus Stylus 1, Canon PowerShot S120

IN BRIEF Back to business as usual with the promised return of what’s arguably the pro’s inkjet media of choice THREE MORE TO TRY PermaJet Smooth Pearl 280gsm, Fotospeed Photo Smooth Pearl 290gsm, SpectraJet Fine Art papers

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636 / THE RPS JOURNAL / OCTOBER 2014 / VOL 154

2 News of the Fuji X30, available

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available’, the Metz 64 AF-1 fits Canons and Nikons, with Sony, Pentax and Olympus/Panasonic compatibility promised. It offers a guide number of 64 (ISO100 at 200m), while a rapid function lets photographers shorten recycling times to speed up shoots.

With a large colour touchscreen, and one-touch exposure compensation settings, it also has an underexposure warning should the power not be enough in certain scenarios. A huge number of settings are customisable within the TTL, auto, manual and strobe capabilities. For bounce-and-fill lighting there is a second tube in the main body of the flashgun, plus creative master and slave settings for off-camera use.

the latest A5100 comes with the ‘world’s smallest interchangeable-lens camera’ tag attached. Despite the palmsized proportions it’s big on features, including a high (and large) for its class 24.3 megapixel APS-C CMOS sensor.

Pleasing the masses we get a tilting LCD which can be flipped upwards through 180°, as on Sony’s higher-end RX100 MKIII, that is also a touchscreen this time. Wi-fi and NFC connectivity come along with 179 focal-plane detection AF points to really allow the camera to strut its stuff. Choose the body-only option if you’ve invested in a previous generation NEX or Alpha camera, or the kit with a 16-50mm lens for £550 or £760 if adding a 55-210mm.

the GM5, expanding the Panasonic interchangeable-lens compact range.

There are two kits – one a black-bodied GM5 and Leica lens for £1,049, or a choice of black or red-liveried bodies with a 12-32mm zoom – the equivalent of 24-64mm in 35mm terms – for £769.

The pitch is that we get a smallerbodied camera than the flagship GX7 but the same sensor, although the body is a miniature version of the much older and much heftier LC1 from 10 years ago. The GM5 comes with a new ‘live viewfinder’, new hot shoe and, as a case in point, a clip-on FL70 flash. Burst speed has been improved over the GM1, rising from 5fps to 5.8fps, and face-and-eye detection, as well as eye-sensor AF, have been added.

IN BRIEF A great-looking and moreover affordable alternative to the big name brands from the equally well respected third-party manufacturer THREE MORE TO TRY Canon Speedlite 600EX-RT, Nikon Speedlight SB-910, Nissin i40

IN BRIEF As system-camera sales rise and DSLRs stagnate, the message is hitting home that cameras such as this are viable alternatives or complementary options THREE MORE TO TRY Samsung NX Mini, Nikon 1 J4, Panasonic Lumix DMC-GM1

IN BRIEF Compact yet full-featured Micro Four Thirds camera aims to show that big results can be achieved from smaller packages THREE MORE TO TRY Nikon 1 V3, Olympus OM-D E-M10, Canon EOS M VOL 154 / OCTOBER 2014 / THE RPS JOURNAL / 637

TECHNIQUE MASTERCLASS

| THE CRAFT | 639

Choosing the best light for landscapes Nigel Hicks demonstrates the basics of using available light to capture beautiful views

Head out during the golden hours

Some of the best landscape photography is shot during the ‘golden hours’ – the first hour after sunrise and the last hour before sunset – when the sun is low. At these times the light is rich in red and yellow, creating a beautiful warm glow. Shadows are strong, greatly enhancing the three-dimensional feel.

Moreover, the wind is likely to be low, allowing vegetation to be still and for calm water to give stunning reflections while, especially at dawn, mist can add an additional dimension.

Revel in rich tones with the right timing

T

here are better and worse times of the day in which to try to photograph a landscape.

Despite how much you might enjoy a bright, clearskied midday sun, these conditions are best for walking, sightseeing and sunbathing – not photography.

Time your photography trips carefully and make sure you catch the best light for the kind of image you are looking for.

Here is my short guide to making the most of the available light conditions.

ABOUT THE AUTHOR Nigel Hicks is a highly experienced professional photographer, specialising in commercial photography, travel photography, landscape photography,

Use a tripod

Tripods are essential. For many landscape photos to work, the entire scene needs to be pin sharp, requiring a massive depth of field. You achieve this using a very narrow lens aperture, which normally results in a slow shutter speed – usually too slow for hand-holding.

When to shoot in the middle of the day Generally, I do not recommend shooting in the middle of the day.

The light is rich in unattractive blue and shadows are short, resulting in the view looking very flat and lifeless. Haze is often a problem, and wind may be rippling water or moving trees.

However, it is possible to shoot during the middle of the day when the sky is

A coastal scene taken without an ND grad filter

nature photography, and architectural and interiors photography. nigelhicks.com

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cloudy. Ragged, stormy clouds can form an important part of the image (particularly if using graduated neutral filters – ‘ND grad filters’ – that help balance the tones of the photograph), but under flat grey conditions it is usually better to exclude the sky.

This is good light for photographing waterfalls, fast-flowing streams, details and inside woodlands.

With the ND grad filter, the range of contrast is decreased

Reduce the contrast range with ND grad filters

It is very common for a landscape view to have a very high contrast range – typically, a very bright sky above a rather dark landscape.

The eye can see detail in this entire scene easily enough, but the

WORKSHOP: EXMOOR IN AUTUMN

digital camera sensor struggles.

Reduce the contrast range using ND grads. Rectangular filters, with one half completely clear and the other half darkened, fit on the front of the lens where they can slide up

and down to align the darkened area with the bright part of the scene. Filters are ‘hard’ or ‘soft’ – with either a sharp or gradual transition from clear to dark, and come in different dark densities.

NIGEL HICKS HOSTS A DAY OF LANDSCAPE PHOTOGRAPHY ON EXMOOR 1 November, Lynton, North Devon. For details see page 653 VOL 154 / OCTOBER 2014 / THE RPS JOURNAL / 639

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640 | THE CRAFT | INDEPTH

FOR ACCURATE TRACKING, I USE A 400MM FOCAL LENGTH TELESCOPE AND CAMERA COMBINED WITH SOFTWARE

Shoot a time-lapse sequence Society Member Adrian Davies shares the secrets of turning a slow-moving event into an action-packed sequence

Changing times of day over the city of Edinburgh 640 / THE RPS JOURNAL / OCTOBER 2014 / VOL 154

T

ime–lapse photography is where relatively long events are viewed in a shorter time scale. Flower buds opening and seedlings growing are all familiar from television, as are clouds rolling across the sky and so on.

Times have changed greatly since my days as a student back in the 1980s when I spent eight hours on Brighton beach with a friend, pressing the shutter release on a 16mm Bolex camera every five seconds to record a time-lapse film of clouds over the pier! There are now dedicated time-lapse cameras available – for example, the Brinno TLC200 Pro HDR – but I will concentrate on the production of time-lapse sequences using standard stills cameras such as DSLRs, many of which will have timelapse functionality built in.

| THE CRAFT | 641 Getting started PLANNING

Most time-lapse sequences are intended to be viewed as a moving video sequence, but you can also shoot a series of stills – for example, for reproduction in a book. The key to success is planning – knowing how long your event is going to take and how long you want the final sequence to last when viewed. My first experiments were done with an old brass three-minute egg timer, which is, of course, predictable and repeatable.

The first step is to calculate how many frames are required for your sequence. There’s a simple calculation to work this out.

Calculating frame quantity The event will last 60 minutes The final length of sequence will be 20 seconds (quite a long time in video terms) The video will be shown at 25 frames per second (fps) 20 seconds at 25fps = 500 frames required 60 minutes = 3,600 seconds 3,600 divided by 500 = 7.2 Thus you need to shoot one frame every 7.2 seconds to achieve the 20-second running time. In reality, though, you would probably shoot one frame every seven seconds.

The time-lapse facility on a Nikon D800. Here, you set the interval between frames.

SHOOTING

You will almost certainly not want to use the highest resolution of your camera. Where is the sequence going to be used – in a PowerPoint presentation or on an HD television, for example?

For an HDTV resolution video, you will only need to shoot at 1920×1080p, say. Some cameras let you change the aspect ratio as well, but you can change this afterwards if necessary.

In this menu you set the duration of the movie (in this case 10 minutes). Note card capacity.

EXPOSURE

There are several factors to be considered when setting the aperture and shutter speeds. It’s generally best to set the camera to Manual mode for exposure, so any changes in light level are shown during the sequence. You can also use shutter priority as well, which will even out any lighting changes.

First, select an aperture according to the depth of field required. With the shutter speed, this isn’t as simple as you might first assume. You don’t necessarily want to use the

An external intervalometer will help you calculate the required frame rate

CORBIS; ALAMY; REX FEATURES

Many cameras – for example, the Nikon D800 – have a built-in intervalometer (a device that, put simply, counts intervals of time),

which can be programmed to give the required framing rate. If not, you can use an external device such as the Nikon MC36, although cheaper alternatives can be obtained from online auction sites and other sources.

A good tripod is essential to stop movement of the camera during shooting.

A caterpillar emerges from its pupa VOL 154 / OCTOBER 2014 / THE RPS JOURNAL / 641

642 | THE CRAFT | INDEPTH Give it a go

IF THE LIGHT CHANGES DURING SHOOTING, AUTO WHITE BALANCE WOULD TRY TO CORRECT IT

The faster the event, the shorter the interval between frames.

Here are some suggested framing intervals to try. It’s worth remembering that no two subjects are the same, and these figures are just a starting point.

fastest shutter speed. It’s often best to have each frame very slightly blurred so they run into each other more smoothly; too fast a shutter speed may result in jerky movement. It’s worth doing some tests. If the light level is too high for the required shutter/ aperture/ISO combination, you may need to employ a neutral density (ND) filter to use a longer shutter speed.

1 second interval Moving traffic, fast-moving clouds

OTHER CAMERA SETTINGS

Turn off autofocus if you’re using an autofocus lens and adjust the white balance setting according to the conditions you’re shooting in.

If the light changes during the course of shooting, auto white balance would try to correct it.

1-3 seconds Sunsets, slow-moving clouds

OTHER CONSIDERATIONS

SOFTWARE

There are several options for compiling your time-lapse sequence. Some cameras can compile the images into a QuickTime movie, which can be inserted into other footage, or video editing applications.

Probably the simplest way to

Capturing the process of a lunar eclipse

combine a large number of images into a time lapse movie is to upgrade to QuickTime Pro. You can also use Lightroom.

Import the images, then select the Develop module, where you can make alterations before compiling the sequence. Having adjusted all the images, select the Slideshow module. This allows you to show all the images as a slideshow. The maximum framing rate within Lightroom is only 10fps. However, there is a user template plug-in available (see thelightroombook.com), which

allows the slideshow to run at 24 or 25fps. This is imported into the user templates section of the Slideshow module.

The sequence can then be named and exported, either as a pdf or as an mp4 video file.

PLANT SEQUENCES

If you want to shoot plant sequences, you’ll probably need to do so indoors. Some of the many issues you need to consider are lighting (flash or continuous) and other factors such as watering your subject, room temperature

AVOIDING IMAGE FLICKER

Flicker is a common problem with time lapse, usually due to modern automatic lenses, whereby tiny differences that occur every time the aperture opens and closes cause minute changes in exposure between frames. This isn’t normally noticeable with still images, A piece of plastic can stop this Nikon but with hundreds of frames it camera from changing aperture

642 / THE RPS JOURNAL / OCTOBER 2014 / VOL 154

becomes very apparent –one way round this is to use old manual lenses. On Nikon lenses, I wedge a piece of plastic into the gap next to the aperture pin to prevent the camera from altering the aperture. It’s crude, but it works.

There are YouTube videos about using other lenses.

15-30 seconds Moving shadows, sun moving across the sky

30-60 seconds Stars

Longer Plant growth (90-120 seconds)

CORBIS; TONYV3112/SHUTTERSTOCK.COM; ALAMY

Make sure you have a fully charged battery and consider using a separate battery pack.

Use a memory card that’s large enough to store all of the images, and if the camera is to be left unattended, make sure it’s safe and protected from the elements.

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FAVOURITE 644 | THE CRAFT | MYCAMERA ‘Good-looking in cherry wood, it always turns heads’

Wista 5x4 field camera

Jane Hilton HonFRPS on a veteran travelling companion I am like so many other Royal Photographic Society photographers who relish their old cameras in such a digital age.

There is absolutely nothing like working with film and a good oldfashioned camera. My Wista 5x4 field camera is one of those that makes you appreciate photography and all those amazing photographers that have gone before you.

The Wista is the perfect companion when travelling, being light and easy to carry. I have two Zeiss lenses that I love, but mostly shoot on the standard 90mm lens. It is good-looking in cherry wood, and always turns heads when I have it displayed elegantly on its tripod. Plus, it is always a talking point, which when doing portraiture is useful to break the ice.

I can’t sing its attributes enough. It makes me slow down and think about what I am doing.

It gives me time to have a rapport with the person I am photographing.

And, of course, the results are always beautiful and truthful.

The last two documentary portrait projects I did were taken using this camera: Dead Eagle Trail and Precious.

The shift-and-tilt movements were invaluable while photographing the interiors of cowboys in their own homes for the first project, and the cowboys themselves respected the purity of shooting on film as they have an aversion to all things modern. The Wista also made Precious, the series of working girls taken inside the brothels of Nevada. The process required a lot of patience by the sitters, who were predominately nudes. Many had issues about their own bodies, and strong feelings about their journeys as working girls. It was a very bonding experience and the photographs reflect that - creating stronger imagery that will hopefully stand the test of time.

644 / THE RPS JOURNAL / OCTOBER 2014 / VOL 154

RON REDFORD, COWBOY, BENJAMIN, TEXAS 2009 Ron was a young cowboy following his dream hoping that one day he would own a ranch himself. I took his photograph in his home, which he shares with his wife and two young children. I managed to get him home early this day. It was early evening and I had to shoot it fast before the light disappeared. The photograph ended up on the cover of my book Dead Eagle Trail.

Name Jane Hilton HonFRPS About A classical musician by training, Jane moved into photography in the 1980s and went on to forge a career as a renowned documentary image maker. She was awarded an Honorary Fellowship of the Society in 2013

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| GUIDE | 647

GUIDE

YOUR RPS EVENTS ! COURSES PROGRAMME

OCT!NOV!DEC

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

Digital discoveries

Event offers a range of highlights for those of a technical disposition

T

he Imaging Science Group’s annual Good Picture meeting returns for its 12th year under the banner of Imaging Features. Once again the event is open to amateurs and professionals interested in turning a technical eye on many topics in digital imaging. Tutorial seminars given by invited speakers from the Society, academia and industry aim to provide practitioners with insights, tools and guidelines for assessing cameras and output.

Dr Tony Kaye ASIS FRPS will be presenting ‘A Survey of Print-Making Laboratories’, while Dr Afzal Ansary ASIS FRPS, curator of two International Images for

Science Exhibitions, highlights the importance of scientific imaging and its role in research.

Other speakers include imaging consultant Dr Hani Muammar MIET MIEEE, Dr Nick McCormick of the National Physical Laboratory, John Charnock of Print Research International Ltd, Gary Evans ASIS FRPS, with a talk entitled ‘A Chemical Adventure in High-Speed Photography’ and Dr Alan Hodgson ASIS FRPS, who takes us on a tour of the cosmos through constellation photography.

An image by Dr Tony Kaye ASIS FRPS, who will give a presentation

Geranium in visible light and in UV to show the central bull’s eye.

Image: Heather Angel HonFRPS/Natural Visions

Good Picture takes place on 13 December at the University of Westminster. For details see page 654 or go to bit.ly/GoodPicture2014 VOL 154 / OCTOBER 2014 / THE RPS JOURNAL / 647

GROUPS 648 | GUIDE | REGIONAL

REGIONS

for the Bleeding London project Crusting Pipe, 27 Covent Garden, London WC2E 8RD Del Barrett, as above

Meet photographers and view work in your area

MIKE SHARPLES ARPS, 07884 657535

LECTURE AND BOOK SIGNING: STEREOSCOPY AND VICTORIAN PAINTING

MIKES.SHARPLES(VIRGIN.NET

THURSDAY 9 OCTOBER / 18.30 , 21.30

CENTRAL

£15/£18 Photohistorians Dr Brian May CBE and Denis Pellerin present an exclusive lecture on behalf of The Royal Photographic Society Royal Institute of British Architects, 66 Portland Place, London W1B 1AD Jo Macdonald, 01225 325721, jo@rps.org Read more on page 592

DIGITAL IMAGING GROUP ANNUAL PRINT EXHIBITION MONDAY 13 - FRIDAY 31 OCTOBER

Smethwick Photographic Society club rooms, The Old School House, Churchbridge, Oldbury B69 2AS Marilyn Taylor ARPS, digexhibitions@rps.org For details see Digital Imaging Group

VISUAL ART GROUP AUTUMN WEEKEND IN BIRMINGHAM

IMAGES IN MEDICINE: A SYMPOSIUM FOR PRODUCERS & USERS

FRIDAY 3 - MONDAY 6 OCTOBER

Hilton Garden Inn, Brindley Place, 1 Brunswick Square, Birmingham B1 2HW David Wood ARPS, wood.david.j@virgin.net For details see Visual Art Group

PERMAJET LECTURERS DAY SUNDAY 5 OCTOBER / 09:30-17:00

£19.50 UK and Ireland’s most influential and talented photo lecturers present short illustrated talks of their latest images Smethwick PS, Churchbridge, Oldbury, West Midlands B69 2AS Mike Sharples ARPS, as above

SATURDAY 18 OCTOBER / 09.30-16.30

Hear wildlife photographer Tim Flach HonFRPS talk in Cambridge Image: Egyptian Bats, Tim Flach

Lecture by Tim Flach HonFRPS Anglia Ruskin University, East Road, Cambridge CB1 1PT Ian Wilson ARPS, as above

A DAY OF CREATIVE PHOTOGRAPHY SUNDAY 9 NOVEMBER / 10:30-16:30

Joint event by the Creative Group Foxton Village Hall, Hardman Road, Foxton, Cambs CB22 6RN Dave Jordan, daveandjoanjordan@ yahoo.co.uk, 01603 866475 For details see Creative Group

ROSS McELVER !WITH SMETHWICK PS" THURSDAY 9 OCTOBER / 19:30-22:00

£2.50 Smethwick PS, Churchbridge, Oldbury, West Midlands B69 2AS Mike Sharples ARPS, as above

EAST MIDLANDS

SATURDAY 18 OCTOBER / 10:00-13:00

Latest in season of street photography workshops, with Norman Smith LRPS Location TBC Del Barrett, as above

BLEEDING LONDON READING AND PREVIEW FRIDAY 31 OCTOBER / 19:00-20:30

RALPH.EMRPS(GMAIL.COM

£10/£7.50 Members In conjunction with Footprints of London - a reading from Bleeding London by Geoff Nicholson and a preview of a selection of images Near Marble Arch, London W1H 2EA Del Barrett, as above

DISTINCTIONS ADVISORY DAY !LRPS AND ARPS PRINTS ONLY"

TUESDAY 4 NOVEMBER / 19:30-22:00

SUNDAY 19 OCTOBER / 10:30-16:00

£8 Bring along your work for assessment by Roger Parry ARPS and Anne Sutcliffe FRPS Smethwick PS, Churchbridge, Oldbury, West Midlands B69 2AS Mike Sharples ARPS, as above

Radisson Park Inn, Mansfield Road, Nottingham NG2 2BT Ralph Bennett ARPS, as above

EAST MIDLANDS REGION BOOK MAKING AND 65 YEARS OF NHS SUNDAY 16 NOVEMBER / 10:30-16:00

Radisson Park Inn, Mansfield Road, Nottingham NG5 2BT Ralph Bennett ARPS, as above

THURSDAY 13 NOVEMBER / 19:30-22:00

£2.50 Smethwick PS, Churchbridge, Oldbury, West Midlands B69 2AS Mike Sharples ARPS, as above

LONDON, STREET OCTOBER WORKSHOP

RALPH BENNETT ARPS, 01636 651277

DISTINCTIONS ADVISORY WORKSHOP !LRPS, ARPS"

PETER PATERSON FRPS JOINT LECTURE WITH SMETHWICK PS

£30 RPS and IMI members/ £35 non-members Supported by the Wellcome Trust University of Westminster, 309 Regent Street, London W1B 2HW Dr Afzal Ansary ASIS FRPS, 07970 403672, afzalansary@aol.com For details see Medical Group

EIRE DES CLINTON FRPS, 0035 341 983 7824 DESCLINTON(EIRCOM.NET

LONDON, URBAN II SATURDAY 1 NOVEMBER / 18:30-21:00

Second meeting for micro-group Crusting Pipe, 27 Covent Garden, London WC2E 8RD Del Barrett, as above

LONDON, STREET NOVEMBER WORKSHOP SATURDAY 15 NOVEMBER / 10:00-13:00

Continuing season of workshops Del Barrett, as above

LONDON EAST ANGLIA

DEL BARRETT ARPS LONDONEVENTS(RPS.ORG

IAN WILSON ARPS, 07767 473594

DONCHRISLANGFORD(BTINTERNET.COM

IAN(GREENMEN.ORG.UK

TIM FLACH: WHO’S UPSIDE DOWN # US OR THE BATS? MONDAY 13 OCTOBER / 19:30-21:00

NORTH WALES DON LANGFORD LRPS, 01758 713572

London, Urban II – the micro-group holds its second meeting on November 1 Image: Jonathan Taylor

648 / THE RPS JOURNAL / OCTOBER 2014 / VOL 154

LONDON, URBAN I WEDNESDAY 1 OCTOBER / 18:30 , 21:00

Informal meeting for urban photographers, following enthusiasm

DISTINCTIONS ADVISORY DAY SUNDAY 19 OCTOBER / 10:00-17:00

£20/£15/£10

| GUIDE | 649 For LRPS, ARPS & FRPS with Vanessa Slawson FRPS and Nick Scott FRPS Craig-y-Don Community Centre, Queens Road, Llandudno LL30 1TE Christine Langford, 01758 713572, donchrislangford@btinternet.com

THURSDAY 4 DECEMBER / 09:00-17:00

St Oswald’s Institute, Durham

GO TO

FRIDAY 5 DECEMBER / 19:30-22:00

RPS.ORG/EVENTS FOR THE LATEST UPDATES

MONDAY 8 DECEMBER / 17:30-21:30

NORTH.WEST

Shiney Row Community Association

SCOTTISH LECTURE TOUR ARMANDO JONGEJAN FRPS Listen to an eminent Society speaker James Frost FRPS, as above

Lightfoot Centre, Bishop Auckland TUESDAY 9 DECEMBER / 09:00-17:00

Methodist Church, Morpeth THURSDAY 11 DECEMBER / 09:00-17:00

DR AFZAL ANSARY ASIS FRPS, 07970 403672

St Oswald’s CC, Sunderland

AFZALANSARY(AOL.COM

WEDNESDAY 22 OCTOBER / 19.30-22.00

Edinburgh PS, 68 Great King St, Edinburgh EH3 6QU

THURSDAY 11 DECEMBER / 19:30-22:00

AUTUMNAL PHOTOGRAPHY WALK IN LANGDALE VALLEY

St Aidan’s Parish Hall, Ashington

THURSDAY 23 OCTOBER / 19.30-22.00

SATURDAY 11 OCTOBER / 10:00-16:00

DAMIAN MCDONALD ARPS, 07902 481691

Carnoustie Photo Group, Yacht/Rugby Club, Links Parade, Carnoustie DD7 7JE

DAMIANMCDONALD(OUTLOOK.COM

FRIDAY 24 OCTOBER / 19.30-22.00

ADVISORY DAY

Inverness Camera Club, Culduthel Christian Centre, Culduthel Avenue, Inverness IV2 6AS

NORTHERN IRELAND

Chapel Stile Village, Great Langdale, near Ambleside, Cumbria LA22 9JD Nina Agnew, 07811 403125, ninaagnew@yahoo.co.uk

SUNDAY 30 NOVEMBER / 10:00-17:00

PHOTOSHOP PRESENTATION & WORKSHOP

£20/£15/£10 spectator Licentiateship and Associateship All attendance must be booked Newforge Country Club, 18b Newforge Lane, Belfast BT9 5NW Simon Vercoe, si@rps.org

SUNDAY 9 NOVEMBER / 10.30-16.00

£15/£10 members Booking essential (see website) Hough End Centre, Mauldeth Road West, Chorlton, Manchester M21 7SX Dr Afzal Ansary ASIS FRPS, as above

MONDAY 27 OCTOBER / 19.30-22.00

Dundee PS, Meadowside St Paul’s Church Hall, Marketgait, Dundee DD1 4EH

SOCIETY SPEAKER TIM FLACH HonFRPS SATURDAY 25 OCTOBER / 14:00-15:30

SCOTLAND

SUNDAY 5 OCTOBER / 11.00-16.00

Tim Flach HonFRPS is well known for his animal photography Edinburgh College of Art, 74 Lauriston Place, Edinburgh EH3 9FD James Frost FRPS, as above

£10/£8 members An informal day to meet members Calumet, Block 4, Unit 1 Oakbank Industrial Estate, Glasgow G20 7LU James Frost FRPS, as above

RPS INTERNATIONAL IMAGES FOR SCREEN EXHIBITION 2014 The inaugural presentation of the International Images for Screen 2014

JAMES FROST ARPS, 01578 730466

CHRISTMAS LUNCH

JAMES.FROST11(BTINTERNET.COM

SUNDAY 14 DECEMBER / 10:30-16:00

PHOTO FORUM GLASGOW

Socialise and share festive cheer Hough End Centre, Mauldeth Road West, Manchester M21 7SX Afzal Ansary ASIS FRPS, as above NORTHERN JANE BLACK ARPS, 0191 252 2870

SATURDAY 25 OCTOBER / 18:00- 21:00

J.BLACK70(BTINTERNET.COM

LECTURE TOUR, TOM DODD FRPS Dodd’s photography spans some 40 years, and is linked inextricably with the outdoors Jane Black ARPS, as above MONDAY 27 OCTOBER / 19.30-21.30

Methodist Church Hall, Brompton, Northallerton DL6 2QT TUESDAY 28 OCTOBER / 19.30-21.30

The Torch Centre, Hexham NE46 1QS

An informal day to meet members Dingwall CC, Eagle House, High St, Dingwall V15 9RY James Frost FRPS, as above

PHOTO BOOK MASTERCLASS WITH BRIAN STEPTOE FRPS

Edinburgh Photographic Society, 68 Great King Street, Edinburgh EH3 6QU

SUNDAY 19 OCTOBER / 09:30-17:00

See the International Images for Screen Exhibition in Scotland, Northern and South West Regions Image: King Penguins Patrol, Mark Roberts (FIAP Silver Medal, Nature)

Howden Park Centre, Livingston, West Lothian EH54 6AE John Elliott, joma.elliott@btinternet.com For details see Contemporary Group

PHOTO FORUM DINGWALL SUNDAY 19 OCTOBER / 11:00-16:00

£10/£8 members

PHOTO FORUM EDINBURGH SUNDAY 2 NOVEMBER / 11:00-16:00

An opportunity for constructive feedback on images from a panel member Edinburgh Photographic Society, 68 Great King Street, Edinburgh EH3 6QU James Frost FRPS, as above

WEDNESDAY 29 OCTOBER / 19.30-21.30

Mechanics’ Institute, Alnwick NE66 1AE THURSDAY 30 OCTOBER / 19.30-21.30

St Oswald’s Institute, Church Street, Durham DH1 3DQ

LAKE DISTRICT WEEKEND # BORROWDALE HOTEL FRIDAY 31 OCTOBER-SUNDAY 2 NOVEMBER

£220 All bookings must be made via RPS Northern Region Treasurer Brian Pearson (0191 257 5051). Borrowdale Hotel is in the heart of the Lake District Borrowdale Hotel, Borrowdale CA1 2SU Jane Black ARPS, as above

RPS INTERNATIONAL IMAGES FOR SCREEN EXHIBITION 2014 For details on all venues see online or contact Jane Black ARPS, as above WEDNESDAY 3 DECEMBER / 19:30-22:00

Quaker Meeting House, Penrith VOL 154 / OCTOBER 2014 / THE RPS JOURNAL / 649

GROUPS 650 | GUIDE | REGIONAL DI GROUP SCOTLAND: RIKKI O’NEILL # VISUAL ALCHEMY SUNDAY 16 NOVEMBER / 13:30- 16:30

Bridge of Allan Parish Church, Keir Street, Bridge of Allan FK9 4NW Bill Hogg ARPS, digscotland@rps.org For details see Digital Imaging Group

CELEBRATION OF DISTINCTIONS # EDINBURGH SUNDAY 30 NOVEMBER / 10:30 , 16:00

£10 View successful Distinction portfolios 68 Great King Street, Edinburgh EH3 6QU James Frost FRPS, as above SOUTH.EAST TERRY MCGHIE ARPS, 01323 492584 SOUTHEAST(RPS.ORG

ARCHAEOLOGY AND HERITAGE GROUP CONFERENCE SATURDAY 11 OCTOBER / 10.00-17.00

£15/£10/free for presenters Leatherhead Institute, 67 High Street, Surrey, Leatherhead KT22 8AH Keith Evans FRPS, 01732 743943, richard.evans943@btinternet.com For details see Archaeology and Heritage Group

Head to the Edinburgh Photo Forum for constructive feedback Image: We Three, Ken Ness LRPS

RYE FIELD TRIP WITH THE TRAVEL GROUP SUNDAY 12 OCTOBER / 10.00-17.00

£10/£7.50/£5 Rye, East Sussex TN31 7LB Meet at Fletcher’s House, Lion Street Terry McGhie ARPS, as above

INTRODUCTION TO DISTINCTIONS + BRIGHTON, EAST SUSSEX SUNDAY 2 NOVEMBER / 10.30,16.30

£15/£10 The Theatre, Roedean School, Roedean Way, Brighton BN2 5RQ Terry McGhie ARPS, as above

edgar.gibbs@ntlworld.com For details see Audio Visual Group

SOUTH WALES AV GROUP: CHRISTMAS PARTY MONDAY 8 DECEMBER / 19:00-21:30

Heath Citizens Community Centre, details as above Edgar Gibbs FRPS, 02920 564850, edgar.gibbs@ntlworld.com For details see Audio Visual Group SOUTH WEST

SOUTH WALES AV GROUP: SELECTION OF ENTRY SEQUENCES MONDAY 10 NOVEMBER / 19:00-21:30

Heath Citizens Community Centre, details as above Edgar Gibbs FRPS, 02920 564850, 650 / THE RPS JOURNAL / OCTOBER 2014 / VOL 154

SOUTHERN SOUTHERN(RPS.ORG

SW CONTEMPORARY GROUP MEETING: REVIEW OF WORK

DISTINCTIONS WORKSHOP DAY # LICENTIATE/ASSOCIATE PANELS IN PROFESSIONAL & APPLIED AND VISUAL ART

SUNDAY 12 OCTOBER

Held in a private house in Dartington, South Devon. Contact Rod Fry, 01803 844721, rod@rodfry.eclipse.co.uk For details see Contemporary Group

MONDAY 27 OCTOBER / 19:30- 22:00

Provided by Bridgend Camera Club Heath Citizens Community Centre (front hall), opposite 183 King George V Drive East, Heath, Cardiff CF14 4EP Edgar Gibbs FRPS, 02920 564850, edgar.gibbs@ntlworld.com For details see Audio Visual Group

Visual Art & Travel Bovey Tracey Golf Club, Monks Way, Bovey Tracey, TQ13 9NG Martin Howse ARPS, as above

MGHVKH(BTINTERNET.COM

CONTACT RPS HEADQUARTERS

MONDAY 13 OCTOBER / 19:00-21:30

SATURDAY 22 NOVEMBER / 10:30-16:30

PETER HARTLAND ARPS, 07774 184120

01225 325720, RECEPTION(RPS.ORG

SOUTH WALES AUDIO VISUAL GROUP: SEQUENCES FROM THE 2014 5 TO 8 PHOTO HARMONY

LRPS & ARPS DISTINCTIONS ADVISORY DAY

MARTIN HOWSE ARPS, 01326 221939

RPS INTERNATIONAL IMAGES FOR SCREEN EXHIBITION 2014 See the new exhibition

SOUTH WALES

Chacewater, Truro TR4 8PZ Vivien Howse ARPS, 01326 221939, mghvkh@btinternet.com

Paignton Camera Club, The Methodist Church Hall, Palace Avenue, Paignton TQ3 3EQ

SUNDAY 12 OCTOBER / 10:30-16:30

£20/£15/£10 spectator Get advice from a panel of experts St Mary Bourne Village Hall, Bourne Meadow, St Mary Bourne, Nr Andover SP11 6BE Peter Hartland ARPS, as above THAMES VALLEY MARK BUCKLEY,SHARP ARPS, 020 8907 5874 MARK.BUCKLEY,SHARP(TISCALI.CO.UK

MONDAY 24 NOVEMBER / 19:30-22:00

Truro Camera Club, Carnon Downs Village Hall, Truro TR3 6GH

A DAY WITH THE SPECIAL INTEREST GROUPS SATURDAY 8 NOVEMBER / 10:30- 16:00

£8/£5 members Presentations from four of the Groups The Dolphin Hotel, Station Road, Bovey Tracey TQ13 9AL Martin Howse ARPS, as above

WEST CORNWALL GROUP MEETING TUESDAY 18 NOVEMBER / 19:30-21:30

Chacewater Village Hall, Church Hill,

THAMES VALLEY ANNUAL PRINT EXHIBITION AND JOINT MEETING WITH CONTEMPORARY SUNDAY 12 OCTOBER / 10:00-16:00

£7 Drake Hall, Community Centre, Chiltern Avenue, Amersham, Bucks HA6 5AH Mark Buckley-Sharp ARPS, as above

THAMES VALLEY REGION AGM SUNDAY 12 OCTOBER / 16:00-16:30

Annual general meeting is open to all members of the Thames Valley Region Drake Hall, Community Centre, Chiltern Avenue, Amersham, Bucks HA6 5AH Mark Buckley-Sharp ARPS, as above

| GUIDE | 651 MEMBERS’ OWN SUCCESSFUL LRPS AND ARPS PANELS

DI GROUP THAMES VALLEY: DETAILS TO FOLLOW SUNDAY 19 OCTOBER / 10:00-15:30

£10/£6 group member Woosehill Community Hall, Emmview Close, Wokingham RG41 3DA Laurie Pate, digthamesvalley@rps.org For details see Digital Imaging Group

GO TO RPS.ORG/EVENTS FOR THE LATEST UPDATES

SUNDAY 9 NOVEMBER / 10:00-12:30

£2 Claverton Down Community Hall, Claverton Down, Nr Bath BA2 6DT Tony Cooper ARPS, as above

DI GROUP WESTERN: PRINT WORKSHOP WITH FOTOSPEED

DI GROUP THAMES VALLEY: MEMBER PRESENTATIONS PLUS MILLENNIUM CUP COMPETITION FOR PRINTS

SUNDAY 9 NOVEMBER / 10:3-15:30

£8/£7/£5 Preparing your image for print Merryfield Village Hall, Ilton, Nr Taunton, TA19 9HG Janet Haines ARPS, janet.haines@ btopenworld.com

SUNDAY 23 NOVEMBER / 10:00-15:30

£10/£6 group member Woosehill Community Hall, Emmview Close, Wokingham RG41 3DA Laurie Pate, info@rpsdigthamesvalley.org.uk For details see Digital Imaging Group

3D IMAGING + HOLOGRAPHY PETER FREEMAN LRPS, 01462 893633 PETERF20(TISCALI.CO.UK ARCHAEOLOGY AND HERITAGE

MEMBERS MEETING IN HIGHNAM

RODNEY.THRING(NTLWORLD.COM

SUNDAY 16 NOVEMBER / 10:00-13:00

£5 Parish Rooms, Highnam Community Centre, Newent Road, Highnam GL2 8DG Bob Train, 01452 521 424, bobtrain@tiscali.co.uk

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

FROM REALITY TO REALISATION £15 per workshop or £50 for the set Workshops to help those aspiring to LRPS develop their photography Fenton House, Bath Tony Cooper ARPS, as above

MEMBERS MEETING IN ILTON SUNDAY 16 NOVEMBER / 10:00-13:00

£5 Charlie Bishop ARPS on photographing British wildlife.

Ilton Village Hall, Merryfield Hall, Copse Lane, Ilton near Ilminster, TA19 9HG Mick Humphreys LRPS, 01823 443 955, mick@somersite.co.uk

SUNDAY 5 OCTOBER / 10:00-16:00

CONCEPT AND VISUALISATION SUNDAY 16 NOVEMBER / 10:00-16:00

MASTERING THE MACHINE SUNDAY 23 NOVEMBER / 10:00-16:00

TAKING CONTROL PRESENTING THE IMAGE ‘CUTTING+EDGE TRENDS IN MULTIMEDIA VIDEO’ BY ROBERT ALBRIGHT FRPS

Village Hall, Clyst St Mary, Nr Exeter EX5 1BG Janet Haines ARPS, janet.haines@btopenworld.com

SUNDAY 12 OCTOBER / 10:00- 12:30

£7 Where trends and techniques in multimedia video are taking us Tony Cooper ARPS, as above

MEMBERS’ PRINTS AND CHRISTMAS PARTY

DOCUMENTARY PHOTO ESSAYS

£2 Claverton Down Community Hall, Claverton Down Road, Bath BA2 6DT Tony Cooper ARPS, as above

DISTINCTIONS ADVISORY DAY SUNDAY 2 NOVEMBER / 10.30-16.00

£20/£15/£10 spectator LRPS, ARPS Contemporary/Visual Art Bath HQ Tony Cooper ARPS, as above

£15/£10 members/presenters free An annual event featuring photographic presentations on a range of archaeology and heritage topics, reflecting the interests of our members Leatherhead Institute, 67 High Street, Surrey, Leatherhead KT22 8AH Keith Evans FRPS, 01732 743943, richard.evans943@btinternet.com AUDIO VISUAL EDGAR GIBBS FRPS, 02920 564850

MONDAY 13 OCTOBER / 19:00-21:30

Sequences from the 2014 5 to 8 Photo Harmony, kindly provided by Bridgend Camera Club Heath Citizens Community Centre (front hall), opposite 183 King George V Drive East, Heath, Cardiff CF14 4EP Edgar Gibbs FRPS, as above

SUNDAY 14 DECEMBER / 10:00 -12:30

SATURDAY 18 OCTOBER / 10.00-17.00

Royal United Hospital, Combe Park, Bath BA1 3NG Jay Charnock FRPS, jaypix@hotmail. co.uk

SATURDAY 11 OCTOBER / 10:00-17:00

SOUTH WALES RPS AUDIO VISUAL GROUP: SEQUENCES FROM THE 2014 5 TO 8 PHOTO HARMONY

SUNDAY 14 DECEMBER / 10:30-16:00

FRIDAY 24 OCTOBER / 10:00-16:00

ARCHAEOLOGY AND HERITAGE GROUP CONFERENCE

EDGAR.GIBBS(NTLWORLD.COM

DI GROUP WESTERN: GAVIN HOEY LIVE DEMONSTRATION

SUNDAY 30 NOVEMBER / 10:00-16:00

VISUAL ART GROUP MEMBERS’ EXHIBITION 2014

Explore more about aspects of photography and imaging

RODNEY BERNARD THRING LRPS, 01276 20725

WESTERN

£60/£55/£50 group members Gloucester Guild Hall, 23 Eastgate Street, Gloucester GL1 1NS Mo Connelly LRPS, DVJ@rps.org For details see DVJ Group

SPECIAL INTEREST GROUPS

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

SOUTH WALES AV GROUP: SELECTION OF ENTRY SEQUENCES

YORKSHIRE MARY CROWTHER LRPS, 07921 237962

MONDAY 10 NOVEMBER / 19:00-21:30

PHOTOBOX50(GMAIL.COM

ANNUAL MEMBERS PRINT EXHIBITION 2014 Guest print selector Nigel Tooby FRPS The Royal York Hotel, York YO24 1AA Mary Crowther LRPS, as above

Selection of entry sequences for the Group’s annual three-way AV battle with Wantage Camera Club AV Group (UK) and Melbourne AV Group (Australia) Heath Citizens Community Centre, details as above Edgar Gibbs FRPS, as above

DISTINCTIONS LICENTIATE ADVISORY DAY

SOUTH WALES AV GROUP: CHRISTMAS PARTY

SUNDAY 16 NOVEMBER / 10:30-16:30

MONDAY 8 DECEMBER / 19:00- 21:30

£20/£15, £10 spectators With Robert Gates FRPS Starlight Theatre, National Railway Museum, York YO26 4XJ Mary Crowther LRPS, as above

Please bring a sequence and food to share. Non-RPS members welcome Heath Citizens Community Centre, details as above Edgar Gibbs FRPS, as above VOL 154 / OCTOBER 2014 / THE RPS JOURNAL / 651

652 | GUIDE | WORKSHOPS SPECIAL INTEREST GROUPS DI GROUP THAMES VALLEY: MEMBER PRESENTATIONS PLUS MILLENNIUM CUP COMPETITION FOR PRINTS

CONTEMPORARY PETER ELLIS LRPS, 07770 837977 WORDSNPICSLTD(GMAIL.COM

THAMES VALLEY ANNUAL PRINT EXHIBITION AND JOINT MEETING WITH CONTEMPORARY

SUNDAY 23 NOVEMBER / 10.00-15.30

£10/£6 group member Booking essential Woosehill Community Hall, Emmview Close, Wokingham, Berks RG41 3DA Laurie Pate, info@rpsdigthamesvalley.org.uk

SUNDAY 12 OCTOBER / 10:00-16:00

£7 Guest selector Jay Charnock FRPS in the morning, speakers Peter Ellis LRPS and Derek Dewey- Leader LRPS – after lunch Drake Hall, Community Centre, Chiltern Avenue, Amersham HA6 5AH Mark Buckley-Sharp ARPS,020 8907 5874, mark.buckley-sharp@tiscali.co.uk

DI GROUP WESTERN + GAVIN HOEY LIVE DEMONSTRATION SUNDAY 14 DECEMBER / 10:30-16:00

Gavin Hoey giving a live all day demonstration. Doors open at 10am.

Clyst St Mary Village Hall, Clyst St Mary, Nr Exeter EX5 1BG Janet Haines ARPS,as above

EAST MIDLANDS REGION BOOK MAKING AND 65 YEARS OF NHS SUNDAY 16 NOVEMBER / 10.30-16.00

£10 spectator/£6.95 concession Radisson Park Inn, Mansfield Road, Nottingham NG5 2BT Ralph Bennett ARPS, 01636 651277, ralph.emrps@gmail.com

Foxton, Cambs CB22 6RN Dave Jordan, 01603 866475, daveandjoanjordan@yahoo.co.uk

PHOTO BOOK MASTERCLASS WITH BRIAN STEPTOE FRPS

JANET HAINES ARPS, 01308 428219

SUNDAY 19 OCTOBER / 09:30-17:00

JANET.HAINES(BTOPENWORLD.COM

Newly formed Scottish branch of The RPS Contemporary SIG is holding a masterclass with one of the founder members of the Contemporary Group, Fenton medal-holder Brian Steptoe FRPS Howden Park Centre, Livingston, West Lothian EH54 6AE John Elliott, joma.elliott@btinternet.com

CONTEMPORARY NORTH WEST WORKSHOP MEETING SATURDAY 8 NOVEMBER / 10:00-16:00

£12 Workshop with Dave West Days Inn, Charnock Richard M6 Services, Mill Lane, Chorley PR7 5LR Ian Maxwell, 01524 770278, mail@ihmaxwell.com

SW CONTEMPORARY GROUP MEETING: REVIEW OF WORK SUNDAY 12 OCTOBER

Projects, and a possible link-up with a major art association for an exhibition.

Newcomers welcome Private house in Dartington, Devon Rod Fry, 01803 844721, rod@rodfry.eclipse.co.uk

DOCUMENTARY AND VISUAL JOURNALISM MO CONNELLY LRPS, 01590 641849

DIGITAL IMAGING

DI GROUP ANNUAL PRINT EXHIBITION

The winning picture in last year’s Thames Valley Millennium Cup competition Image: End of the Shift, Huanan, Ian Silvester

DVJ(RPS.ORG

DOCUMENTARY PHOTO ESSAYS SATURDAY 18 OCTOBER / 10.00-17.00

£60/£55/£50 group members Tutor is Alison Baskerville Gloucester Guild Hall, 23 Eastgate Street, Gloucester GL1 1NS Mo Connelly LRPS, as above

MONDAY 13 - FRIDAY 31 OCTOBER

A wide cross-section of work from members of this Group Smethwick Photographic Society Club Rooms, The Old School House, Churchbridge, Oldbury B69 2AS Marilyn Taylor ARPS, digexhibitions@rps.org

DI GROUP THAMES VALLEY: DETAILS TO FOLLOW SUNDAY 19 OCTOBER / 10.00-15.30

£10/£10/£6 group member Details to follow; booking essential Woosehill Community Hall, Emmview Close, Wokingham RG41 3DA Laurie Pate, info@rpsdigthamesvalley.org.uk

DI GROUP WESTERN: PRINT WORKSHOP WITH FOTOSPEED

FILM AND VIDEO JOHN TARBY FRPS, 020 7702 2205 INFO(TARBY.TV HISTORICAL JENNIFER FORD ARPS, 01234 881459 JENNYFORD2000(YAHOO.CO.UK

LECTURE AND BOOK SIGNING: STEREOSCOPY AND VICTORIAN PAINTING THURSDAY 9 OCTOBER / 18.30-21.30

£15/£18 Photohistorians Dr Brian May CBE and Denis Pellerin give an exclusive lecture Royal Institute of British Architects, 66 Portland Place, London W1B 1AD Jo Macdonald, 01225 325721, jo@rps.org

SUNDAY 9 NOVEMBER / 10:30-15:30

VISIT TO PARIS

Preparing your image for print, calibration, print demonstration.

Merryfield Village Hall, Ilton, Nr Taunton TA19 9HG Janet Haines ARPS, as above

Full details to follow Donald Stewart FRPS, donaldstewart42@aol.com

DI GROUP SCOTLAND: RIKKI O’NEILL # VISUAL ALCHEMY

DR TONY KAYE ASIS FRPS, 020 8420 6557

SUNDAY 16 NOVEMBER / 13:30-16:30

TONYKAYE(HOTMAIL.CO.UK

TUESDAY 11 - FRIDAY 14 NOVEMBER

CREATIVE BARRY COLLIN LRPS CREATIVECHAIR(RPS.ORG

A DAY OF CREATIVE PHOTOGRAPHY SUNDAY 9 NOVEMBER / 10:30-16:30

£12/£10/£8 group/regional members Speakers are Peter R Gennard and Don Byatt ARPS. Doors open 9.30am Foxton Village Hall, Hardman Road,

Rikki’s talk will describe his reasons and inspirations from the beginning, with images from the early days through to his latest work.

Bridge of Allan Parish Church, Keir Street, Bridge of Allan FK9 4NW Bill Hogg ARPS, digscotland@rps.org

652 / THE RPS JOURNAL / OCTOBER 2014 / VOL 154

IMAGING SCIENCE

IMAGING SCIENCE GROUP AGM WEDNESDAY 1 OCTOBER / 15:00-16:00

Soroptimist Club, 63 Bayswater Road, London W2 3PH Dr Richard Stevens, stevensrf@tiscali.co.uk

| GUIDE | 653

WORKSHOPS

SHOOTING FOR STOCK MONDAY 10 NOVEMBER / 10:30-16:30

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

Hear from the experts and hone your skills

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

DEVELOPING COMPOSITIONAL AND CRITIQUING SKILLS SATURDAY 4 OCTOBER / 10:00-16:30

£45/£33 members This course will give you a fresh way of looking at your work

HOW TO PHOTOGRAPH CHILDREN AND BABIES SATURDAY 4 OCTOBER / 10:00-17:00

£95/£71 members Enhance your professionalism and images to boost your business Lacock, Wiltshire

ARCHITECTURE AND STREET SCENES OF EXETER SATURDAY 11 OCTOBER / 12:00-19:00

£95/£71 members Exeter

PRINTING WITH LIGHTROOM SATURDAY 11 OCTOBER / 10:00-16:00

£95/£71 members Suitable for beginners

PRODUCT PHOTOGRAPHY

CREATIVE TECHNIQUES IN PHOTOSHOP TUESDAY 11 NOVEMBER / 10:00-16:30

£95 non-members A practical workshop

ONE+DAY INTRODUCTION TO YOUR DIGITAL SLR SATURDAY 15 NOVEMBER / 10:00- 17:00

£33/£22 members This course will give an understanding of what is involved in running a successful commercial operation

£185/£160 members Colerne, Nr Bath

£175/£150 members This course well enable you to get the best images possible from your printer

£30/£22 members What is involved in running a successful commercial operation The Engine Room, Bridgwater

STUDIO PORTRAITURE

ART NUDE PHOTOGRAPHY

SATURDAY 25 OCTOBER / 10:00-16:30

SATURDAY 22 NOVEMBER / 10:00-16:30

£160/£135 members All you need to know about taking great images in a studio environment Lacock, Wiltshire

£115/£90 members Lighting a nude and producing high-quality photographs Lacock, Wiltshire

EXMOOR IN AUTUMN PHOTOGRAPHY

DEVELOPING COMPOSITIONAL AND CRITIQUING SKILLS

SATURDAY 1 NOVEMBER / 10:00-17:00

THURSDAY 16 OCTOBER / 10:00-17:00

WEDNESDAY 5 NOVEMBER / 10:00-17:00

£85/£63 members

INTRODUCTION TO PHOTOSHOP

MONDAY 20 OCTOBER / 10:30-16:30

£45/£33 members This course will give you a fresh way of looking at your work

NIGHT SHOOT SATURDAY 29 NOVEMBER / 18:00-22:00

£35/£26 members Explore the wonders of creative night-time photography Bath Abbey

ONE+DAY INTRODUCTION TO YOUR DIGITAL SLR

INTRODUCTION TO THE CREATIVE EYE

SATURDAY 6 DECEMBER / 10:00-17:00

£85/£63 members

SATURDAY 8 NOVEMBER / 10:00- 16:30

£95/£71 members Learn how to see the photographic potential of the world around you

WILDLIFE PHOTOGRAPHY SUNDAY 9 NOVEMBER / 10:00 -16:30

RUNNING YOUR OWN PHOTOGRAPHIC BUSINESS

SATURDAY 29 NOVEMBER / 10:00- 16:30

£135/£110 members Elements that would appeal to both experienced pros and beginners Thrumpton Hall, Nottingham

SUNDAY 19 OCTOBER / 10:00- 17:00

£95/£71 members

MONDAY 17 NOVEMBER / 10:30-16:30

SATURDAY 25 OCTOBER / 10:00-16:30

WEDDING PHOTOGRAPHY WITH STUART WOOD

SATURDAY 18 OCTOBER / 10:00-17:00

RUNNING YOUR OWN PHOTOGRAPHIC BUSINESS

BETTER DIGITAL PRINTING

WILDLIFE PHOTOGRAPHY + BRIDGWATER

ONE+DAY INTRODUCTION TO YOUR DIGITAL SLR

WEDDING PHOTOGRAPHY £160/£135 members How to take great wedding images and the basics of starting a business Lacock, Wiltshire

FRIDAY 24 OCTOBER / 10:30-16:30

£95/£71 members Coastal, moorland and woodland landscapes, with Nigel Hicks Lynton, Devon Read more on page 630

£45/£33 members Photograph birds and mammals The Engine Room, Bridgwater

£85/£63 members Get more creative with your camera

SAT 15 , SUN 16 NOVEMBER / 10:00-16:30

LIFESTYLE STOCK PHOTOGRAPHY

£155/£130 members Shoot products for publishing on the web or other promotional material Colerne near Bath

MONDAY 13 OCTOBER / 10:30-16:30

Learn how to create stock images that sell Image: Colin Hawkins

£45/£33 members An insight into how to photograph birds and mammals

HOW TO PHOTOGRAPH CHILDREN AND BABIES SATURDAY 6 DECEMBER / 10:00 -17:00

GO TO RPS.ORG/EVENTS FOR THE LATEST UPDATES

£95/£71 members Lacock, Wiltshire

PHOTOSHOP ELEMENTS SUNDAY 7 DECEMBER / 10:00- 17:00

£95/£71 members

VOL 154 / OCTOBER 2014 / THE RPS JOURNAL / 653

INTEREST GROUPS 654 | GUIDE | SPECIAL GOOD PICTURE 2014: IMAGING FEATURES

PILGRIMAGE TO JEREZ TUESDAY 31 MARCH - MONDAY 6 APRIL 2015

Jerez de la Frontera, Spain Colin Howard, colin.howard@me.com

SATURDAY 13 DECEMBER / 09:30-17:00

Tutorial seminars on selected technical aspects of digital imaging, open to all University of Westminster, 309 Regent Street, London W1B 2UW Mike Christianson, 01753 890 480, pandm@christianson.freeserve.co.uk Read more on page 646

VISUAL ART VIVECA KOH FRPS, 07956 517524 VIVECA.KOH(GMAIL.COM

PERMAJET LECTURERS DAY SUNDAY 5 OCTOBER

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

THE COMBINED ROYAL COLLEGES LECTURE 2014 THURSDAY 20 NOVEMBER / 18:30-21:00

Australia Chapter exhibition on the Gold Coast Image: Currumbin, Graham Burstow

This year’s lecture will be given by the 2013 recipient of The Society’s Combined Royal Colleges Medal, Professor Anders Persson MD PhD The Royal College of Obstetricians & Gynaecologists, 27 Sussex Place, Regent’s Park, London NW1 4RG Jo Macdonald, jo@rps.org, 01225 325721

TRAVEL KEITH POINTON LRPS, 01588 640592 BAGPOINT(AOL.COM

IMAGES IN MEDICINE: A SYMPOSIUM FOR PRODUCERS AND USERS

RYE FIELD TRIP SUNDAY 12 OCTOBER / 10:00-17:00

£10/£7.50/£5 Rye, East Sussex TN31 7LB Terry McGhie ARPS, 01323 492584, southeast@rps.org For details see South East Group

SATURDAY 18 OCTOBER / 09.30-16.30

£30 RPS and IMI members/£35 nonmembers Clinical photographers and clinicians will discuss the production and use of images in areas such as medical education.

Supported by the Wellcome Trust University of Westminster, 309 Regent Street, London W1B 2HW Dr Afzal Ansary ASIS FRPS, as above

CHAIRMAN’S DAY 2014

An escorted photo visit to Myanmar Yangon, Mandalay, Bagan Keith Pointon, as above

RPS.ORG/EVENTS FOR THE LATEST UPDATES

SUNDAY 9 NOVEMBER / 10:30-16:00

OVERSEAS CHAPTERS

AUSTRALIA Elaine Herbert ARPS, eherbert@ alphalink.com.au EXHIBITION: FLESH # GOLD COAST IN THE 60s, 70s AND 80s SAT 4 OCTOBER - SUN 2 NOVEMBER

Powerhouse Brisbane, 119 Lamington Street, New Farm, QLD 4005 BENELUX Stephen Johns, Steve_johns@ me.com

FRIDAY 3 , MONDAY 6 OCTOBER

Speakers include Anne Sutcliffe FRPS and Ian Beesley HonFRPS Hilton Garden Inn, Brindley Place, 1 Brunswick Square, Birmingham B1 2HW David Wood ARPS, wood.david.j@virgin.net

VISUAL ART GROUP MEMBERS’ EXHIBITION 2014 FRIDAY 24 OCTOBER - THURSDAY 15 JANUARY 2015

Royal United Hospital, Combe Park, Bath BA1 3NG Jay Charnock FRPS, jaypix@hotmail.co.uk

THU 27 NOVEMBER , WED 10 DECEMBER

GO TO

M.JOS(BTINTERNET.COM

AUTUMN WEEKEND IN BIRMINGHAM

IMAGES OF MYANMAR: 2014

NATURE MARGARET JOHNSON LRPS, 01159 265893

Speakers are Trevor Davenport ARPS, Geoff Trinder ARPS and Tony Bond FRPS £16; for tickets send a cheque, payable to RPS Nature Group, plus a stamped self-addressed envelope to: Nature Group Chairman, Tony Bond FRPS, 9 Beech Drive, Leigh, Lancashire WN7 3LJ Smethwick PS, The Old Schoolhouse, Churchbridge, Oldbury B69 2AS

Short illustrated talks from the cream of photographic lecturers Smethwick Photographic Society, Churchbridge, Oldbury, West Midlands B69 2AS Mike Sharples ARPS, 07884 657535, central@rps.org

CANADA John Bradford, jb.rps@cogeco.ca CHINA BEIJING Yan Li, yanli88@yahoo.com CHINA SHANGTUF Guo Jing, shangtuf@ yahoo.com.cn CHINA QUANZHOU Xiaoling Wang, hgudsh@163.com GERMANY Tony Cutler LRPS, aec.flynn@t-online.de

654 / THE RPS JOURNAL / OCTOBER 2014 / VOL 154

IN SEARCH OF THE AURORA BOREALIS

PATRONAGE

Society patronage has been granted to the following exhibitions and salons

WEDNESDAY 14 - SATURDAY 17 JANUARY 2015

Tromso, Norway Aline Hopkins, 07774 680981, alinehopkins@btinternet.com

3RD WESTERN LIGURIA INTERNATIONAL CIRCUIT !VARIOUS PRIZES"

RPS members around the world EXHIBITION: WEISS SUNDAY 12 OCTOBER - TUESDAY 2 DECEMBER / 10.00-16.00

Rathausgalerie der Stadt Fröndenberg, Bahnhofstrasse 2, Fröndenberg/Ruhr, Germany, 58730 Siegfried Rubbert LRPS, Siegfried@Rubbert.de HONG KONG Shan Sang Wan FRPS, shansangwan@ yahoocom.hk

IBERIAN PENINSULA Peter Mitchell, Peter.mitchell@sapo.pt INDIA Rajen Nandwana, rajennandwana@ gmail.com INDONESIA Agatha Bunanta ARPS, agathabunanta@ gmail.com ITALY Olivio Argenti FRPS, info@rps-italy.org JAPAN TOKYO Yoshio Miyake,

yoshio-raps@ nifty.com MALAYSIA Nick Ng, nickng6208@gmail. com MALTA Ruben Buhagiar, info@rubenbuhagiar. com NEW ZEALAND Mark Berger rps@moothall.co.nz SINGAPORE Steven Yee Pui Chung FRPS, peacock@ sandvengroup.com

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

| GUIDE | 655

COUNCIL REPORT JULY 2014 SOCIETY FINANCE Treasurer Geoff Blackwell noted that the half-year accounts had been prepared. A deficit of £25k for the year was forecast reflecting a shortfall in member subscriptions and gift aid income against budget.

Workshops income was also down. Overall he considered the position satisfactory. A gift aid reminder would be sent to relevant members in September.

The Society’s audit certificate had been received. The auditors Moore Stephens had expressed two minor concerns which would be addressed with Barclays Bank and the Groups and Regions.

Council expressed its thanks to Nick Rogers for his work on completing the half-year accounts so efficiently.

MEMBERSHIP Membership stood at 11,121.

GROUPS/REGIONS/ OVERSEAS CHAPTERS A paper from the Travel Group proposing setting up a Group bursary was received. Geoff Blackwell proposed, and Council accepted, that the scheme be accepted in principle provided Group members approved it and that the Group be encouraged to work with the Education Department to publicise and manage the process.

REGIONAL ORGANISERS MEETING Vanessa Slawson reported on the RO day on 5 July.

A set of action points had been collated which she would prioritise, set ownership and propose completion dates. This would be circulated to Council.

Derek Birch with the other Council colleagues who were there confirmed that this had been a worthwhile meeting. He noted the wide and often diverging range of opinions from ROs. The regional boundaries should be reviewed.

Robert Albright noted the need to extend the London Region to the M25 was an immediate action.

Simon Bibb, Membership Manager, felt a regular meeting day for ROs would be useful. The Director-General said that many concerns could be addressed through better, more regular communication which might allow the format of the Advisory Board meetings to be changed.

Walter Benzie would arrange a similar meeting for Groups in February 2015.

PROMOTIONAL FILM Robert Albright reported that he and three members of the AV Group had re-edited the promo film. It would be uploaded to the website.

ANNUAL REPORT The annual report was approved and would be uploaded to the website when the auditors’ report was received.

STAFF AND MANAGEMENT MATTERS The Director-General advised that all staff had been formally communicated with regarding flexible working and future sabbatical arrangements.

The Society had lent its support to a number of competitions and events including the 24 Hours in Bristol photo shoot; ISIC 2014 Indonesian student conference, Future Publishing’s Photo Live, Nassar Bin Hamad International Youth Creativity Award, Oxford Photography Festival and a Royal College of Physicians photography day. In each case they supported The Society’s own objectives and would raise its profile and, in some cases, offer benefits for members.

The Society would participate in an analogue photography day for students on 12 November in Wolverhampton and a PermaJet Day on 29 November.

DISTINCTIONS AND QUALIFICATIONS The meeting was joined by Roger Reynolds, Chair DAB, Roy Robertson, Deputy Chair DAB and Fellowship Board Chair and Andy Moore, Distinctions Manager. A wideranging discussion was held around the need to change the Contemporary Distinction Panel name. Council agreed to Contemporary and Conceptual Panel. The need to split the Visual Art panel in to two dealing with straight photography and manipulated images was debated. Council agreed that two Panels were needed, that they would be titled Creative and Pictorial, with crossover between the Panel members. A Journal article would be prepared.

A review of Distinctions pricing would form part of the 2015 budget process.

Feedback relating to Distinctions from the Regional Organisers Day was discussed.

EXHIBITIONS Lesley Goode, Exhibitions Manager, provided an update on the status of The Society’s exhibitions. The

Members’ Biennial would close for entries in October.

The Director-General reported that he and Lesley Goode had met global engineering and technology solutions company Siemens and a letter of intent had been received. Recruitment for the science exhibition coordinator would begin shortly.

EDUCATION, WORKSHOPS AND TRADE SHOWS Liz Williams, Education Manager, and David Cooke provided an update on department activities. John Roe was being asked to develop an online course and quotes would be obtained for implementing it. A meeting with the OCA had been held and it was prepared to offer RPS members with a Licentiate or Associate, the same arrangement as the BIPP. The Society was still awaiting a response from the Open University regarding the T189 course.

A paper regarding affiliation would be circulated.

Liz Williams reported that the 2015 Visual Literacy theme would be Women in Photography and there was the opportunity to extend it in to educational institutions with satellite events.

Vanessa Slawson reported that the Scout Association was looking to train leaders running photography badge training and offer resources for around 150,000 leaders in all three Scout sections. There was an opportunity for The Society to become involved.

RPS JOURNAL Think Publishing would be attending the September Council meeting and the Advisory Board. Derek Birch reported further positive feedback on the Journal.

WEBSITE The latest website statistics were circulated.

NATIONAL MEDIA MUSEUM The Masters of Photography exhibition [now titled Drawn with Light] based on the RPS Collection would open on 2 December at Media Space, London. A members’ day would be arranged at the London or Bradford venues to coincide with the exhibition.

EXTERNAL ORGANISATIONS Robert Albright reported that the PAGB was involved with the PSA and FIAP in defining a common definition for monochrome. This would be circulated when ready.

See the International Print 157 Image: The View to Yourself, Nadja Pollack

Closing date: 6 October fotoponenteligure.it

40TH SMETHWICK INTERNATIONAL EXHIBITION OF PHOTOGRAPHY Closing date: 10 November spsinternationalexhibition.com GLOBAL ARCTIC AWARDS Closing date: 20 November arcticawards.ru PSA CHINA SPECIAL THEME 2014 Closing date: 30 November salon.psachina.org

EXHIBITIONS

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

MEMBER SHOWCASE Royal Photographic Society HQ, Bath OCTOBER

Standing Stones and Stone Circles, Ron Callender FRPS & Paul Keene FRPS NOVEMBER

Photobooks, Brian Steptoe FRPS

INTERNATIONAL IMAGES FOR SCREEN 2014 Venues in Scotland, Northern and South West region. For details see Regional Groups INTERNATIONAL IMAGES FOR SCIENCE 2013 THU 6 NOVEMBER - FRI 12 DECEMBER

Banbury, Michael Heseltine Gallery, Chenderit School, Archery Road, Middleton Cheney OX17 2QR

INTERNATIONAL PRINT EXHIBITION 157 SAT 22 NOVEMBER - SAT 10 JANUARY 2015

Banbury Museum and Art Gallery, Spiceball Park Road, Banbury OX16 2PQ

VOL 154 / OCTOBER 2014 / THE RPS JOURNAL / 655

THE RPS COLLECTION 656 | TIMES PAST | FROM

The Kodak camera

The simplicity of the 1888 Kodak was a key selling point

T

he original Kodak camera of 1888 has, rightly, been seen as historically important in the popularisation of photography. It was the first of a number of cameras from the Eastman Dry Plate & Film Company that changed the way photographs were made.

The original Kodak was patented in the United States on 30 March and in Britain on 9 May 1888. The patent described the shutter and roll holder in a ‘rectangular box’. It took 100 exposures on a roll film.

George Eastman (1854–1932)

656 / THE RPS JOURNAL / OCTOBER 2014 / VOL 154

George Eastman recognised that the market for such a camera would not be amateur photographers, but rather ‘snapshooters’ who simply wanted to record family, friends and the places they visited. He offered a developing and printing service so that no knowledge of photography was required.

‘You press the button, we do the rest’ was the advertising slogan Eastman used to market the camera. The British Journal of Photography described the camera as ‘a little marvel of constructive skill’.

In 1889 the original was replaced by the No.1, which had an improved shutter, and by the end of 1889 the original paper stripping film had been replaced by celluloid.

The Kodak camera’s real importance lay with the concept of a simple camera supported by a dealer network and a D&P service; the new methods of manufacturing used to make it and the new ways it was marketed to new types of consumer; and, finally, it heralded a new informality to photography. Not bad for a simple box camera.

MAIN IMAGE: © ROYAL PHOTOGRAPHIC SOCIETY COLLECTION/NATIONAL MEDIA MUSEUM/SSPL; LIBRARY OF CONGRESS

Dr Michael Pritchard FRPS charts the origins of the box camera that popularised photography

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