The RPS Journal September 2014

THE RPS JOURNAL / SEPTEMBER 2014 / VOL 154 NO 8

FOLLOWERS OF FASHION HORST’S TRENDSETTING PHOTOS AND THEIR IMPACT ON STYLE TODAY

THE

WWW.RPS.ORG

SEPTEMBER 2014 / VOLUME 154 / NUMBER 8 / WWW.RPS.ORG

UNDERWATER WONDERS DOUG ALLAN REVEALS HIS BEST SHOTS

AERIAL EXPERTISE HOW ONE MAN FOUND SUCCESS IN THE SKIES

HORST P HORST DOUG ALLAN HonFRPS AERIAL PHOTOGRAPHY

©Rossella Vanon

LIGHT SHAPING BY: ROSSELLA VANON & THE PROFOTO D1 People who describe Rossella Vanon’s images tend to use two words: colour and light. Her secret? A vivid imagination and the right tools to make her colourful ideas come to life.

Boasting a generous 7 f-stop power range, action-stopping short flash durations, and colour stability comparable with that of a high-end studio generator, the Profoto D1 is her tool of choice.

For more information visit www.profoto.com/d1

ASK YOUR PROFOTO DEALER ABOUT THE LATEST D1 KIT OFFERS

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OPENING SHOT

PHOTOGRAPHY IS THE BEST MEDICINE

WIN A HAMPER WITH OUR READER SURVEY

Please take a few minutes to tell us what you think of The RPS Journal with our online reader survey.

One lucky participant’s name will be picked out of a hat to win a luxury hamper.

To participate, please log on to bit.ly/RPSJournalSurvey

O

ne of the best things about working on The RPS Journal is speaking to photographers from all over the world about why they pick up a camera.

For this issue, I had the pleasure of chatting to Raphael Shevelev, a Fellow based in California, about his work.

A prolific image maker, he discovered that photography was able to help him draw himself back to the land of the living after serious illness struck; read more on page 548.

In a thematic link, we move from the healed to the healers on page 532 where we hear from Dr Afzal Ansary ASIS FRPS on how clinical photography plays a vital role in medical practice, education and research.

In our Distinctions section there’s important news on changes to the categories in which images can be entered. These changes will take place from January 2015, but here’s your chance to get up to speed on what they might mean for you. Turn to page 523 for details.

There’s also a lot happening this month beyond the pages of the Journal. Our contributing editor Geoff Harris is at photokina in Cologne soaking up the atmosphere of the world’s biggest photo show – he’ll be reporting back next issue. And we’re off to London to join Society staff, Members and prizewinners at the annual Royal Photographic Society Awards.

It’s our first time at the awards and we’re looking forward to witnessing how the night brings together the biggest and the most hard-working names in photography today.

Watch this space for the results …

CLARE HARRIS Editor

MIKE WILKINSON

PATRON AND SPONSORS

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IN THIS ISSUE The Royal Photographic Society Fenton House, 122 Wells Road Bath BA2 3AH, UK www.rps.org reception@rps.org +44 (0)1225 325733 Incorporated by Royal Charter

CORSETRY AND CLASSICS HOW HORST’S FASHION PHOTOS INFLUENCED HIGH STYLE TODAY

UNDERWATER WONDERS DOUG ALLAN REVEALS HIS BEST SHOTS

A BIRD’S EYE VIEW LEARN TO TAKE AMAZING AERIAL PHOTOS

THE

SEPTEMBER 2014 / VOLUME 154 / NUMBER 8 / WWW.RPS.ORG

542

Doug Allan HonFRPS reveals the stories behind some of his best work

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, Phil Long Sub-editors Sam Bartlett, Kirsty Fortune Advertising Sales Adam Lloyds adam.lloyds@thinkpublishing.co.uk 020 8962 1253 Publisher John Innes john.innes@thinkpublishing.co.uk

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

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

ISSN: 1468-8670

Cover

Dress by Hattie Carnegie, 1939 © Condé Nast, Horst Estate

518 Rajasthani Man, Deborah Highton LRPS

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500 | BIG PICTURE Janet Haines ARPS talks through her vision of an 'aristocratic friend'

514 | DISTINCTIONS Jan Ros ARPS and Deborah Highton LRPS

503 | NEWS Latest from Martin Parr HonFRPS, copyright reaction and more

565 | MEMBER GUIDE The International Audio Visual Festival, plus all your listings

513 | BOOKS Borne from the USA: forgotten images shine again in the superb An American Odyssey

576 | TIMES PAST How the work of Calum Colvin blends photography and art to intriguing effect

DEBORAH HIGHTON ; DOUG ALLAN

EVERY MONTH

© 2014 The Royal Photographic Society.

All rights reserved.

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508

Image from the exhibition 100 Stories of Migration

556

Fits the bill: expert tricks and tips for avian enthusiasts

503 DANIEL HORTON WITH HIS STAFFORDSHIRE BULL TERRIERS, ST GEORGE’S DAY, WEST BROMWICH © MARTIN PARR / MAGNUM PHOTOS; LISA EBERT, THE REAL GYPSIES; MICK DURHAM, BLACK GUILLEMOT

Daniel Horton by Martin Parr HonFRPS FEATURES

THE CRAFT

523 | DISTINCTION CHANGES Important news on alterations to categories for Distinctions

536 | MEMBER SHOWCASE The work of the Society's Regional Organisers

553 | MUST TRY * LATEST KIT This month's round-up, including the new Nikon D810

526 | ENDURING STYLE Lucy Davies explores the influence of Horst P Horst on today's photographers

542 | BEST SHOTS Cameraman and wildlife master Doug Allan HonFRPS

556 | DON'T WING IT How to get great shots of birds

532 | GOOD MEDICINE Dr Afzal Ansary ASIS FRPS on clinical photography's vital role

548 | LIFE FROM A LENS Raphael Shevelev FRPS tells of his recuperation through photography

558 | AERIAL EXPERTISE Taking photos from above

554 The Kodak Pixpro S-1 unveiled

562 | MY FAVOURITE CAMERA Ian Beesley HonFRPS

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500 | BIG PICTURE |

Doc

By Janet Haines ARPS

How a hat-selling friend became an aristocratic landowner NAME Janet Haines ARPS, known to friends as Jay TRAINING

My dad was a very keen amateur; as a child I was his assistant, model and darkroom lackey. By osmosis I learnt about composition and balance. I did not get serious with my photography till after he died, the emergence of digital, and I retired in the early 2000s. I joined my first camera club around 2004 and got my LRPS in 2006.

THE ASSIGNMENT

Doc is a steampunk friend who I met when he was selling the hats he makes at our local street market.

EQUIPMENT

My trusty Nikon D7000 with my 24-70mm favourite lens. ISO 200, f/5.6 at 1/40th. In Photoshop I set about pulling together the other component parts from my extensive personal image library.

TECHNIQUE The luck was getting a good pose from a slightly wacky guy.

TIPS Don’t feel restricted by convention; give your imagination free rein.

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JANET HAINES ARPS

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503

INTERNATIONAL PRINT 157 Photos from the opening night 504

COPYRIGHT CHANGES EXAMINED BPS responds to amended law 511

BILL BRANDT’S NUDES Inspiration for Will Cheung FRPS 511

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

Making rock at Teddy Gray’s sweet factory

MAKING ROCK, TEDDY GRAY’S SWEET FACTORY, DUDLEY © MARTIN PARR/MAGNUM PHOTOS. BLACK COUNTRY STORIES 2010 TO 2014, COMMISSIONED BY MULTISTORY

AT A GLANCE Black Country Stories is an ongoing project that documents life in the West Midlands area Martin Parr took four years to complete his part of the project His exhibition will include 560 prints

MARTIN PARR’S BLACK COUNTRY STORIES Don’t miss the Magnum great’s take on the West Midlands BLACK COUNTRY STORIES, a showcase of a four-year project on everyday life in the Black Country by Martin Parr HonFRPS, will be at the New Art Gallery Walsall

ENTER NOW!

from 4 October to 11 January 2015. Commissioned by Multistory, a community arts organisation, the Magnum photographer travelled across the region shooting markets, temples, factories, social clubs, tea dances, dog-training MEMBERSHIP CARD

classes, summer fetes and in many other places.

‘The Black Country was somewhere I just drove past on the M5,’ Parr said.

‘You could see it was impoverished in parts but there was a lot of energy from new immigrants –

Polish, Bangladeshi, Pakistani and so on. I was really struck by how friendly people were, and how few people seemed to leave the area.’ multistory.org.uk/projects/ black-country-stories

WIN THE CHANCE TO HAVE ONE OF YOUR PHOTOS ON THE SOCIETY’S NEW&LOOK MEMBERSHIP CARD. FOR MORE TURN TO PAGE 506 VOL 154 / SEPTEMBER 2014 / THE RPS JOURNAL / 503

504 | IN FOCUS | ON TOUR

INTERNATIONAL PRINT EXHIBITION OPENS

There’s still time to see the best of this year’s entries 6 September – 8 November Aberystwyth Arts Centre, West Wales 22 November– 10 January 2015 Banbury Museum & Art Gallery, Oxfordshire

Medal winners and Society staff enjoy Greenwich reception

There was a great turnout at the 157th International Print Exhibition opening reception at Greenwich Heritage Centre. Winners celebrated on the night were Jacqueline Roberts, Mandy Barker ARPS, Damien Wootten, Tamara Staples and William Lakin.

Michael Pritchard and William McGranaghan

Gold medal-winner Jacqueline Roberts

For more, including 2015 tour dates, see bit.ly/rpsprints

Benjamin Liew and guests Chelin Miller LRPS

Society President Derek Birch and William Lakin

CHAPTER FOCUS

ITALY

WE SPEAK TO CHAPTER CHAIR OLIVIO ARGENTI FRPS

First established 23 May 2011 by Olivio Argenti FRPS, Gianluca Lo Grasso ARPS, Serena Laudisa ARPS and Aurora Leone as a non-profit cultural association, registered as a legal entity in Rome Chairs Olivio Argenti FRPS, President and Administrator; Massimiliano Camellini ARPS, director Number of Members 438 Greatest achievements: We organised a charity exhibition in favour of families of victims of an earthquake in northern Italy in 2012. In late

Camogli by Francesca Donadini LRPS

2013 we brought to Italy the RPS International Images for Science Exhibition, which was shown in Genoa, Verona and Padua. In March 2013 we attended the Photoshow in Milan where we were offered a stand.

However, our greatest achievement has been getting so many people in Italy

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Paul Hyde

interested in the Society in a short time, with limited means.

What’s coming up?

A workshop has been planned for November in Rome on Conceiving a photographic exhibition with Emmanuelle Hascoet, exhibitions & cultural development manager at Magnum Photos Paris. A Distinctions Advisory Day has been proposed in Sassari (Sardinia), also in November.

Notable Member Francesca Donadini LRPS is an Italian amateur photographer.

She graduated in pharmacy and pharmacology but photography has become her passion. She has been seriously studying and practising photography for the last few years, has won various competitions and exhibited in Italy. Her photographs have been published in specialist magazines.

Papaver rhoeas like Monet

by Francesca Donadini LRPS

SEPTEMBER 2014

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FROM THE PRESIDENT

CELEBRATING IMAGE TAKING

T

he opening of the 157th International Print Exhibition and the presentation of awards made for an enjoyable and successful event.

Greenwich Heritage had provided an excellent venue to show the 100 prints selected by the judging panel for the Society exhibition. Over 150 members and guests attended, including 30 of the photographers whose prints were on display.

I was delighted to be able to present awards to the winners we showcased in the last issue – Damien Wootten, Bronze, and William Lakin, Under-30s Gold, and our top winner Jacqueline Roberts, Gold.

Tamara Staples, based in the USA, Bronze, and Mandy Barker, Silver, were unable to attend so we pass on their awards and our congratulations.

Jacqueline and her family had been able to travel from Germany and were enjoying their visit.

As well as her winning print, Menina, her wet collodion plate Scherzo had also made it into the exhibition, highlighting the range of artistic processes the exhibition considers and selects. Lastly, I was pleased to meet Leo Rich,

,6600

WALTER BENZIE ARPS; MICHAEL PRITCHARD FRPS

Photographers awarded at IPE 157

IN NUMBERS

The approximate number of images submitted for the RPS International Print Exhibition 157, from 72 countries

President of the PAGB, and Kevin Birch, President of The Camera Club.

This month we have our annual Awards Ceremony at the Royal Society in London, hosted by the Rt Hon Lord Robertson of Port Ellen, a member and Licentiate, who accepted the role of master of ceremonies. It is a chance to recognise the most important contributors to the art and science of photography. It also presents The Society as a positive light to those working with photography.

Over the next year the Journal will run a series of interviews and features on many of the recipients.

Readers of the eRPS newsletter will know that we have a call for entries to the 2015 Members’ Biennial exhibition. The exhibition of 100 images is held every two years and tours venues in the United Kingdom. Details of how to participate can be found at are rps-biennial.org Coming to halfway point of my time as President, I continue to deeply appreciate all the contributions made by The Society’s staff and active volunteers. Efforts in many areas are being promoted to support our members and their interests, evolving the Society’s Distinctions, exhibitions, the website, social media and, of course, this wonderful Journal. Thank you all!

DEREK BIRCH ASIS HonFRPS President of The Royal Photographic Society

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DIARY CHRIS STEELE&PERKINS Magnum photographer Chris Steele-Perkins is to give a lecture – Life, Work, Photography and the Universe – at The Photographers’ Gallery, London, on 11 September at 6.30pm. Tickets from thephotographersgallery. org.uk BRIAN MAY IN STEREO Dr Brian May, along with co-author Denis Pelerin, is giving a lecture at the Royal Institute of British Architects in London on 9 October on Victorian art and stereo-photography. See more at rps.org/stereo

CORRECTION In August’s issue we failed to mention that Terry Goodfellow (In Focus), is a Licentiate. Apologies, Terry

SEARCH FOR GOLD RUSH TOWNSHIP After 10 years of research, Dr Ron Callender FRPS has been successful in tracing a ghost town established during the California Gold Rush of 1849.

The township of Timbuctoo had all but disappeared from the banks of the Yuba River, but Ron triumphed when he found remains of a few buildings and ditches. His proof came home as a portfolio of excellent photographs.

WHAT A CARD! Your chance to get your image on the 2015 membership card

Fancy seeing one of your images adorning the membership card for 2015? Then simply enter the monthly members’ competition for September on the Society website. From three finalists, one image will be chosen. Submitted

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images need to be landscape format and may need to be cropped (the card is 85x54mm).

The competition runs from 1-30 September. Images uploads to the competition site need to be 1,020 x 630 pixels at 300dpi. rps-365.org

MEMBERS

HIP CARD

THE RPS, FENTON HOUSE, 122 WELLS ROAD, BA TH BA2 3A t +44 (0)12 H, UK 25 325733 www.rps. org recep tion@rps

.org

CLAYMOND YUNG NYEE LEONG ARPS Coffee

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. bit.ly/rpscombined

Dust to dust: the Wells Fargo office today and in 1950

SEPTEMBER 2014

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365 WINNERS

TRAVEL PHOTOGRAPHY July’s online competition winners

BOAT GIRL Alex Goh Chun Seong ARPS The picture was taken at one of the small islands off Semporna in Sabah, Malaysia. I was on the island for lunch, resting after a tiring day

shooting under the scorching sun.

I was lounging around when a group of kids caught my attention as they came out from their stilt houses over the water to play. Particularly captivating was this little

LAST TAXI HOME Boguslaw Maslak I spent a couple of weeks in M’hamid, a village in south-east Morocco. The photo was taken while

girl rowing this boat across the clear water.

The swaying seaweed, the effect of the azure sea meeting the blue sky ... everything just seemed to fall into place so perfectly for this picture-postcard shot.

going back to Marrakech.

When the overcrowded taxi was heading towards the setting sun, I felt melancholy leaving the friendly desert

people behind. It was one of these moments when you realise what you’ve experienced and the impact the journey has had on you.

FROM THE BALLOON, CAPPADOCIA, TURKEY Andrew Barrow LRPS I had travelled to Izmir in Turkey, ostensibly for a wine conference that was championing the fledgling wine industry. One of the post-conference trips was to view the vineyards of the handful of producers in Cappadocia. Part of this trip was to include a dawn ride in a hot-air balloon.

Crammed into the corner of a wicker cage with three other people I have no idea how I managed to change lenses, let alone take a decent in-focus photo.

ENTER

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

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508 | IN FOCUS | WHAT NOT TO MISS 100 STORIES OF MIGRATION The School of Museum Studies, University of Leicester UNTIL 13 FEBRUARY 2015

This fascinating exhibition, a partnership between the University of Leicester’s School of Museum Studies and the Migration Museum Project, explores and examines the ways in which migration affects us all. bit.ly/migrantphoto

PEOPLE IN LONDON Royal Geographical Society, London 8 SEPTEMBER)17 OCTOBER

For over five years Richard Slater has been taking thousands of pictures of Londoners.

This exhibition displays more than 400 shots showing people from all corners of the city. To help complete the ‘picture’, there will be a selection of videos where people talk about their experience of the capital, as well as specially made maps showing where Slater took his photographs. peopleinlondon.com

PEOPLE OF INDIA Herbert Art Gallery and Museum, Coventry

TELL US

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

Extraordinary photographs drawn from three major collections – two historical, one contemporary – of key moments in India’s history. Includes black and white portraits by Coventrybased photographer Jason Tilley. bit.ly/jasontilley SEPTEMBER!OCTOBER

ALSO SHOWING

ORDINARY BEAUTY: THE PHOTOGRAPHY OF EDWIN SMITH Royal Institute of British Architects UNTIL 6 DECEMBER

Edwin Smith (1912-1971) was a talented chronicler of Britain, and this features over 100 black and white photographs from a collection of more than 60,000 negatives and 20,000 prints donated by his widow. From urban scenes to evocative landscape images and interiors, the images reveal the genius of his work. bit.ly/edwinsmith

DAVID LEVENE: EYEWITNESS Foyles bookshop, Charing Cross Road, London

STEVE McCURRY: PEOPLE AND PLACES South Bank Tower, London

UNTIL 26 OCTOBER

UNTIL 26 SEPTEMBER

Award-winning photographer David Levene is showing some of his favourite photographs from the Guardian’s Eyewitness section at the new Foyles bookshop on London’s Charing Cross Road. Levene has been taking photographs for the Eyewitness series since it began in 2005 and 10 of his favourites will feature in this exhibition, with some blown up to 1.5m across. bit.ly/dlevene

The developers of the South Bank Tower project in London have commissioned Steve McCurry to take 40 images of the creative people and places that make the area so remarkable.

McCurry, a Magnum photographer famous for ‘the Afghan Girl’, took portraits of key figures from the South Bank neighbourhood, such as artist Frank Bowling OBE and cheese maker Bill Oglethorpe. southbanktower.co.uk

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Lost Angels, Mead Carney Gallery, London, until 20 September Silent Exchange: The Landscape Photography of Charlie Waite Lyttelton Theatre, London, until 20 September Eye Spy – Life experiences through the eyes of the homeless Workhouse Modern Gallery, Harrogate, 3-6 October Dennis Hopper: The Lost Album Royal Academy, London, until 19 October Virginia Woolf: Life, Art and Vision National Portrait Gallery, London, until 26 October

RICHARD SLATER; KENTISH TOWN STATION, LONDON 1936 *C+ EDWIN SMITH, RIBA LIBRARY PHOTOGRAPHS COLLECTION; DAVID LEVENE; STEVE MCCURRY; RACE RIOTS IN LEWISHAM, POLICE MAKING AN ARREST, PETER MARLOW; PAHARGANJ, NEW DEHLI, 2004 BY JASON SCOTT TILLEY. COPYRIGHT THE ARTIST.

UNTIL 11 JANUARY 2015

SAY HELLO TO AN OLD FRIEND.

ILFORD IS BACK. SO WHY LOOK AT ILFORD ALTERNATIVES? The ILFORD Inkjet brand is now in safe hands and your favourite products will once more be available very soon.

The re-launched range will include the much loved ILFORD GALERIE Gold Fibre Silk alongside other favourites such as the award-winning Gold Mono Silk and both the Smooth Pearl and Smooth Gloss papers.

Find out more information by checking out the ILFORD website at www.ilford.com You can also follow ILFORD's UK distributor on Twitter @tetenaluk and Facebook /Tetenal.UK for updates.

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With a history dating back to 1847, we have the experience, knowledge and expertise to help you bring out the best in your prints.

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510 | IN FOCUS | NOTICE OF THE ANNUAL GENERAL MEETING OF THE ROYAL PHOTOGRAPHIC SOCIETY OF GREAT BRITAIN Registered Charity no. 1107831 Notice is hereby given that the Annual General Meeting of The Society will be held at the Birmingham & Midland Institute, 9 Margaret Street, Birmingham B3 3BS on Saturday 27 September 2014 at 10.15am. The business of the meeting will be: To receive the Minutes of the 2013 Annual General Meeting as previously circulated To approve the Trustees’ Report and Accounts for the year ended 31 December 2013 as previously circulated To authorise the Council of The Royal Photographic Society of Great Britain to appoint and to agree a fee for The Society auditors in 2014. By order of the Trustees.

Dr Michael Pritchard, Director-General

DISTINCTION SUCCESSES

Well done to the Members who achieved Distinctions in recent months ASSOCIATE VISUAL ART 06/14 Hans Abplanalp, Switzerland Gerry Adcock, Northumberland Michael Barron, Northumberland Stuart Anthony Bentley, London Richard Burniston, Sussex Yue Tat Chiu, Hong Kong Richard Earney, Middlesex Yuliana Mulvany, East Sussex Diana Neale, Wiltshire David Milton Henry Oldridge, Yorkshire Mark Phillips, Buckinghamshire Chi Wai Siu, Hong Kong Jo Teasdale, Sussex Sandra Ulfig-Panta, Warwickshire LICENTIATE 06/14 Mike Arblaster, Derbyshire Ian Bosworth, Bristol Caroline Briggs, Somerset David Brown, Devon Janet Brown, West Sussex Ed Burrows, Somerset Colin Carter, Devon Peter Chamberlain, Surrey Claire Pixie Copley, Cambridgeshire Robert Davies, Somerset Alan Edwards, Berkshire David Elliott, West Sussex Wayne Elliott, Ontario Colin Foster, Dorset Robert Gibbons, London Les Hendry, Norfolk Deborah Highton, London

Catherine Jones, Fife Justin Minns, Suffolk Lynda Morris, Surrey Howie Mudge, Gwynedd Suzanne Parsons, Devon Val Saxby, Dorset Barbara Sellars, East Dunbartonshire Lynda Simpson, Norfolk Paul Stone, Hampshire Mary Sutton, Herefordshire Brian Tabor, Kent William Tang, Hong Kong Christopher Tostevin-Hall, Guernsey Da Zhong Wang, China David Whitaker, Co Dublin Veronica Worrall, Suffolk DIRECT FELLOWSHIP 06/14 Simon Leach, Staffordshire Roy H Wagner Asc, California USA Charlie Waite, Dorset Faye Yerbury, West Lothian Trevor Edward Richard Yerbury, West Lothian LICENTIATE 07/14 Debra Andrews, Wiltshire David Ballantyne, West Midlands Philip Barnes, Cheshire Ken Bingham, Cambridgeshire Simon Bratt, Hampshire Robert Bridge, Somerset Martin Crook, Buckinghamshire Allan Croombs, Hampshire

Justin Minns LRPS

Marion Frances Eastland, Devon Ernest Eaton, Norfolk David Fells, Roxburghshire David Fletcher, Hampshire David Gleave, Cheshire Mavis Hardman, Durham Edward Anthony Hyde, Surrey Ania Jones, Wiltshire Yuk Lan Li, Hong Kong Deborah Loth, London Vivienne Mann, Lincolnshire David Marsh, Kent Nick Mitchell, Yorkshire Steve Mogg, Hampshire Michael Palmer, Sussex Michael Parmee, Warwickshire David Gordon Parnell, Dorset Manu Reghurajan, Dubai Sue Searle, Cornwall Roger Tong, Kent Jez Truelove, Bristol Andrew Christopher Ward, Hampshire CJ Ware, Devon Vicky Wharton, Hampshire John Wilcox, Cambridgeshire Haoyang Zhao, London

BECOME A CHAMPION FOOD PHOTOGRAPHER

Last year’s winner gives a taste of what it takes to succeed Entries are now being invited for the Pink Lady Food Photographer of the Year competition. This year’s judges include food writer Jay Rayner, and David Loftus, Jamie Oliver’s photographer of choice.

Last year’s winner was Tessa Bunney, who wowed the judges with her image of a noodle maker near Hanoi.

Food for thought: Tessa Bunney’s winning image from last year’s competition

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pinkladyfoodphotographer oftheyear.com

‘If you are genuinely interested in the subject you are photographing, and you are willing to wait, to spend time, that will be reflected in your images. I happened to be living in Vietnam at the time, but there are interesting and exciting food-related things happening on everyone’s street corner and in everyone’s home.’

SEPTEMBER 2014

COPYRIGHT CHANGES CAUSE CONCERN

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I WISH I’D TAKEN

RPS and BPC predict serious impact on photographers Changes to UK copyright law affecting photographers are ‘friendless, unnecessary and fraught with risk’, claims the British Photographic Council (BPC), which represents over 20,000 photographers via 14 member organisations, including The Royal Photographic Society. The BPC says some changes could have a serious impact on photographers, many of whom may not be aware of the proposals. The most important changes relate to copyright exceptions – the recognised exceptions to UK copyright law that allow use of copyright material for education and archiving purposes without breaching copyright. Society Director-General Michael Pritchard said the RPS ‘has been working with other organisations to mitigate the worst effects and will continue to do so’.

Read the full BPC statement at bit.ly/bpscopyright

WILL CHEUNG FRPS ON BILL BRANDT’S BLACK AND WHITE NUDES

GETTY; © BARRY LEWIS/IN PICTURES/CORBIS

WISE WORDS

The camera makes you forget you’re there.

It’s not like you are hiding but you forget, you are just looking so much ANNIE LEIBOVITZ HonFRPS

PROFILE WILL CHEUNG FRPS As well as being a Society Member, Will is the editor of Advanced Photographer magazine. williamcheung.co.uk

What’s it a picture of?

It’s from a series of nudes shot on the beach of Birling Gap, near Eastbourne in East Sussex.

The way Bill Brandt explored the nude form in a natural environment with a camera with limited features was simply inspirational, and he did so in his own inimitable style.

The camera was limited how, exactly?

We’re talking very limited.

Brandt used a 70-year-old wooden Kodak camera he bought from a second-hand shop. The camera had no shutter, and the lens had such a small aperture that it was almost a pinhole and was focused on infinity.

So how did these shots inspire you?

His vision, creativity and

contrasty, very graphic style certainly had a massive influence. Indeed, my own successful Fellowship panel, which I submitted back in 1983, comprised gritty, contrasty black and white images. I haven’t the audacity to say they were Brandt-like but the influence was undoubtedly there. I actually visited Birling Gap, just to see where Brandt had worked. It is a beautiful spot and I have been back many times since.

British photographer Bill Brandt

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Photography at its Best Prestel brings you a selection of iconic documentary photography from globally recognised names.

Taking Shots The Photography of William S. Burroughs Patricia Allmer , John Sears Hardcover ISBN: 978-3-7913-4879-7 £29.99 “Look and learn” The Literary Review

David Lynch The Factory Photographs Petra Giloy-Hirtz Hardcover ISBN: 978-3-7913-5333-3 £40 “Glimpse into a weird and wonderful mind.....photographic insight into the director’s creative vision…” Irish Tatler

The Art of Sports Photography Marc Aspland With contributions by Oliver Holt and Jonny Wilkinson Hardcover ISBN: 978-3-7913-8116-9 £29.99

Wild Life Brad Wilson With a foreword by Desmond Morris Hardcover with jacket ISBN: 978-3-7913-4892-6 £29.99

Viviane Sassen: Pikin Slee Viviane Sassen Hardcover ISBN: 978-3-7913-4953-4 £30 “arresting power of her images” The Observer

Herlinde Koelbl: Targets Herlinde Koelbl, Gerry Adams, Arkadi Babtschenko Hardcover with jacket ISBN: 978-3-7913-4974-9 £40 “… her images have a detached, formal power” The Guardian

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BOOK REVIEWS

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SET THE SCENE: USE PROPS TO CREATE MEMORABLE PORTRAIT PHOTOGRAPHY Tracy Dorr Amherst Media (£19.99) Tracy Dorr brings together 12 American photographers passionate about their trade.

Set the Scene shows professionals set on capturing their clients’ lifestyles using exciting techniques and props.

The book is full of lively, colourful images that show families and children at play together, along with the photographers explaining how and why they shoot as they do. The book is a superb guide to modern portraiture.

Anonymous: Charleston, Magnolia-on-the-Ashley, photochrom

ONCE UPON A TIME IN AMERICA

AN AMERICAN ODYSSEY Marc Walter and Sabine Arqué Taschen (£135)

THIS SUPERB PUBLICATION is weighty in both content and physicality. Titled An American Odyssey, the book goes beyond the bounds of the USA and includes images from parts of Canada, the West Indies and Cuba. Subtitled A Glimpse into an Epic Past, it provides just that for the years 1888 to 1924, the first great period of American expansion following the Civil War (1861-65).

My first response on seeing the cover was that this was a beautiful hand-tinted photo. I was wrong. The process used for all the vast number of coloured images is the photochrom process, or more correctly chromophotolithography – in which individual litho stones are created from a black and white glass negative, with each stone used to print a different colour or hue. A simple photochrom might involve five or six different colours; a more complex one, 15 or more.

Although we could argue at length about the accuracy of the colours, there is no doubt these images, many of which

were sold as postcards, brought to a huge audience the colours and vibrancy of America, particularly the south-west.

The volume also includes many beautiful and detailed black and white images made from ‘wet plate’ negatives.

For those of us who love driving the highways and byways of the USA, it is a timely and inspiring reminder of how much there is to see and photograph there. For the historian, there is a plethora of images of cities and their buildings, docks and major industrial sites and of people at work and play.

Allowing for changes in fashion and transport, the streets and buildings of Washington DC, Chicago, Boston and Cleveland look much the same today.

There are two superb photos of San Francisco. One, in colour, shows Union Square in all its new-built glory and the other, in black and white, shows the city after the 1906 earthquake. I also enjoyed the colour images of Native Americans – perhaps neither as evocative nor sentimental as Edward Curtis’s, but fascinating nonetheless.

This is a book to keep and treasure, and will give continued pleasure.

DR DONALD STEWART FRPS

STEWART WALL, EDITOR OF THE RPS CONTEMPORARY TIMES

INTERNATIONAL GARDEN PHOTOGRAPHER OF THE YEAR: COLLECTION SEVEN International Garden Photographer of the Year Kew Publishing (£18) In a stunning compilation of beautifully executed images, this year’s best garden photographers exhibit their skill, vision and creativity. The collection unites images and personal comments, allowing readers to discover the passion of the artists behind the camera. A showcase of how to capture the breathtaking elegance of the natural world.

TABITHA KETTLE

THE STREET PHOTOGRAPHER'S MANUAL David Gibson Thames and Hudson (£14.45) Gibson is clear that this is not a manual about technique but sets out to teach you how to recognise and ‘find’ your shot.

It is an honest approach that offers tools to help develop your own style, from mini projects to discussing the work of influential photographers.

Gibson also uses some of his own work to demonstrate effectively why pictures work.

CHERYL MEEK LRPS

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514 | SEPTEMBER 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

Mud volcanoes in the Buzău region, Romania

Jan Ros ARPS Visual Art

Advice that one should not see the scenery – but feel it – was the key to this successful submission For my ARPS Visual Arts Distinction I sent in a panel named Vulcanii Noroioşi, about the mud volcanoes of the Buzău region in Romania. There, gas pressure from a depth of more than 3,000 metres pushes cold clay mud and minerals upwards to colour the landscape.

In 2008, when I was at this location for the first time, I was struck by the absurd texture and clay formations in the landscape.

It was as if I had landed on the moon. When I returned home, I had a lot of pictures, but I was not satisfied because a personal vision was missing. I decided to return and to start a photographic journey.

After my unsuccessful ARPS submission in March 2012, a black and white series of mountain landscapes, I sought personal advice from Clive Haynes FRPS. In the spring of 2013, Clive advised me on how I could turn my series about the mud volcanoes into something more artistic.

On his advice, I travelled back to the region that autumn to take more photographs.

Clive explained to me that you should not see the scenery, but feel it. I had to show more of my emotions and my experiences 514 / THE RPS JOURNAL / SEPTEMBER 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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516 | DISTINCTIONS | JANARPSROSVISUAL ART

with this landscape. When I visited this location the last time it was raining frequently and that gave me a gloomy feeling, which I dramatised in my pictures.

I work with a Nikon D700+MB10 and the lenses that I use for my landscape photography usually are the Nikon 14-24mm 1/2.8 and the Nikon 24-70mm 1/2.8.

The Carbon tripod that I use is a Gitzo Mountaineer.

I shoot in RAW and use Photoshop CS5 for image processing. I also work a lot with NIK software.

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FACTFILE

Jan Ros began taking photos after meeting his wife Mary in 1965. He set up his first darkroom in 1968. A member of various groups including the Dutch Photo Association, he achieved his ARPS Distinction from The Royal Photographic Society in March.

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A gloomy feeling brought about by frequent rain was dramatised in the images taken

ASSESSOR’S VIEW

PETER PATERSON Chairman of the Visual Art panel

HANGING PLAN

‘The photographer has put a lot of thought into the layout of the panel’

This panel is a good example of the photographer showing a great affinity with the landscape, giving us a feeling of mood from the different lighting conditions. The quality of lighting in a few of the images is excellent, especially in the images depicting the wider scenes. The use of the wide-angle lens has helped to accentuate this.

The photographer has also put a lot of thought into the layout of the panel, balancing the top row with the two end images pointing into the centre, also balancing up the bottom row with the two dark images on the bottom. The middle row also works well, by putting the more abstract forms in the centre of the panel. It was also felt this panel was really well presented, with neat mounting of the prints, and the print quality came over very well, with a good choice of paper to compliment the images.

The statement of intent described the thoughts of the photographer and the images very well.

Overall this panel showed that the photographer had developed a personal style and had sought out an area of interest to the landscape photographer. He had made the most of the situation, getting good lighting and a choice of viewpoints.

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HIGHTON 518 | DISTINCTION | DEBORAH LRPS

MY GRANDPA The display of affection by the young woman, and the pride shown by her 90-year-old grandpa, were completely natural and unforced. Handheld, Nikon D600 Full-Frame DSLR with 28-300mm f/3.5-5.6 lens at 28mm.

GROYNE SYMMETRY Nikon D300 (DX sensor) DSLR with 18-70mm f/3.5-4.5 lens at 22mm.

I used a tripod and 10-stop Lee Filters ‘Big Stopper’ to force the long exposure (81 sec) and a graduated filter to reduce the brightness in the sky.

Deborah Highton

LRPS

The people and landscapes – the subjects themselves – are the inspiration behind this body of work

FACTFILE

Deborah is a management consultant with a large pharmaceutical company. In her spare time, she is a keen amateur photographer, following a holiday in Tuscany eight years ago that kindled her passion for photography.

I chose these images for the Licentiateship because they worked well together as a panel. They are some of my favourite images, and I remember enjoying taking them at the time.

I very much enjoy taking pictures of people, and aim to capture the essence of the person.

Where possible, I try to engage with my subjects so they are relaxed before I get the image I am looking for. I also enjoy experimenting

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with long exposures in landscape work, and try to find strong compositions in whatever I do.

The inspiration for the portraits came from the people themselves – whether the obvious display of affection by the young woman for her elderly grandfather, or the extraordinary retired Cuban sea captain.

In the landscapes the inspiration came either from the sheer scale of the scene

itself, as in the Icelandic waterfall, or the challenge of finding an image through isolating something of interest from the wider view, as in the stream with autumn leaves.

It took quite a few days over several weeks to get the portfolio together.

Selecting them was quite a challenge as I realised that each one of the final 10 had to be technically good, as well as working well together as a panel.

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HIGHTON 520 | DISTINCTION | DEBORAH LRPS

AFTERNOON LIGHT ON THE FALLS Lee 10-stop ‘Big Stopper’ ND filter (four seconds at f/11). Nikon D300 (DX sensor) DSLR, 12-24mm f/4 lens at 24mm, with tripod.

LOST IN THOUGHT Some toning of highlights and lightening of shadow in Lightroom 5. Handheld, Panasonic Lumix GF1 (Micro Four-Thirds) with 45-200mm f/4-5.6 at 135mm.

HANGING PLAN

‘It took quite a few days over several weeks to get the portfolio together … quite a challenge’

ASSESSOR’S VIEW

BOB GATES Chairman of the LRPS panel The overall impression given by this panel is that it has been very carefully planned and presented. Although there are five portraits, they are all quite different. The street scene of the woman and child has been captured well with a diffused and uncluttered background free from distractions. The panel members see many images of water, 520 / THE RPS JOURNAL / SEPTEMBER 2014 / VOL 154

but the four in this panel show different techniques. The close-up of the water over the rocks is well photographed and in this case has been handled well with a slow shutter speed. The reflection of the gondolas in the still water shows that Deborah is being creative and looking for more than just a snapshot or record.

The panel was presented in two rows of five and the pattern created by the various image shapes was very pleasing to the eye. All the prints were of a high quality and free from digital defects.

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LIKE THE HAT I was struck by the colour of the man’s hat and striking eyes. I don’t speak Spanish, so just smiled and gestured to take the photo. Handheld, Nikon D600 Full-Frame DSLR with 28-300mm f/3.5-5.6 lens.

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CATEGORIES !

REGULATIONS

FEATURE SPONSORED BY

Distinctions under review

Changes to the categories and regulations may affect you

Deputy Chair of the Distinctions Advisory Board Roy Robertson HonFRPS explains forthcoming changes to the 2015 Distinctions categories THE PACE OF CHANGE in photography continues to increase, while the medium attracts ever greater numbers of participants.

Photographic imagery is created and used in ways that were not possible a few years ago. It is essential that the Society responds to these changes, and maintains its relevance as an educational charity for those involved in photography.

The Distinctions are a core part of the Society’s activities.

Their requirements, and the standards at each level, must be clearly understood both within and beyond the membership. The recent updating of the Society’s website has been the catalyst to review all aspects of Distinctions and to introduce a number of changes.

Visual Art

The Visual Art category was formed at the turn of the century when the Pictorial Panel was split into the Visual Art and Contemporary categories. Since then, the digital revolution has transformed the world of photography. Despite this, the Distinctions requirements have remained unchanged, and a large percentage of Visual Art submissions now feature ‘created’ images – based on photography, but created in the computer, often from many photographic origins. The success of these submissions has made many members fear that images created without complex manipulation are not being considered favourably.

But a portfolio that meets the required standard will always

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be successful, and the Society does everything it can to support the particular photographic interests of each member, and to provide a consistency of standards across all categories. However, in recent years there has been an increase in the number of applications consisting of created imagery and a reduction in traditional visual art photography, underlying the perception that the latter cannot succeed in this category. To counter this and to encourage submissions from photographers who do not necessarily wish to enter the world of ‘created’ images, the Society has agreed to replace the Visual Art category with two others – Pictorial and Creative.

In the Pictorial category, the emphasis is on the use of the camera to create the image – images that are not fundamentally altered in postproduction processing or with in-camera manipulation.

The Creative category is intended to recognise digital creativity, either in-camera or through post-production processing. All imagery must be photographically based and all content must be produced by the applicant.

Contemporary

IMAGERY IS CREATED AND USED IN WAYS THAT WERE NOT POSSIBLE A FEW YEARS AGO

A second concern has been a broad lack of understanding of the requirements of the Contemporary category – the interpretations of ‘contemporary photography’ vary widely and are difficult to define. The requirements of the category are clear – “the category considers applications which explore, define, illustrate or evaluate issues through photographic images”. This also has been discussed widely within the membership; we see many portfolios which could be very appropriate for this category submitted in other categories

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CATEGORIES !

REGULATIONS

FEATURE SPONSORED BY

because applicants hesitate at the word ‘contemporary’.

As a result, the Society has agreed to adjust the name of the category to ‘Conceptual and Contemporary’. This is not conceptual as it is understood in the art world, but reflects the requirement for a concept, set down in the Statement of Intent, and illustrated through the photographic images.

This perhaps differentiates the Distinction from the Contemporary Group, but more accurately reflects the Distinctions requirements of the Society. Also in this category, the number of prints required for a Fellowship application is now set at 20, consistent with all other categories.

All Panels and their requirements have been reviewed, and a number of other amendments have been made: Licentiate no changes.

Applied changed earlier from Professional and Applied, in recognition that all professional work is “applied” for an end purpose. Astronomy and Palaeontology have also been moved from Natural History to this category.

Creative Production no changes.

In comparison with the Creative category, Creative Production will probably not use the applicant’s imagery, and is more related to the professional use of the image in publishing.

Multimedia introduced relatively recently, there are no changes.

Natural History other than the changes relating to Applied and a limit on the use of stacked images, there are no changes.

Travel other than a limit on the use of HDR images, there are no changes.

Science an emphasis has been placed on Imaging Science and on Scientific Imaging, where appropriate.

Research, Education and the Application of Photography no changes.

Qualifications no changes.

Exemptions have been updated in line with current educational practice.

Changes have also been made to the requirements for applications: Images used in a successful Licentiate or Associate application cannot be used subsequently in an application to the next level.

Applicants are required to show a progression in their work (something which has been required in recent years, but not defined). As an educational charity, the Society needs to show a clear elevation of standards at each level of the Distinction by an applicant, who will be required to manage their images appropriately if they plan future applications.

Applicants must provide hanging plans or a layout of the sequence of past successful applications.

Applicants who are unsuccessful may make only one resubmission based on the feedback they receive.

Should this be unsuccessful, any new submission must be a completely new set of images.

There are a number of other minor changes to the regulations, and applicants are advised to read the revised information that is available on the Society website.

MORE INFORMATION rps.org/distinctions/downloads

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ADVERTISING PROMOTION

A PERMAJET PAPER SANDWICH In the idyllic town of Berne, Imaprint AG gears up for the launch of PermaJet inkjet media throughout Switzerland. Imaprint’s managing director, Peter Brechbühl, talks to PermaJet’s marketing coordinator Joseph Reiner about what it takes to achieve the very best prints.

‘A truly unique exhibitionquality paper has to be PermaJet’s Titanium Lustre.’

Peter isn’t in the minority.

Photographers have been using faux metallic papers from various manufacturers for a couple of years.

However, those papers don’t create the same impression that the true silver base creates in Titanium Lustre.

The incredible clarity and high resolution that can be achieved using this paper have seen top names across Europe dedicate whole exhibitions on this media.

Images with ambient lighting, reflections or high contrast lend themselves well to Titanium Lustre.

It is however, the ‘Marmite’ in the delicious sandwich of PermaJet inkjet papers. It is vitally important to try any creative or artist quality/baryta paper first to make sure the surface works with the subject and that it suits your style.

The new Digital Photo Test Pack, which includes three sheets of the Titanium Lustre and all other papers

in the digital photo range, makes it the best time to try before committing to an entire box. At just £11.95 from the PermaJet website, it is the perfect way to find your perfect paper.

The new Fibre Base/ Baryta Test Pack offers photographers the traditional quality papers from the PermaJet group.

‘One of the most special papers from the PermaJet range,’ continues Peter, ‘is the Fibre Base Matt 285gsm paper. We have never seen a paper of similar quality before.’

Alternatively, if you’re after ‘a really striking traditional Baryta paper with a warm tone’ then take a look at the FB Gloss Warmtone, which lends itself particularly well to portraiture.

If you would like to try any of the items mentioned in this article, please join us on our website. www.permajet.com Twitter: @PermaJet info@permajet.com

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 565 to find dates for advisory days, where you can gain expert advice on your portfolio

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P HORST RETROSPECTIVE 526 | MASTERWORKS | HORST

AS THE VICTORIA ! ALBERT MUSEUM UNVEILS ITS HORST P HORST RETROSPECTIVE, LUCY DAVIES SPEAKS TO SOME OF THE KEY PHOTOGRAPHERS WHO HAVE DRAWN INSPIRATION FROM THE GREAT FASHION ICON

ALWAYS 526 / THE RPS JOURNAL / SEPTEMBER 2014 / VOL 154

Horst directing a fashion shoot with Lisa Fonssagrives, 1949

IN

PHOTO BY ROY STEVENS, TIME &LIFE PICTURES, GETTY

VOGUE

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‘Horst, you’re going to Germany’ declared Diana Vreeland, when she was editing American Vogue during the sixties. ‘And what should I bring back?’ replied the famously well-tailored photographer, who had been in the employ of the magazine for more than three decades by then. ‘Splendour!’ she is said to have cried, knowing he would do just that and more.

It isn’t possible to have a meaningful discussion about fashion photography without referring to Horst P Horst. Born in 1906 to a middle-class German family, he found his metier after moving to Paris in the 1930s and building a portfolio of work for first French and

THE APPLICATION OF IMAGING WILL ONLY EXPAND AND WILL NEED ACTIVE, IMAGINATIVE AND INNOVATIVE COLLABORATION NICK KNIGHT ON HORST

‘You can’t study or practise fashion photography without being aware of Horst,’ says British photographer Nick Knight, who has been making his mark on the medium since the late ‘80s.

‘In those early years of fashion magazines, photographers like Horst were really encouraged to be experimental and to push the boundaries of image making – that idea really appeals to me. It doesn’t happen so much these days.’

and ready caprice of the ’60s and then the gritty realism of the Noughties. And yet even now, almost a century after he began making photographs, his influence lives on.

Tim Walker HonFRPS openly paid homage to the great master when in 2008 he recast one of Horst’s Vogue shoots for the Italian edition of the same magazine. And there was more than a passing resemblance between Robert Mapplethorpe’s stylised nudes and Horst’s shadowy Adonises.

‘Horst wasn’t the most technical of photographers’ says Shawn Waldron, director of the Condé Nast archive, ‘but his compositions were spot on. The accents he used in his photographs, particularly the strong, noir-ish lighting but also those pronounced gestures and sinuous lines were eminently transferrable for later generations.’

He enjoyed a small revival in the 1980s with fashion houses like Calvin Klein and Bill Blass, and pop stars like Duran Duran and Madonna using his work. ‘It was a bit of a novelty’ says Waldron, ‘a bit Horst-lite, but whatever the modern trends are it’s clear his work is time-tested. It’s never overwrought, just very subdued and classic. It’s always modern.’

But Horst’s theatrical approach, where the lighting is incredibly well controlled, and gesture incredibly well studied, ‘fell out of favour when people like [Richard] Avedon and [Irving] Penn, and later Bert Stern and [David] Bailey, came on the scene’, Knight says. ‘You sense that Horst’s sittings were probably quite slow as opposed to the wild, freewheeling style that came in the ‘60s.

‘However, that register he worked in, the refinement of gesture, the turn of the wrist, the elongated finger, those incredible, beautiful necks, you can still see that today if you look.’

For Knight, the Mainbocher corset is the zenith of Horst’s oeuvre. It was part of the inspiration of his 2007 Boned shoot, which showcased men’s underwear for AnOther Man magazine. His statement for the project says he took the highly structured set-up of the Mainbocher image and ‘twisted the aesthetic’ in order to ‘examine and then challenge the traditional view of both male underwear and its photographic representation’.

‘The Mainbocher corset is such an elegy to beauty’, Knight says. ‘I believe fashion photography is an art, and the proof is in that corset. It’s all there.’

The iconic image of a corset by Detolle for Mainbocher, taken by Horst (1939), and a modern image from Nick Knight, right 528 / THE RPS JOURNAL / SEPTEMBER 2014 / VOL 154

© CONDÉ NAST/HORST ESTATE; NICK KNIGHT/TRUNK ARCHIVE

‘HORST

then American Vogue, having transferred his studio to Manhattan when war broke out in Europe.

He died 15 years ago aged 93, having photographed so many leading labels and ladies, so many stars of stage and screen that he became a giant among them. High society, fashion, nudes, still lifes and interiors, the lustrous, tonally rich images that fell from his camera defined magazine journalism for several generations. When Richard Avedon saw Horst’s pictures of Cy Twombly in a 1966 edition of Vogue, he wrote: ‘I really think your last spread in the November 15th issue is the most charming, rollicking, contemporary, happy and beautiful I have seen all year. I have tacked it up on my bulletin board at home so as not ever to have it out of my sight.’

Since then, the world that Horst dominated has changed beyond recognition; his constructed, theatrical elegance replaced by first the rough

SCIENCE PHOTOWALK

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CATHLEEN NAUNDORF ON HORST Cathleen Naundorf met Horst in the late 1980s. Discovering they were both from Weissenfels, a tiny town in East Germany, she looked him up in the New York City phone book and asked if he would see her. ‘He was very touched,’ says Naundorf, who took a jar of Weissenfels soil to their meeting, and presented him with it alongside her work.

Her first impressions were of a very sophisticated, educated man. ‘He had a lot of humour, class and charm,’ she recalls. When she showed him her photographs, reportage-style images of tribes in Amazonia and Mongols in the Altai Mountains, he surprised her by suggesting she change direction.

‘I didn’t see it at all,’ says Naundorf.

‘I wasn’t interested in fashion. But what he did was more than shooting dresses, it was art.’

From then on, the two spoke on the telephone almost daily. ‘I was constantly asking him, how did you set up the light here?

From which side?

Which lamps? When I saw him I would come armed with magazines containing his pictures with my notes and drawings all over them. He must have thought I

Naundorf’s homage to Horst, above, using the same chaise longue in which he photographed Coco Chanel, below

was obsessed. But for me … what an adventure.’

Naundorf’s Haute Couture: Un Rêve de Mode, the series she has been working on since 2005, reveals just how much she learned from her mentor.

Dramatic lighting, hand gestures, silhouettes, shadow, and theatrical props

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are all present. In one image she poses a dark-haired model in the same chaise longue in Coco Chanel’s apartment that Horst had used for his own portrait of Chanel in 1937.

‘The best advice he gave me? Work,’ adds Naundorf.

‘Always make the work better and better.’

I WASN’T INTERESTED IN FASHION. BUT WHAT HE DID WAS MORE THAN SHOOTING DRESSES, IT WAS ART

HORST P HORST RETROSPECTIVE

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An image by Anderson and Low, above, references the aesthetics of Horst’s Male Nude, 1952, below

ANDERSON ! LOW

‘HOMAGE TO HORST P. HORST’ ' CHANEL, HAUTE COUTURE, SUMMER 2006 ' NO. 58, COCO CHANEL’S APARTMENT, RUE CAMBON, PARIS, GELATIN SILVER PRINT * 27.05.2008, MODEL: LAURA BUTTERFILED / SUCCESS; HORST P. HORST, COCO CHANEL, 1937 UNTITLED .JOSH #1/ © ANDERSON AND LOW; © CONDÉ NAST/HORST ESTATE

ON HORST

Jonathan Anderson and Edwin Low met sharing studio space in 1990. Since then, they have specialised in what is best described as sculptural portraiture, in which athletes, dancers and gymnasts are pictured via the precise use of light and attention to line and form.

‘We’ve always been admirers of Horst,’ says Anderson. ‘He has the most extraordinary and elegant compositional sense.

That sensuality in his work, that magical world he managed to

create – those are the things that really draw us to him and why we regard him as such a master.’

Like Horst, the pair use high-key chiaroscuro to create drama. The light force comes from outside the frame, lending an otherworldliness which exalts the performance in the same way Horst spotlit a piece of appliqué or the curve of model Lisa Fonssagrives’ spine.

In both, the supple bodies of the subjects are frozen by the camera.

We may feel their physical reality with a special intensity.

Similarly to Horst, Anderson and Low say they ‘deliberately evoke classical images’. For Horst and his mentor, seminal fashion

photographer Baron George Hoyningen-Huene, ancient Greece was the epitome of elegance and refinement, and both used it liberally in their photographs, whether through obvious means such as columns and drapery, or through their appreciation of the male body.

‘It’s unusual in the history of photography,’ says Anderson, ‘to find someone whose crossover between fashion and classicism was so complete and so successful, so beyond pastiche.’

HORST: PHOTOGRAPHER OF STYLE runs from 6 September – 4 January 2015 at the V&A. Travel partner American Airlines; with thanks to Bicester Village, London, and Kildare Village, Dublin; supported by the American Friends of the V&A. For details see vam.ac.uk/horst

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IMAGERY 532 | SPECIALISM | MEDICAL

Clinical precision Images in medicine: clinical photography plays a huge role in medicine and its teaching, explains Dr Afzal Ansary ASIS FRPS

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© DR M A ANSARY

TODAY, VISUAL DOCUMENTATION of patients is integral to healthcare in the UK. But even these days many patients ask why they’re being photographed. There is a lack of understanding, it seems, among some patients as well as the public at large, of the role of clinical photography in healthcare.

Application of photography to medicine is almost as old as photography itself. Soon after photography was invented, French neurologist Duchenne de Boulogne documented facial expressions triggered by electric stimulation to study “physiology of emotion”.

Duchenne was convinced that the “truth” of his pathognomonic experiments could only be effectively rendered by photography, the subject’s expressions being too fleeting to be drawn AUTHOR PROFILE or painted. ‘Only DR AFZAL photography,’ he wrote, ‘as ANSARY ASIS FRPS Accredited senior truthful as a mirror, could imaging scientist Dr attain such desirable Ansary has more than perfection.’ (Wikipedia) 50 years’ experience In the early days and has been awarded five Fellowships. Chair of patients were the Medical Group, he is photographed either by a member of the Science the high-street portrait Committee and Imaging photographer or the Scientist Qualification doctor treating the patient, Board, and co-ordinated the 2011 and 2013 but these days most large International Images for university teaching and Science Exhibitions. He NHS Trust hospitals have was awarded the Fenton a department of medical Medal and Honorary Life Membership of The illustration, providing Society last year. services including clinical photography.

The types of skills required to take these photographs have also moved on.

Besides being a technically competent photographer, clinical photographers are required to have a basic knowledge of radiological orientation, human anatomy and physiology, pathology, surgical procedures and medical terminology. They need to have an understanding of the sort of work done in specialist areas of medicine, surgery and pathology – from ophthalmology and paediatrics, to neurosurgery and immunology – as well as of the terminology clinicians use. The wide range of diseases and conditions a clinical photographer may come across requires an arsenal of techniques, some specialised – for example, the use of a ring flash, retractors and dental mirrors Brain haemorrhage, post-mortem in intra-oral photography.

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IMAGERY 534 | SPECIALISM | MEDICAL

Despite the technicalities, however, the clinical photographer’s most useful tool is the ability to put patients at ease, ensuring they are calm, comfortable and cognisant of the consent needed to have their photographs taken.

When asked by the patient as to why he/she is being photographed, the clinical photographer should be able to explain this in simple language without discussing the patient’s diagnosis, prognosis, aetiology or management of treatment. The important consideration in clinical photography is the patient and the paramount purpose of any hospital is to provide care and treatment.

Although the in-hospital studio, with its consistent lighting and background material, is the preferred location for clinical photography, there will be many cases when the photographer is required to work elsewhere – in wards, clinics, the intensive care unit (ICU), mortuary, isolation wards, laboratories and outpatient department. This range of locations demands a good understanding of the Health and Safety at Work Act, and of regulations regarding handling of infectious material, culture plates and specimens.

Infection prevention and control is a very serious issue in all hospitals and so is the Control of Substances Hazardous to Health (COSHH). All members of staff, including clinical photographers, are given training on these issues. To work in an operating theatre requires strict protocol rules to be observed as it is a sterile area and any contamination can cause harm.

Again, strict rules apply when working in the autopsy room during postmortems being performed by the pathologist or forensic pathologist.

In many cases, the photographer 534 / THE RPS JOURNAL / SEPTEMBER 2014 / VOL 154

Kaposi’s sarcoma in a patient with Aids before treatment, above left, and the same patient after treatment with cyto-toxic drugs, above right

THE APPLICATION OF IMAGING WILL ONLY EXPAND AND WILL NEED ACTIVE, IMAGINATIVE AND INNOVATIVE COLLABORATION might need to take images several times at various intervals – the essence of his or her work being the accurate and repeatable pictorial documentation of patients, throughout various stages in the history of their disease. The object, in most cases, is to assist the clinicians in assessing progression or regression in the condition of the patient, so accurate anatomical standardisation is important. The resulting images will often go further than the clinic itself, providing material for teaching, research and publications. Clinical photographs may also be used for medico-legal purposes and produced in a law court as evidence. Therefore,

Facial expression of terror being induced by electric currents, taken by neurologist Duchenne de Boulogne

these have to be both authentic and accurate in scale.

In research terms, the application of imaging in medical research is vast and varied – for clinical research photography, visible and invisible sections of the electromagnetic spectrum can be used to record what can and cannot be seen by the human eye. Many different techniques are used including, for example, high-speed video recordings to analyse the biomechanics of the human body in sports medicine, and time-lapse video recording to study the growth of bacteria in microbiology. In the mid-sixties, for example, Dr Peter Cardew of St Mary’s Hospital Medical School in London devised equipment that was attached to a 16mm cinecamera to carry out direct and indirect cine-laryngoscopy for the examination of the larynx (vocal cords) in patients with myxoedema.

As innovative imaging techniques in medicine are being developed, the old ones are finding new applications. For example, the Daily Telegraph reported last year on how Professor Simon Fishel, one of the world’s leading fertility specialists, used time-lapse imaging to help predict which embryo had the greatest chance of a successful birth. There are a number of applications of photography in medicine such as micro and macrophotography, ultraviolet (UV) and infrared (IR) photography, time lapse and high speed, fluorescein angiography and ocular coherence tomography (OCT), retinal photography, and dermatoscopic imaging. These provide visual data for research and patient care.

Future health professionals, too, benefit from the images taken by

CLOCKWISE FROM LEFT: WELLCOME LIBRARY, LONDON; © DR M A ANSARY X 4

Above left: a baby with a cleft, or hare, lip – a birth defect – which has been corrected by surgery, above right

SCIENCE PHOTOWALK

| EXPERIENCE | 535

LEARN MORE ABOUT IMAGES IN MEDICINE Symposium to unite producers and users of clinical photography ‘Images in Medicine: A Symposium for Producers and Users’ brings together, for the first time, the people producing medical images with those who use them in clinical practice.

Discussions will take place across four areas in which medical photography is intimately connected with clinical medicine: dermatology, ophthalmology, oral & maxillofacial surgery, and medical education.

This is a unique opportunity for anyone working in or with Clockwise: woman with distended abdomen due to an ovarian cyst; metastatic deposit on the iris; shingles rash; Lyell’s syndrome

medical imaging to share ideas and knowledge, to discuss methodology and best practice and to explore their common ground in some key areas in which medical photography is used today.

This symposium is a collaboration between the Medical Group of The Royal Photographic Society and the University of Westminster.

DETAILS University of Westminster, Regent Street, London Saturday 18 October, 9:30 to 16:30 Cost: £35 (incl. tea/coffee).

RPS/IMI Members £30 bit.ly/ClinicalPhotography

CLOCKWISE FROM TOP LEFT: © DR M A ANSARY; COURTESY SIMON DOVE, DEPARTMENT OF MEDICAL ILLUSTRATION, NORFOLK & NORWICH UNIVERSITY NHS FOUNDATION TRUST; BOB TAPPER, ROYAL LONDON HOSPITAL; © DR M A ANSARY X 2

Symposium supported by:

clinical photographers. Clinical photographic databases are a crucial resource for the teaching medicine at undergraduate, postgraduate and continuing medical education (CME).

Visual aids are used to support medical teaching, and a teacher may, for example, include medical art, graphics, still images and motion media in developing their teaching materials.

A surgical procedure such as kidney removal (nephrectomy) may be best illustrated in video format. At senior level, a clinical photographer may also play a role in the design, development and evaluation of the material to ensure it meets its objectives.

Medicine is a very visual subject and will always need images and imaging.

Pick up any medical journal and you will be hard pushed to find articles without images. 3D imaging is already finding innovative use in planning of surgical procedures. Virtual reality (VR) is using images to find more and better applications in medicine, including the teaching of keyhole surgery. With the availability of digital imaging tools and techniques the taking of pictures has become much easier and instantly viewable. Often doctors may take photographs themselves using the special equipment – a gastroenterologist, for example, would take pictures during an endoscopic examination, using a camera that allows sight inside the stomach.

Similarly, a pathologist may take

pictures through a microscope during the examination of normal and abnormal cells, and other material.

As time goes on, the application of imaging will only expand and it will need active, innovative and imaginative collaboration with the clinicians, clinical scientists and educators to take it forward. Therefore, it seems that highly qualified and experienced clinical photographers will have a place in medicine in the future.

However, they will need to expand their skills beyond taking clinical pictures and harness media such as information technology and digital communication to provide for the demand of the client and the challenges of medicine and its teaching.

VOL 154 / SEPTEMBER 2014 / THE RPS JOURNAL / 535

536 |

REGIONAL ORGANISERS SHOWCASE For the first time, an exhibition of work by The Society’s UK Regional Organisers is being held at Fenton House. More likely to arrange other Members’ events in their region, it is rare that the Organisers themselves get the chance to show their work.

This diverse range of photographs, from the very delicate to the bold and imaginative, shows the amazing and varied talents and interests of our volunteer Regional Organisers, meticulously produced to a very high standard. It’s the perfect way to celebrate the work of those who do so much to promote The Society throughout the United Kingdom.

Robert Gates ARPS Chair, Exhibitions Committee

HOUSEBOUND Mark Buckley-Sharp ARPS, Thames Valley Every year I go to Notting Hill Carnival where it is surprisingly difficult to get images that fully capture the exuberant mood without becoming overcomplicated.

In an instant, I saw this simple image being created.

Two spectators walk past a security hoarding behind which, apparently imprisoned, stands a lonely onlooker.

CALCUTTA DOG James Frost FRPS, Scotland The picture was taken in Kolkata this June. I used a Canon 1D X with a 70-200 lens at 200. The lighting is ambient and post-processing was minimal work in Adobe Lightroom.

It shows my current work on street photography in this part of the world – India and Myanmar being of particular interest to me.

BLACK$BACKED JACKAL Terry McGhie ARPS, South-East In the Kruger National Park as dusk approached, this black-backed jackal was running along the side of a dirt road. The lighting was very low, so I had to select 1/20s at f/4.5 and ISO 1,000. The camera was a Nikon D100 with an 18-70mm Nikkor lens set at 70mm, supported on a bean bag.

VOL 154 / SEPTEMBER 2014 / THE RPS JOURNAL / 537

ORGANISERS 538 | SHOWCASE | REGIONAL

OLD WOMAN & CAMBODIA Jane Black ARPS, Northern We had driven into the countryside from Siem Reap, stopping for a snack lunch at the side of the track.

The old lady silently appeared clutching her long pole and

LAIG BAY STORM CLOUDS Mike Sharples ARPS, Central It was taken at Laig Bay on the Island of Eigg in March 2013.

I normally try to get to Scotland once a year, either early or late in the year so as to avoid the midges, and to get the spring

or autumn light – taking landscapes is a great passion of mine. I use a Nikon D3 lens 17-35mm f/2.8 with Lee greygraduated filters.

538 / THE RPS JOURNAL / SEPTEMBER 2014 / VOL 154

ICELANDIC HORSE Ian Wilson ARPS, East Anglia This picture was taken in Alftartunga, a small settlement not far from Borgarnes in West Iceland. Several horses were in a field close to where I’d stopped to look at some birds, and one

in particular took a keen interest in what I was doing.

It was straight after a heavy rainstorm, so I deliberately photographed the horse against a featureless sky, knowing I wanted to create a high-key effect in post-processing.

crouched down to watch us.

She refused any food, stayed for a time then silently disappeared into the fields. An unexpectedly easy shot with a suitable background. It will always be one of my favourites.

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REGIONAL ORGANISERS

VENETIAN IMPRESSION Don Langford LRPS, North Wales This was taken in a canal basin where gondolas collect passengers. The blue area was originally water but I rotated the image so it became the sky, as I wanted the gondola silhouettes the right way up. It was taken using a Canon DSLR, presented without manipulation.

| SHOWCASE | 541

DAWN Del Barrett ARPS, London This is a shot from my Night’s Watch series. I captured this as I thought it was a different take on a much-photographed subject, the London skyline. I used a Leica M9 then digitally ‘cross-processed’ it, as I am a big fan of Polaroid. A fantastic night, really mild, and I met some great photographers.

VOL 154 / SEPTEMBER 2014 / THE RPS JOURNAL / 541

ALLAN HonFRPS 542 | BEST SHOTS | DOUG

Master of marine

Doug Allan HonFRPS has become a household name for filming wildlife around the world, but we want to get the lowdown on his underwater stills work. Clare Harris meets him

DOUG ALLAN HonFRPS

GUILLEMOTS ‘This was taken in the Canadian Arctic in June 1994, at the north end of Baffin Island. These little guys can go down to a depth of 100m. I

followed them down to 30m and I was struggling; they were diving down much faster than I could.

About 10 seconds after I took this shot, a walrus grabbed

| BEST SHOTS | 543

me. The guillemots had disappeared and I was just treading water, looking round for another group.

This walrus came up from the depths and grabbed me round

the thighs. I struck out Instinctively with the camera, hit him on the head and he let go.’

Nikonos 5, 20mm Nikkor lens, available light

VOL 154 / SEPTEMBER 2014 / THE RPS JOURNAL / 543

ALLAN 544 | BEST SHOTS | DOUG

CRABEATER SEALS AND DIVER ‘This was an amazing encounter during our 1980 winter at Signy Island. We had this wonderful situation where we could drive out across solid ice and just dive off the edge into the water.

Crabeater seals are wonderfully gregarious. They hang around in these

big groups; you’d go in almost anywhere and they would cluster around you.

The tricky thing with this shot was getting all the elements together. Those two seals were only in that position for a fraction of a second.’

Nikon F2, 24mm Nikkor lens in Oceanic hosing, Subsea 150 flash

544 / THE RPS JOURNAL / SEPTEMBER 2014 / VOL 154

DOUG ALLAN HonFRPS

W

HEN I SPEAK TO Doug Allan HonFRPS, he is taking a break after an intensive book tour around the UK. A scientist by degree, Allan’s work as a nature cameraman over the last 30 years has seen him become a household name, filming for such iconic documentaries as The Blue Planet. More recently, he has also been appearing in front of the camera.

But we’re here to talk about his underwater stills photography, a genre of which he is just as proud. It was the diving bug that first grabbed Allan – he picked up a snorkel as a boy while on family holidays in Spain. The adventure of seeing underwater, coupled with the thrill of books such as Jacques Cousteau’s The Silent World, sparked a lifelong fascination. ‘It was the 1960s, and there really was a feeling of going somewhere new and exciting,’ he says.

‘With submarines that could go truly into the depths, we were really seeing the undersea world for the first time. That fired my imagination.’

Inspired, he went on to study biology and ended up diving his way around the world. The Antarctic, where he worked as a researcher for the British Antarctic Survey, was where photography really took hold. Allan processed

SCIENTIFIC DIVER IN INDONESIA ABOVE

‘There’s a technique I like to use which is to drop down below my subjects, throwing the surface of the water into the picture, because that is often where you get a lot of your texture back. You can see the surface and the waves, and

you can sometimes include the bubbles that have been created by the other divers. There is also a nice touch of throw light on the subject’s forearm, which pulls him out from the background.’

Canon EOS 1Ds, 17-40mm Canon lens, in a Seacam housing with Seacam flash

| BEST SHOTS | 545

ANEMONE BELOW

‘This was shot in 1976 on Signy Island in the South Orkney Islands, Antarctica.

I remember holding the single flash well off to the side, as the subject was semi-transparent – I wanted subtlety.

I like this image because it’s simple and pin-sharp. The

best place to find rich underwater sites in the Antarctic is underneath the overhangs, because everywhere else is affected by ice – big bergs scour off the marine life on the seabed.’

Nikonos 2, 35mm Nikkor lens with extension tubes, Nikonos flash, Ektachrome 64

VOL 154 / SEPTEMBER 2014 / THE RPS JOURNAL / 545

ALLAN HonFRPS 546 | BEST SHOTS | DOUG Doug takes a rest after an extensive book tour

his Ektachromes in the base darkroom, and contributed to the weekly slideshows. ‘I went down initially with a very modest camera, a Nikonos, which was effectively a little amphibious rangefinder camera made by Nikon,’ he remembers. ‘Then I graduated to a couple of Nikon F2s.’

While the seawater was never colder than -2°C, extreme temperatures topside meant it was sometimes necessary to ‘winterise’ the equipment, replacing normal grease with a thinner compound to stop lenses seizing up.

There are fewer such problems these days, Allan explains, as digital lenses have lighter-built mechanical components. He still prefers to head out with minimal kit, most of the time with a 17–40mm lens, and keeps his subjects close.

With the book tour finished, Allan hopes to start filming on a newly commissioned BBC ocean series. But he says stills will always be part of what he does. ‘They have a longevity, and a value, that is different from movies. And variety is the spice of life.’

546 / THE RPS JOURNAL / SEPTEMBER 2014 / VOL 154

WHAT’S IN MY BAG Canon EOS 1Ds with a 17-40mm Canon lens, in a Seacam housing and Seacam electronic flash

Doug Allan’s book, Freeze Frame: A Wildlife Cameraman’s Adventures on Ice, is published by Tartan Dragon. See more at dougallan.com

CAPELIN ‘When you are photographing fish, one of the secrets is to move slowly and breathe rhythmically, because fish can hear you way before they see you. This was shot in Newfoundland in 1997, when I was making a film called People of the Sea, all about the collapse of the cod fishing industry. It had been a pretty overcast day, then the sun came out and gave me this lovely light.’

Nikonos 5, 20mm Nikkor lens, Nikonos flash

PORTRAIT: MALCOLM COCHRANE

WE WERE REALLY SEEING THE UNDERSEA WORLD FOR THE FIRST TIME. THAT FIRED MY IMAGINATION

DAVE ALLAN

| BEST SHOTS | 547 BELUGAS ‘This was taken in the Canadian Arctic on the same shoot as the guillemots. I was lying at the surface snorkelling and these belugas came up directly underneath me to take a look.

They were quite shy initially, but when they’re underneath you they roll on to their backs so they can better see what’s above them.’

Nikonos 5, 20mm Nikkor lens, available light, Ektachrome 200

VOL 154 / SEPTEMBER 2014 / THE RPS JOURNAL / 547

SHEVELEV FRPS 548 | EXPERIENCE | RAPHAEL

‘Photography saved my life’ These black and white images show more than technique; they’re the testament of a man recovering from life-threatening illness. Clare Harris finds out more

548 / THE RPS JOURNAL / SEPTEMBER 2014 / VOL 154

RAPHAEL SHEVELEV FRPS

| EXPERIENCE | 549

Clockwise, from far left: Helping Hand, Sunset on the Bedroom Door, My First Job, Temporary Companion, Awaiting Employment, and Imagining My Mother’s Home

PHOTOGRAPHY CAN BE MANY things: a discovery, an enthusiasm, a vocation – but a lifesaver? This is what the art of taking pictures became for Raphael Shevelev FRPS, whose recovery from a critical operation has been documented in careful monochrome.

Shevelev, 75, is a digital artist and a writer as well as a proficient photographer. In 2010, he suffered chest pains and was taken into hospital to have an angioplasty (an operation to widen the arteries). During the complex heart surgery, he suffered complications, including infection, and was floored. Close to death, he admits

now, he eventually was allowed home and began the slow process of rebuilding what had been an adventurous life.

Recovery took the best part of a year and, says Shevelev, it would not have been possible without picking up a camera and taking photographs. The result, which became a book (Light and Recovery), is a series of images – quiet, spare, and very personal – taken in and around his home as he convalesced.

They show the play of light on a world that had closed around him.

‘When I came home from hospital I was so disabled, so in pain and so involved with being ill and depressed

and frightened,’ Shevelev says on the telephone from his home in California.

‘It wasn’t until days had gone by and I lay there staring at the bedroom ceiling that I thought “Oh look, there’s light and shadow and that looks like something I can capture”. When I transferred my feelings from being a patient to being an artist, that’s when it began to change.

‘I would spot something and just watch how the light changed it.

The changes were marvellous and they occupied my attention when I really needed it.’

Knowing the story, each of Shevelev’s images takes on an extra poignancy.

VOL 154 / SEPTEMBER 2014 / THE RPS JOURNAL / 549

SHEVELEV FRPS 550 | EXPERIENCE | RAPHAEL

Clockwise, from top left: Shevelev’s images titled Listening Chair, Liberation and Bedtime Reading Opposite: Scar

I’LL WALK BY A LITTLE PIECE OF SHADE ON THE WALL JUST A FEW INCHES SQUARE AND I THINK IT’S BEAUTIFUL LIKE A PIECE OF MOZART 550 / THE RPS JOURNAL / SEPTEMBER 2014 / VOL 154

But they’re an exercise in discipline too.

A former teacher of photography, Shevelev says he used to instruct his students to lock themselves in the bathroom and come back with a set of images. Or he’d place a tennis ball on the table and leave the room for an hour. It gave results, he says. The photos in his Light and Recovery portfolio forced him to return to his own words. Each was a product of hours or days of careful observation prior to the shutter being clicked.

What he concentrated on with his series was how daylight altered ordinary, household objects and empty corners. Shevelev calls himself an observer of light: ‘I notice things that other people walk right past and don’t see, and I think that’s true for a lot of photographers,’ he says. ‘For example, I’ll walk by a little piece of shade on the wall just a few inches square and I think it’s beautiful like a piece of Mozart or a sonnet from Shakespeare – and I grab my camera and do things other people would find extremely strange … like a picture of my rumpled bedsheets, for example, that I took this morning.’

Bed coverings feature in his portfolio, too, along with carefully prepared meals and glimpses of his everattentive wife – shorthand, perhaps, for the sense of confinement he felt while slowly, excruciatingly, overcoming his illness.

Eventually, in 2011, Shevelev began to see an end to his ordeal, as he was able to leave his bedroom, start up his

computer again and begin to work on the photos he loved. A couple of the shots in the series show this – and, finally, there is one which catches you.

It’s a view of a pavement, nothing special, but seen through the lens of Shevelev’s recovery it is a departure: the first day he ventured outdoors and the contemplative light of his own four walls gave way to bright, jubilant sunshine.

Now fully recovered, Shevelev continues to work on photographic imagery, and to enjoy the company of a growing extended family. His series is so intimate – does he ever feel uncomfortable knowing it has been shared with the whole world? Not at all, he says. He returned to the hospital after his illness to show the images to staff and patients (some of whom he had met during his stay). ‘I came across patients who were suffering a lot and I wanted to reassure them, and to say that you can use creativity to overcome some of the feelings of desperation and depression which are very common when people get ill in this way.

‘This portfolio was a way of overcoming that desperation, of not feeling like a victim. I had things to talk about and to think about, things that were life giving rather than the pain and the awful drugs. It gave me a new view on what life was really about.’

MORE INFORMATION See the full Light and Recovery series at raphaelshevelev.com

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THE MUST TRY

CRAFT SEPTEMBER 2014

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

Canon PowerShot G1 X Mark II

Canon’s pro compact fields a 1.5-inch sensor, max f/2 lens and a bold design, writes Gavin Stoker Photography’s ‘big two’ are both claiming a historical ‘best ever’ performance for their latest cameras: we heard the claim last month for Nikon’s D810 and now Canon says the same of the G1 X Mark II compact.

And it’s not just hype: it has a larger-than-average 1.5-inch CMOS sensor, and a 5x optical zoom lens that fields an f/2 maximum aperture, running up to a respectable f/3.9 at extreme telephoto setting. Focal

range stretches from an ultrawide 24-120mm in 35mm film terms which, while not huge, is useful nonetheless. ISO capability stretches to 12,800.

All this means the G1 X Mark II is capable of delivering images with plenty of beautiful bokeh.

The actual pictures measure 12.8 megapixels in size, which seems rather modest given the size of the sensor. Stills are presented in 3:2 aspect ratio at the factory setting.

PRICE: £749.99 SENSOR: 12.8 megapixels, 1.5-inch CMOS LENS: 24-120mm in 35mm terms (5x optical zoom) SCREEN: 3-inch, tilting, capacitive touchscreen LCD WEIGHT: 558g with memory card and battery MORE: canon.co.uk IN BRIEF: Chunky and workhorse like, now with a bigger chip and fasteraperture lens, the G1 X Mark II sets a new benchmark for ‘pro’ compacts

This is a solid-feeling camera, helping in part to justify its suggested price tag just shy of £750 – although it can be found for less online – which would otherwise buy you a decent mid-range DSLR or a top-end compact-system camera.

In truth, this will likely be a second, back-up camera for when you don’t want the fuss of carrying or changing lenses, but still want images that resemble those from a capable DSLR.

VOL 154 / SEPTEMBER 2014 / THE RPS JOURNAL / 553

554 | THE CRAFT | LATEST KIT 2

1

Cactus V6 Wireless Flash Transceiver V6 £49.99 World’s first non-TTL wireless trigger to control power of cross-brand system flashes .cactus-image.com

The V6 promises ‘cross brand’ remote control over the flashes of brands including Canon, Nikon and Pentax – all at the same time. Said to be quick and precise in operation, the V6 has a few further unique features, including the ability to control output of a group of flashes via its user interface with one quick slide, adjust power levels precisely up to 0.1EV even if the flash itself doesn’t offer that option, or set a benchmark for the power output of flash models with a different guide number.

The unit features a tripod mount plus multi-hot shoe with lock lever, selection dial for quick power adjustment, an OK button, menu button, and status LED.

1

IN BRIEF The one wireless flash transceiver that does it all? Time will tell THREE MORE TO TRY Hähnel Tuff, Viper and Combi flash triggers, Phottix Odin flash trigger set, PocketWizard MiniTT1 and FlexTT5 wireless triggering system 554 / THE RPS JOURNAL / SEPTEMBER 2014 / VOL 154

Kodak Pixpro S-1 From £349.99

First ever interchangeable-lens compact system camera to bear the Kodak branding kodakpixpro.com

2 The 16-megapixel Pixpro S-1 is the

Olympus Pen E-PL6 £429

with pancake zoom and FlashAir SD card Latest consumer PEN borrows from same manufacturer’s well-received flagship OM-D olympus.co.uk

3 It’s easy to forget Olympus is still

first Kodak-branded compact system, and the first model other than from Panasonic and Olympus with the jointly developed Micro Four-Thirds format. At time of writing the S-1 was due to be sold online, with the option of a single or double lens kit, which adds a clip-on flashgun. The included optics are the SZ ED 12-45mm f/3.5-6.3 AF, plus SZ ED 42.5-160mm f/3.9-5.9 AF, priced between £349 and £449.

There’s also a 400mm f/6.7 fieldscope lens but pricing was TBA as we went to press. The camera has a tilting LCD, a 410-shot battery, body integral wi-fi, and image-sensor stabilisation – which Panasonic does not offer.

making digital versions of its popular PEN range of the 1960s – the latest being the compact and relatively slender 16-megapixel E-PL6. To help maintain a slim profile and ensure this is the most portable PEN yet, it’s bundled with a pancake 14-42mm f/3.5-5.6 EZ zoom lens – described as the most compact in its category. We also get a bundled wi-fi enabled FlashAir SD card, rather than inbuilt wireless connectivity.

New features for this model include a level gauge visible via the LCD, interval shooting for stills which enables the creation of stop-motion animation videos, and small-target AF mode. The back screen can tilt to face the subject.

IN BRIEF Kodak gets a head start by adopting format pioneered by Panasonic and Olympus, but rivals are many THREE MORE TO TRY Nikon ‘1’ system, Olympus PEN range, Panasonic Lumix G series

IN BRIEF Amateur travel photographers will appreciate this latest PEN’s slim profile with bundled pancake lens THREE MORE TO TRY Kodak Pixpro S-1, Nikon 1 J4, Panasonic Lumix DMC-GM1

6

3

5

4

Nikon Capture NX-D FREE

Official latest version of Nikon’s Raw software application, free to download nikonimglib.com/ncnxd

4 Capture NX-D will let users

develop Raw files from Nikon DSLRs, Nikon ‘1’ system compacts and any Coolpix model that offers uncompressed Raw capture as an option alongside the humble compressed JPEG. This latest version is based on user feedback, suggestions and functionality requests insists the manufacturer, and features what’s pitched as an improved user interface, as well as tweaks to the ways adjustments are applied. These include the addition of an automatic retouch brush, while primary features include floating palettes that are easy to use with a large or multiple monitors, and a variety of displays including comparisons of ‘before and after’ shots.

IN BRIEF Exemplar Raw file processing tool for Nikon users is all you’ll need if you shoot in Raw. It’s free, now THREE MORE TO TRY Adobe Photoshop, Adobe Lightroom, RawTherapee

Manfrotto 535AQ tripod £269.95

Pentax K-3 Prestige Edition £1,099 with battery grip

Sturdy, compact, creative support option for photographers-turned-videographers manfrotto.co.uk

Flagship weatherproofed semi-pro DSLR gets limited gunmetal grey edition ricoh-imaging.co.uk

5 This video tripod simply offers

6 Pentax’s impressive weather-

more flexibility than a dedicated photo device, and with more and more pros adding video to their list of service it makes perfect sense whether shooting with a DSLR or dedicated video device.

Eschewing a centre column, the 535AQ model is pitched as a single tube-leg aluminium tripod with four leg sections and a 75/60mm half-bowl for quick set-up yet maximum compactness, providing the ability to adjust height from 23cm up to 171cm.

The legs can be combined with Manfrotto’s 50, 502 or 504 bridging video heads. It can cope with a payload up to 20kg and weighs 3.35kg itself.

IN BRIEF Single tube-leg tripod allows for faster set-up, features angle selectors for versatile operating heights plus while not cheap, it won’t break the bank THREE MORE TO TRY Benro C373TS8, Velbon DV-7000, Gitzo GT-5561SGT

resistant K-3 model took the Best Expert DSLR Award at 2014’s TIPA Awards voted on by the tech press.

Upping the ante its manufacturer, now confusingly just calling itself Ricoh Imaging after acquiring Pentax, has released a ‘Prestige Edition’. We now get a camera body plus battery grip finished in a gunmetal grey coating, which its maker suggests perfectly complements either the black or grey-finish lenses compatible with its Pentax mount.

Limited to 2,000 units worldwide, at least 100 of those are promised for the UK. The ‘new’ Pentax comes with a specially designed faux leather strap and a swanky presentation box to boot.

IN BRIEF That the flagship K-3 comes with a battery grip for its £1,099 price makes this worth considering THREE MORE TO TRY Olympus OM-D E-M1, Fujifilm X-T1, Sony A77 II VOL 154 / SEPTEMBER 2014 / THE RPS JOURNAL / 555

MASTERCLASS 556 | THE CRAFT | TECHNIQUE

How to photograph wild birds

Mike Lane FRPS gives tips on how to snap three great species of British bird

P

rovide food in your garden or local wood and you will soon play host to finches, tits and woodpeckers. But to turn this into a photographic opportunity, you need to think about the background, perches and light.

Stock dove

Stock doves are thirsty birds and need to drink regularly, so to make sure you get a decent shot, set yourself near some water. They will have a favourite spot to drink, so put your hide in place for a few days so they get used to it. The

A perch needs to be worthy of a photograph itself. The background should be distant, out of focus and a pleasant colour, and the light should usually be coming from over your shoulder. Once you’ve nailed these, you can consider the bird itself.

EQUIPMENT You need long lenses for bird photography. Top-of-the-range 500mm lenses can be expensive, but good bird pictures can be obtained with shorter lenses when you have a way of getting closer, such as a hide (left).

most dramatic pictures are taken with the camera at ground level, which means lying down.

Try to get them as they take to the air. Shutter speeds of 1/4,000th of a second and upwards capture water droplets.

Great spotted woodpecker Kingfisher

If you have spotted a kingfisher, provide a new perch for it where there are no overhanging branches.

– a five-foot-high post placed in the water, say. They can’t resist a new perch and if they catch a fish from there, they will be back.

SIGN UP!

The hard part is finding a well-lit riverbank with no overhanging branches and a nice background.

Once you have found it, the kingfisher is likely to cooperate.

You will need to use a hide, but kingfishers will accept one readily.

WORKSHOP: WILDLIFE PHOTOGRAPHY

556 / THE RPS JOURNAL / SEPTEMBER 2014 / VOL 154

The great spotted woodpecker is a species that poses very well on any prop provided. Make sure you find a pretty perch, such as a nice silver birch log with bracket fungi growing at just the right spot. The woodpecker can be encouraged to land in the right spot if you drill a small hole and press suet or peanuts into it.

ABOUT THE AUTHOR Mike Lane has been a full-time wildlife photographer since 1993. He has travelled extensively in pursuit of birds, but his favourite subject is British wildlife. During the winter, he does talks and workshops on wildlife photography.

MIKE LANE WILL HOST A WORKSHOP IN BATH 8 September and 9 November and in Somerset on 16 October CALL: 01225 325733

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558 | THE CRAFT | INDEPTH

High-flying success

Unmanned aerial photography has come a long way since the days of attaching a camera to a model plane with a rubber band, explains David Hogg LRPS of Horizon Imaging

558 / THE RPS JOURNAL / SEPTEMBER 2014 / VOL 154

B

ack in 2006, I attached a small Casio digital camera to a radio-controlled balsa-wood model aircraft.

I got permission from my old school, Claremont Fan Court, to use its sports pitches as a testing ground, with the hope I could take some halfdecent aerial shots of the school while I was at it. This sowed the seed for what would become my full-time profession. Incredibly, one of the images I took, aged 19, during those early test flights became one of my most successful aerial photographs (right), and is still being used by the school for marketing today.

Selling this photo to the school made me realise that this new type of photography could generate extra income to help me pay my university fees and fund the cost of the equipment I was using. Since 2006, I have been developing new aerial photography platforms, now all derived from model helicopters.

With my company, Horizon Imaging, I have undertaken work for a range of clients, from high-end estate agents to construction companies.

I currently use a six-rotor model helicopter that I designed and built myself. I also built the self-levelling gimbal that carries

Rape fields near Abinger Hammer, Surrey, taken in May 2010 with a Canon 550D with a Canon 10-22mm lens

PORTRAIT COURTESY OF THE SURREY ADVERTISER

Claremont Fan Court School, Esher, Surrey, taken in February 2006 with a Casio EX-Z750

a Sony NEX-5T camera and Sony’s 10-18mm lens. The HDMI output from the camera is sent via a wireless video link to a screen on the ground so I can compose the photographs before flicking a switch on my handset to fire the camera’s shutter. The NEX-5T has a fantastic 10fps burst mode which, combined with focusing the lens to infinity and using a fixed shutter speed of 1/500s, ensures I get a very high percentage of sharp photographs. I shoot in RAW so I can extract the maximum amount of detail from every image when I do my postprocessing in Lightroom.

No longer niche

In 2006, you could only take aerial photographs from model aircraft if you could build the models yourself. Online forums such as RCGroups were the only places to get advice. Initial attempts involved taking a normal radio-controlled aircraft and attaching a camera to it with a rubber band – it was great fun, but technology has since moved on considerably.

There are now many off-theshelf platforms designed for taking aerial photographs. They range from simple electric gliders with a cavity for housing a small digital camera to

ABOUT THE AUTHOR DAVID HOGG LRPS is the managing director of Horizon Imaging.

For more information please visit his website: www.horizonimaging.co.uk VOL 154 / SEPTEMBER 2014 / THE RPS JOURNAL / 559

560 | THE CRAFT | INDEPTH

Have a go yourself

The Parrot AR Drone quadricopter was one of the first mass-produced models that allowed you to fly a model helicopter with your smartphone while watching a live video feed from the helicopter on the phone.

More recently, DJI launched the Phantom quadcopter, which comes with a handheld transmitter and can broadcast a live video feed to a smartphone.

It is incredibly popular, thanks to its ease of use, stability in flight and compatibility with GoPro action cameras.

The latest models of both offer GPS navigation facilities and fully stabilised three-axis camera gimbals.

The best place to go for advice on taking aerial photographs from model aircraft is one of the online forums such as

RCGroups.com (rcgroups.com/ aerial-photography-128).

Legalities and safety

Taking aerial photographs from model aircraft may have taken the world by storm, but it has proved controversial – as people with no prior experience are flying these aerial photography platforms with no thought for the safety of others.

The Air Navigation Order, written by the UK Civil Aviation Authority (CAA), lists clear regulations governing how model aircraft are to be flown.

Sections 138, 166 and 167 are particularly pertinent for small

EAGLE EYED

Amateur shot wins drone photography contest In a new competition celebrating the best of drone photography, the National Geographic France/ Dronestagram

560 / THE RPS JOURNAL / SEPTEMBER 2014 / VOL 154

St Michael’s Mount, Marazion, Cornwall, taken in January 2011 with a Canon EOS 550D with a Canon 10-22mm lens St Martha-on-the-Hill, near Chilworth, Surrey, taken in December 2011 with a Canon PowerShot S95

Aerial Photo Contest, a stunning shot of an eagle in flight high over Bali Barat National Park in Indonesia has won first place. The rise of cheap drone technology has led to a new genre of aerial photography and

filmmaking, depicting the scale of a satellite images, but with the intimacy of a closer perspective.

See more amazing aerial images at dronestagr.am Or find out more at nationalgeographic.fr

© DRONESTAGRAM

advanced multi-rotor model helicopters that can carry a 5kg digital cinema camera and feature GPS position hold, waypoint following and return-to-home modes.

models such as the Phantom that are fitted with cameras, turning them into ‘small unmanned surveillance aircraft’.

Search online for ‘CAP 393’ to view the latest version of this document, and ‘CAP 658’, which contains specific guidance for model-aircraft flyers.

Common sense should prevail when flying any type of model aircraft. Unfortunately, the internet is littered with videos taken from models such as the Phantom as they are flown over crowds or busy roads. All it would take is for a propeller to come loose or a motor to fail for the model to fall on whoever is beneath it, potentially causing serious injury. Near-misses with commercial helicopters and airliners have also been reported – the consequences of an air-to-air collision do not bear thinking about. France, Spain and the USA have simply banned the flying of any type of model aircraft with a camera fitted to it (although in Spain and the US it is only illegal if you are doing so for commercial gain).

In the UK, provided you abide by the regulations in CAP 393, commercial operators and hobbyists alike can continue to enjoy the incredible applications of these marvels of technology.

To take aerial photographs using model aircraft on a commercial basis in the UK, you must hold a ‘Permission’ from the CAA. To apply, you must provide evidence of pilot competence (which can be achieved through training courses provided by the likes of Resource UAS); adequate public liability insurance cover (at least £5 million); and an operations manual, including maintenance schedules and a sample risk assessment.

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FAVOURITE 562 | THE CRAFT | MYCAMERA

The Sinar F enforces the photographer’s awareness of light

Sinar F

A camera that taught the importance of planning and contemplation

Name Ian Beesley HonFRPS About West Yorkshire-born Ian started his working life as a labourer and started taking photos in 1973.

He won the Kodak Scholarship for Social Documentation in 1978

In 39 years as a working photographer I have only owned five cameras, and I still use four of them. The one I lost was probably my favourite – not for any technical or aesthetic reasons, but because it was my first professional camera.

It was a Sinar F monorail bought with money left by my father, who died suddenly in 1975.

When I bought it, mum said: ‘Every photograph you take with it will be in some way a remembrance of your dad.’ It was my dad, a keen amateur photographer, who encouraged my interest in

562 / THE RPS JOURNAL / SEPTEMBER 2014 / VOL 154

photography. He taught me how to develop films and contact print them in our blacked-out bathroom.

One of the first images I took with my new camera was of The Strid, a famous beauty spot on the River Wharfe in the Yorkshire Dales. He had a fascination with waterfalls, something which I have inherited.

The Sinar introduced me to a new way of taking photographs. I could only afford three dark slides, so I had to think very carefully about each plate. It made me realise how important it is to research, plan and contemplate your image

making. It enforces the photographer’s relationship with light and photographic materials, something which is sadly lost in digital imaging.

Initially I used the camera for landscape photography, but then started to use it for all my work and found I particularly liked using it for portraits. With a plate camera the relationship between photographer and subject is completely different from when using smaller formats.

The sitting becomes more of a performance, the photographer does not hide his face behind the camera, and once the frame and focus is set, photographer and sitter can have face-to-face contact. It becomes more of a collaboration than a one-sided transaction.

The camera lasted for 36 years, held together with increasing amounts of gaffer tape, superglue and Blu-Tack.

It came to its end in the winter of 2011 when I was photographing the waterfalls near Dovestone, on the edge of Saddleworth Moor. I slipped, knocking camera and tripod some 40 feet into the dark, deep pool beneath the falls.

A sad but strangely fitting ending to a camera that had helped shape my career.

CAMERA IMAGE: GUILLAUME PIOLLE

ANCOATS Ian Beesley, with poet Ian McMillan, presents Magic Lantern Tales – an evening of photography from WWI veterans, along with poetry and songs. The event tours Yorkshire this autumn, starting on 25 September at Accrington Library. See more dates at uktouring.org.uk/ian-mcmillan

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MEMBER

| GUIDE | 565

GUIDE

YOUR RPS EVENTS ! COURSES PROGRAMME

SEP!OCT!NOV

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

The magic lives on Society celebrates 21st International AV Festival

T

he biennial showcase of audio visual work comes of age this year as the Royal Agricultural University in Cirencester again hosts the 21st RPS International AV Festival, from 19-21 September.

The festival features the work of entrants who compete for the Grand Prix Trophy, designed by David Linley, the Queen’s nephew. An international jury including Howard Bagshaw and Keith Brown from the UK, Gérard Desroches of Luxembourg and John Hodgson from Australia will judge entries from 11 countries, and the weekend features 73 audio visual sequences projected on to a widescreen 16ft by 9ft.

Edgar Gibbs FRPS, secretary

of the Audio Visual Group, said the widescreen and £15,000 worth of speakers – introduced in 2012 – give the event a wow factor for entrants and audience.

Audio visual (AV) dates from 1822, and involves combining two images to create a third.

Technology has revolutionised AV – moving from the magic lanterns of the art form’s pioneers to almost exclusively digital production – but it remains rooted in the showmanship and passion for storytelling that fired the original lanternists.

Still from an AV presentation on Paris IMAGE: SHEILA HAYCOX ARPS

A twin projector, the modern magic lantern IMAGE: EDGAR GIBBS

The widescreen gives extra wow factor IMAGE: COURTESY AV GROUP

For details see page 573 or go to rps.org/special-interest-groups/ audio-visual/international-avfestival/about VOL 154 / SEPTEMBER 2014 / THE RPS JOURNAL / 565

GROUPS 566 | GUIDE | REGIONAL EAST MIDLANDS

REGIONS

RALPH BENNETT ARPS, 01636 651277 RALPH.EMRPS(GMAIL.COM

VISIT TO ST. MARY’S CHURCH, WELLINGBOROUGH, AND ALL SAINTS CHURCH, BRIXWORTH

Meet photographers and view work in your area

FRIDAY 5 SEPTEMBER / 10.30&16.00

CENTRAL

THURSDAY 4 SEPTEMBER / 19.30&22.00

Free St. Mary’s Church, Elsden Road/Knox Road, Wellingborough NN8 1HU Mike Sasse, 01892 531179, mike.sasse@btinternet.com For details see Archaeology and Heritage Group

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

PHOTOGRAPH THE FILMING OF ARMISTICE DAY CELEBRATIONS IN PERIOD COSTUME

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

VIVECA KOH FRPS JOINT LECTURE WITH SMETHWICK PS

SUNDAY 21 SEPTEMBER / 10.00&17.00

VISIT TO ST. MARY’S CHURCH, WELLINGBOROUGH, AND ALL SAINTS CHURCH, BRIXWORTH FRIDAY 5 SEPTEMBER / 10.30&16.00

Free St. Mary’s Church, Elsden Road/Knox Road, Wellingborough NN8 1HU Mike Sasse, 01892 531179, mike.sasse@btinternet.com For details see Archaeology and Heritage Group

Images like this one will be discussed at the Book Making event on 16 November (East Midlands) IMAGE: DANIEL MEADOWS, BY STEWART WALL

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

DISTINCTIONS ADVISORY WORKSHOP !LRPS, ARPS" TUESDAY 4 NOVEMBER / 19.30&22.00

£8.00 Bring your work along for honest assessment Smethwick PS, Churchbridge. Oldbury, West Midlands B69 2AS Mike Sharples ARPS, as above

LRPS ARPS DISTINCTION ADVISORY DAY SATURDAY 6 SEPTEMBER / 10.00&16.00

£20/£15 RPS members Register and pay on the RPS website Smethwick PS, Churchbridge, Oldbury, West Midlands B69 2AS Mike Sharples ARPS, as above

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

Free Fully booked, but there is a waiting list Near Church of St Margaret, Thimberley, Horncastle LN9 5RG Stewart Wall, 07955 124000, stewartwall@icloud.com

SPONSORED LECTURE: TIM FLACH HonFRPS PLUS GRAHAM DUNN PEAK DISTRICT AND NORFOLK LANDSCAPE GUIDES SUNDAY 21 SEPTEMBER / 10.30&16.00

£10 In this lecture, Tim Flach HonFRPS will discuss the key themes of his work with animals. Graham Dunn will take you through the landscapes of North Norfolk and the Peak District Radisson Park Inn, Mansfield Road, Nottingham NG2 2BT Ralph Bennett ARPS, 07752 870422 01636 651277, ralph.emrps@gmail.com

MIDLANDS SALON SPECIAL EVENING VIEWING

DISTINCTIONS ADVISORY DAY

TUESDAY 16 SEPTEMBER / 19.30&22.00

SUNDAY 14 SEPTEMBER / 10.30&16.30

£2.50 Private viewing for Society Members Smethwick PS, Churchbridge, Oldbury, West Midlands B69 2AS Mike Sharples ARPS, as above

£20/£15/£10 spectators For LRPS and ARPS (Travel, Nature, Professional & Applied and Visual Art) Foxton Village Hall, Hardman Road, Foxton CB22 6RN Ann Miles, 07710 383586, ann@pin-sharp.co.uk

£5/£20 Radisson Park Inn, Mansfield Road, Nottingham NG2 2BT Ralph Bennett ARPS, as above

WHO’S UPSIDE DOWN # US OR THE BATS?

BOOK MAKING AND 65 YEARS OF NHS

MONDAY 13 OCTOBER / 19.30&21.00

SUNDAY 16 NOVEMBER / 10:30 & 16:00

Free Hosted by the Photography Department at Anglia Ruskin University in Cambridge, Lord Ashcroft Building Ian Wilson ARPS, 01223 870830, ian@greenmen.org.uk

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

A DAY OF CREATIVE PHOTOGRAPHY

DES CLINTON FRPS, 0035 341 983 7824

VISUAL ART GROUP AUTUMN WEEKEND IN BIRMINGHAM FRIDAY 3&MONDAY 6 OCTOBER / 18.00&10.00

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

PERMAJET LECTURERS DAY SUNDAY 5 OCTOBER / 09.30&17.00

£19.50 Short talks from the UK and Ireland’s most influential photographic lecturers Smethwick PS, Churchbridge, Oldbury, West Midlands B69 2AS Mike Sharples ARPS, as above

ROSS MCELVER !WITH SMETHWICK PS" THURSDAY 9 OCTOBER / 19.30&22.00

EAST MIDLANDS REGION DISTINCTIONS ADVISORY DAY FOR LRPS AND ARPS SUNDAY 19 OCTOBER / 10.30&16.00

EIRE DESCLINTON(EIRCOM.NET

SUNDAY 9 NOVEMBER / 10.30&16.30

Hear from Chris Steele-Perkins at the Photographers’ Gallery IMAGE: CHRIS STEELE,PERKINS, GAMEKEEPERS. FROM THE FORTHCOMING BOOK A PLACE IN THE COUNTRY, TO BE PUBLISHED

BY DEWI LEWIS, LATE OCTOBER

566 / THE RPS JOURNAL / SEPTEMBER 2014 / VOL 154

£12/£10/£8 group and regional members Foxton Village Hall, Hardman Road, Foxton, Cambs CB22 6RN Dave Jordan, 01603866475, daveandjoanjordan@yahoo.co.uk For details see Creative Group

LONDON DEL BARRETT ARPS LONDONEVENTS(RPS.ORG

CHRIS STEELE&PERKINS AT THE PHOTOGRAPHERS’ GALLERY THURSDAY 11 SEPTEMBER / 18.30&21.00

| GUIDE | 567 £7/£4 concession Magnum photographer Chris SteelePerkins talks about his work The Photographers’ Gallery, 16–18 Ramillies Street, London W1F 7LW Contact The Photographers’ Gallery

WALKING THE WALK

GO TO RPS.ORG/EVENTS FOR THE LATEST UPDATES

FRI 19 SEPTEMBER , WED 1 OCTOBER / 09.00&17.20

categories of Visual Art, Travel, Applied, Natural History and Contemporary Craig-y-Don Community Centre, Queens Road, Llandudno LL30 1TE Christine Langford, 01758 713572 NORTH$WEST DR AFZAL ANSARY ASIS FRPS, 07970 403672

MONDAY 27 OCTOBER / 19.30&21.30

AFZALANSARY(AOL.COM

Methodist Church Hall, Brompton, Northallerton DL6 2QT

MON,FRI, 12.00&16.00 SAT/SUN

DISTINCTIONS ADVISORY DAY

Free An exhibition by Norman Smith shows people going about their business Greenwich Gallery, Linear House, Peyton Place, London SE10 8RS Norman Smith, 07710 472495

SUNDAY 28 SEPTEMBER / 10.30&16.30

£20/£15/£10 spectators Booking is essential (see website) Hough End Centre, Mauldeth Road West, Chorlton, Manchester M21 7SX Dr Afzal Ansary ASIS FRPS, as above

LECTURE AND BOOK SIGNING: STEREOSCOPY AND VICTORIAN PAINTING

AUTUMNAL PHOTOGRAPHY WALK IN LANGDALE VALLEY

THURSDAY 9 OCTOBER / 18.30 , 21.30

THURSDAY 11 OCTOBER / 10.00&16.00

£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

Free (see website) Chapel Stile Village, Great Langdale, Near Ambleside, Cumbria LA22 9JD Nina Agnew, 07811403125, ninaagnew@yahoo.co.uk

PHOTOSHOP PRESENTATION ' WORKSHOP SUNDAY 9 NOVEMBER / 10.30&16.00

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

IMAGES IN MEDICINE: A SYMPOSIUM FOR PRODUCERS ' USERS SATURDAY 18 OCTOBER / 09.30&16.30

£35 non-members)/£30 RPS and IMI 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

JANE BLACK ARPS, 0191 252 2870 J.BLACK70(BTINTERNET.COM

LECTURE TOUR BY LEIGH PRESTON FRPS: A SENSE OF PRIVILEGE THURSDAY 4 SEPTEMBER

DON LANGFORD LRPS, 01758 713572 DONCHRISLANGFORD(BTINTERNET.COM

LANDSCAPE AND SEASCAPE FINE ART LECTURE BY JOHN HOOTON FRPS SUNDAY 21 SEPTEMBER / 14.00&17.00

£6/£5 members John is an award-winning landscape and seascape fine art photographer Craig-y-Don Community Centre, Queens Road, Llandudno LL30 1TE Christine Langford, 01758 713572

TRAVEL GROUP WEEKEND IN CONWY FRIDAY 26 SEPTEMBER&SUNDAY 28 SEPTEMBER

Free Conway, LL32 8AJ Allan Hartley ARPS, 01524 261173, HartleyAlmal@aol.com For details see Travel Group

DISTINCTIONS ADVISORY DAY SUNDAY 19 OCTOBER / 10.00&17.00

£20/£15/£10 Advice and guidance available for the

See Londoners walking the walk at Greenwich Gallery IMAGE: NORMAN SMITH

TUESDAY 28 OCTOBER / 19.30&21.30

The Torch Centre, Hexham NE46 1QS WEDNESDAY 29 OCTOBER / 19.30&21.30

Mechanic’s Institute, Percy Street, 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) and deposits paid by 31 August. Borrowdale Hotel is in the heart of the Lake District Borrowdale Hotel, Borrowdale CA1 2SU Jane Black ARPS, as above.

NORTHERN IRELAND DAMIAN MCDONALD ARPS, 07902 481691 DAMIANMCDONALD(OUTLOOK.COM

ADVISORY DAY SUNDAY 30 NOVEMBER / 10:00 , 17:00

NORTHERN

NORTH WALES

LECTURE TOUR BY TOM DODD FRPS Free Tom Dodd’s photography spans some 40 years and is linked inextricably with the outdoors Jane Black ARPS, as above.

£20/£15/£10 Spectator All attendance must be pre-booked Newforge Country Club, 18b Newforge Lane, Belfast, BT9 5NW Simon Vercoe, si@rps.org SCOTLAND

Free Leigh has been taking and making dramatic pictures for over 30 years St Oswald’s Institute (Durham), Church Street, Durham DH1 3DQ Jane Black ARPS, as above

JAMES FROST ARPS, 01578 730466 JAMES.FROST11(BTINTERNET.COM

DISTINCTIONS ADVISORY DAY SATURDAY 6 SEPTEMBER / 11.00&16.00

£20/£15/£10 spectators For those working towards LRPS and ARPS panels Church Hall, Bridge of Allan, Keir Street, Bridge of Allan FK9 4NW

PHOTO FORUM GLASGOW SUNDAY 5 OCTOBER / 11.00&16.00

£10/£8 members An informal day to meet members.

Calumet Glasgow, Block 4, Unit 1 Oakbank Industrial Estate, Glasgow G20 7LU James Frost FRPS, as above

FELLOWSHIP ADVISORY DAY SUNDAY 21 SEPTEMBER / 11.00,16.00

£25 Those eligible to apply for a Fellowship can receive feedback. No observers.

Edinburgh Photographic Society, 68 Gt King Street, EH2 6QU James Frost FRPS, as above VOL 154 / SEPTEMBER 2014 / THE RPS JOURNAL / 567

GROUPS 568 | GUIDE | REGIONAL PHOTO FORUM DINGWALL

SUNDAY 12 OCTOBER / 10.00&17.00

SUNDAY 19 OCTOBER

£10/£8 members An informal day to meet members.

Dingwall CC, Eagle House, High St, Dingwall V15 9RY James Frost FRPS, as above

GO TO RPS.ORG/EVENTS FOR THE LATEST UPDATES

£10/£7.50/£5 Rye, East Sussex TN31 7LB As the 2013 trip was a success, we have arranged a further visit. Meet at Fletcher’s House in Lion Street, 10am Terry McGhie ARPS, as above

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

INTRODUCTION TO DISTINCTIONS & BRIGHTON, EAST SUSSEX

WEDNESDAY 22 OCTOBER / 19.30&22.00

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

SUNDAY 2 NOVEMBER / 10.30,16.30

Edinburgh PS, 68 Great King St, Edinburgh EH3 6QU THURSDAY 23 OCTOBER / 19.30&22.00

Carnoustie Camera Club, Comrie Hall, Links Avenue, Carnoustie DD7 7QQ

MARTIN HOWSE ARPS, 01326 221939

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

MGHVKH(BTINTERNET.COM

MONDAY 27 OCTOBER / 19.30&22.00

SUNDAY 14 SEPTEMBER / 10.30&16.00

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

£8/£5/£3 for group members The Dolphin Hotel, Station Road, Bovey Tracey TQ13 9AL Linda Wevill FRPS, linda.wevill@ btinternet.com For details see Visual Art Group

SW VA GROUP MEMBERS DAY

SOCIETY SPEAKER TIM FLACH HonFRPS SATURDAY 25 OCTOBER

Free 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

FIELD TRIP TO SANDYMOUTH BAY SUNDAY 21 SEPTEMBER / 10.30&16.00

Free This trip is not recommended for those who could have difficulty walking Sandymouth Bay, Sandymouth EX23 9HW George Collings ARPS, gscollings@ yahoo.co.uk

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

SOUTH$EAST

DOCUMENTARY PHOTO ESSAYS SATURDAY 18 OCTOBER / 10.00&17.00

£50/£55/£50 members Gloucester Guild Hall, 23 Eastgate Street, Gloucester GL1 1NS Mo Connolly LRPS, DVJ@rps.org For details see Documentary and Visual Journalism Group

A DAY WITH THE SPECIAL INTEREST GROUPS SATURDAY 8 NOVEMBER / 10.30&16.00

SOUTH WEST

FRIDAY 24 OCTOBER / 19.30&22.00

£10 View successful Distinction portfolios Edinburgh, 68 Great King Street, Edinburgh, EH3 6QU James Frost FRPS, as above

South Devon. Contact Rod Fry, 01803 844721, rod@rodfry.eclipse.co.uk For details see Contemporary Group

Take a field trip to Rye with the South East Regional Group IMAGE: RYE AFTER THE RAIN, CHELIN MILLER LRPS

SW CONTEMPORARY GROUP MEETING: REVIEW OF WORK SUNDAY 12 OCTOBER

Free Held in a private house in Dartington,

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

LRPS ' ARPS DISTINCTIONS ADVISORY DAY SATURDAY 22 NOVEMBER / 10:30 , 16:30

£20/£15/£10 Bovey Tracey Golf Club, Monks Way, Bovey Tracey, TQ13 9NG Martin Howse ARPS, as above SOUTHERN PETER HARTLAND ARPS, 07774 184120 SOUTHERN(RPS.ORG

SOUTHERN REGION FELLOWSHIP ADVISORY DAY SUNDAY 21 SEPTEMBER / 10.00&16.00

£15 members Numbers are strictly limited to 12, only those presenting a Fellowship Panel St Mary Bourne Village Hall, Bourne Meadow, St Mary Bourne, Andover, SP11 6BE Peter Hartland ARPS, as above

TERRY MCGHIE ARPS, 01323492584

ARPS ADVISORY DAY !VISUAL ART AND TRAVEL"

DI GROUP SOUTHERN: PAIRS, PANELS AND PROJECTS, PRINT LECTURE SUSAN BROWN FRPS EFIAP

SUNDAY 14 SEPTEMBER / 10.30&00.00

SUNDAY 21 SEPTEMBER / 10.30&16.00

£20/£15/£10 spectators Crawley Down, East Sussex, The Haven Centre, Hophurst Lane, Crawley Down RH10 4LJ Terry McGhie ARPS, as above

£8/£6 DIG members Greyfriars Community Centre, 44 Christchurch Road, Ringwood BH24 1DW Barry Senior HonFRPS, 01425 471489, barry@littlepics.freeserve.co.uk For details see Digital Imaging Group

SOUTHEAST(RPS.ORG

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

£15/£10 group members/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

RYE FIELD TRIP WITH THE TRAVEL GROUP 568 / THE RPS JOURNAL / SEPTEMBER 2014 / VOL 154

DISTINCTIONS WORKSHOP DAY, LRPS PANELS, ARPS PANELS IN PROFESSIONAL AND APPLIED AND VISUAL ART SUNDAY 12 OCTOBER / 10.30&16.30

£20/£15/£10 spectator Get advice on your work from a panel of experts St Mary Bourne Village Hall, Bourne Meadow, Sy Mary Bourne, Nr Andover SP11 6BE Peter Hartland ARPS, as above

| GUIDE | 569 THAMES VALLEY MARK BUCKLEY,SHARP ARPS, 020 8907 5874 MARK.BUCKLEY,SHARP(TISCALI.CO.UK

DI GROUP THAMES VALLEY: RIKKI O’NEILL FRPS SUNDAY 14 SEPTEMBER / 10.00&15.30

£10/£6 Group member Woosehill Community Hall, Emmview Close, Wokingham RG41 3DA Laurie Pate, 07785256692, info@rpsdig-thamesvalley.org.uk For details see Digital Imaging Group

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

See some of the most influential, talented and entertaining photographers at the PermaJet Lecturers day IMAGE: VICKI BOULTER

SUNDAY 12 OCTOBER / 16.00&16.30

Free The 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

ENGLISH HERITAGE PHOTOGRAPHIC ARCHIVE VISIT SATURDAY 20 SEPTEMBER / 10.30&16.00

Free Swindon SN2 2EH Geoff Blackwell, 0114 266 8655, gblackwell@fastmail.fm For details see Historical Group

DI GROUP WESTERN & DEBBIE JONES LIGHTROOM TRAINER SUNDAY 21 SEPTEMBER / 10.30&16.00

£8/£7/£5 group member Merryfield Village Hall, Ilton, Nr. Taunton TA19 9HG Janet Haines ARPS, janet.haines@ btopenworld.com For details see Digital Imaging Group

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

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

“CUTTING EDGE TRENDS IN MULTIMEDIA VIDEO” BY ROBERT ALBRIGHT FRPS SUNDAY 12 OCTOBER / 10.00&12.30

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.

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

WESTERN REGION MEMBERS PRINT MORNING SUNDAY 7 SEPTEMBER / 10.00&12.30

£2 Present finished prints or discuss your work in progress Claverton Down Community Hall, Claverton Down Road, Bath BA2 6DT Tony Cooper ARPS, as above

YOUR EVENTS To ensure inclusion of your events in The RPS Journal please post them on the RPS website six weeks prior to publication. For a list of deadlines, cancellations or 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

MEETING IN ILTON SUNDAY 16 NOVEMBER / 10:00 , 13:00

£5 Ilton Village Hall, Merryfield Hall, Copse Lane, Ilton near Ilminster, TA19 9HG Mick Humphreys LRPS, 01823 443 955, mick@somersite.co.uk

MEETING IN HIGHNAM 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 YORKSHIRE

£7 An analysis of where the trends and cutting edge techniques in multimedia video are taking us Tony Cooper ARPS, 01225 421097, tony@photoscoop.co.uk

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

Preparing your image for print, as well as printer problems and solutions Merryfield Village Hall, Nr Taunton, Ilton TA19 9HG Janet Haines ARPS, janet.haines@ btopenworld.com

LRPS, ARPS DISTINCTIONS ADVISORY DAY

MARY CROWTHER LRPS, 07921 237962 PHOTOBOX50(GMAIL.COM

CAFÉ SESSION SATURDAY 4 OCTOBER

Meet local committee members Whitecloth Gallery, Leeds (Aire Street, next to the railway station) Mary Crowther LRPS, as above

SUNDAY 2 NOVEMBER / 10.30&16.00

YORKSHIRE MEMBERS PRINT EXHIBITION

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

SUNDAY 26 OCTOBER

MEMBERS’ OWN SUCCESSFUL LRPS AND ARPS PANELS SUNDAY 9 NOVEMBER / 10.00&12.30

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

£8/£7/£5

DISTINCTIONS LICENTIATE ADVISORY DAY SUNDAY 16 NOVEMBER / 10:30 & 16:30

DI GROUP WESTERN: PRINT WORKSHOP WITH FOTOSPEED SUNDAY 9 NOVEMBER / 10.30&15.30

This will follow the same format as last year; further details will be available soon Mary Crowther LRPS, as above

£20 Non-members for advice/£15 Members for advice/£10 spectators Please see the RPS website for details Starlight Theatre, National Railway Museum, York, YO264XJ Robert Helliwell, bobhelliwell@clara.co.uk

VOL 154 / SEPTEMBER 2014 / THE RPS JOURNAL / 569

CALL FOR ENTRIES

2015 MEMBERS’ BIENNIAL EXHIBITION SUBMIT UP TO FOUR DIGITAL ENTRIES CLOSING DATE: 20 OCTOBER Members only Free entry Gold, Silver & Bronze awards

CLAIRE PEPPER ARPS. ROSALIND AS REBECCA

FOR MORE INFORMATION VISIT rps.org/biennial2015

| GUIDE | 571

WORKSHOPS

How to get the most from Lightroom

ARCHITECTURE AND STREET SCENES OF EXETER

Hear from the experts and hone your skills

SATURDAY 11 OCTOBER / 14.00&21.00

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

£95/£71 members Spend the afternoon and evening photographing Exeter’s sights

WEDDING PHOTOGRAPHY WITH AWARD&WINNING PHOTOGRAPHER STUART WOOD

PRODUCT PHOTOGRAPHY

INTRODUCTION TO DSLR VIDEO EDITING WITH TIM DALY FRIDAY 12 OCTOBER / 10.30&16.00

Suitable for beginners who want to learn how shoot DSLR video

MONDAY 13 OCTOBER / 10.30&16.30

£155/£130 members Enhance your photographic skills in shooting products for publishing Colerne, near Bath

WEDNESDAY 3 SEPTEMBER / 10.00&17.00

£135/£110 members Award-winning photographer Stuart Wood on perfect wedding shots Thrumpton, Nottingham

WILDLIFE PHOTOGRAPHY: BRIDGEWATER MONDAY 16 OCTOBER / 10.00&17.00

LIGHTROOM SATURDAY 6 SEPTEMBER / 10.00&16.00

£95/£71 members An introduction to Adobe Lightroom

THE DIGITAL PHOTOBOOK SUNDAY 7 SEPTEMBER / 10.00&17.00

£85/£76 This workshop is sponsored by Blurb. com, which will give you a voucher worth £29.99 off your first book

£35/£26 members Unleash your macro potential The Open University, Milton Keynes

INTRODUCTION TO DSLRS

£85/£63 members A practical beginner’s guide to shooting with a DSLR

£85/£63 members

ART NUDE PHOTOGRAPHY

MONDAY 8 SEPTEMBER / 10.00&16.30

27 SEPTEMBER / 10.00&16.30

INTRODUCTION TO PHOTOSHOP

£115/£90 concession Lighting and working with a model Lacock, Wiltshire

SUNDAY 19 OCTOBER / 10.00&17.00

£95/£31 members Suitable for those with limited or no experience of Photoshop

TWO&DAY PHOTOSHOP

RUNNING YOUR OWN PHOTOGRAPHIC BUSINESS

SAT 27 & SUN 28 SEPTEMBER / 10.00&17.00

WEDDING PHOTOGRAPHY SAT 13 & SUN 14 SEPTEMBER / 10.00&16.30

£160/£135 members Introductory workshop covering lighting, composition and much more Lacock, Wiltshire

£165/£140 members Follow-up to The Society’s One-Day Introduction to Photoshop Workshop

MONDAY 20 OCTOBER / 10.30&16.30

£33/£22 members Advice for those wishing to start a photography business

HOW TO PHOTOGRAPH CHILDREN AND BABIES

LIFESTYLE STOCK PHOTOGRAPHY

SATURDAY 4 OCTOBER / 10.00&17.00

SHOOTING FOR STOCK MONDAY 15 SEPTEMBER / 10.30&16.30

£65/£48 members Get the most from your images by licensing them through image libraries

£95/£71 members This one-day course will be a combination of theory and practice Lacock, Wiltshire

CREATIVE TECHNIQUES IN PHOTOSHOP

DEVELOPING COMPOSITIONAL AND CRITIQUING SKILLS

TUESDAY 16 SEPTEMBER / 10.00&16.30

SATURDAY 4 OCTOBER / 10.00&16.30

£95/£71 members Practical demonstrations of tools and techniques in Adobe Photoshop

£45/£33 members Why photographers should take inspiration from other art forms

MACRO AND ART PHOTOGRAPHY

PRINTING WITH LIGHTROOM

THURSDAY 18 SEPTEMBER / 10.00&16.00

SATURDAY 11 OCTOBER / 10.00&16.00

£95/£71

ONE&DAY INTRODUCTION TO YOUR DIGITAL SLR SATURDAY 18 OCTOBER / 10.00&17.00

IMAGE. NIGEL HICKS

SUNDAY 20 SEPTEMBER / 10.00&17.00

WILDLIFE PHOTOGRAPHY £45/£33 members Professional wildlife photographer Mike Lane FRPS’s insightful tips on photographing birds and mammals Read more on page 556

Capture the architecture of Exeter from a new angle

£45/£33 members An insight into how to photograph birds and mammals The Engine Room, Bridgewater

FRIDAY 24 OCTOBER / 10.30&16.30

£185/£160 members Make money from your images Colerne, near Bath

BETTER DIGITAL PRINTING SAT 25&SUN 26 OCTOBER / 10.00&16.30

Get more from your inkjet £175/£150

GO TO RPS.ORG/EVENTS FOR THE LATEST UPDATES

STUDIO PORTRAITURE SAT 25&SUN 26 OCTOBER / 10.00&16.30

£160/£135 A practical two-day studio tutorial Lacock, Wiltshire

VOL 154 / SEPTEMBER 2014 / THE RPS JOURNAL / 571

INTEREST GROUPS 572 | GUIDE | SPECIAL

SPECIAL INTEREST GROUPS

DIGITAL IMAGING JANET HAINES ARPS, 01308 428219 JANET.HAINES(BTOPENWORLD.COM

DI GROUP THAMES VALLEY: RIKKI O’NEILL FRPS SUNDAY 14 SEPTEMBER / 10.00&15.30

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

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

DI GROUP SOUTHERN: PAIRS, PANELS AND PROJECTS, PRINT LECTURE SUSAN BROWN FRPS

PETERF20(TISCALI.CO.UK ARCHAEOLOGY AND HERITAGE

SUNDAY 21 SEPTEMBER / 10.30&16.00

RODNEY BERNARD THRING LRPS, 01276 20725 RODNEY.THRING(NTLWORLD.COM

VISIT TO ST MARY’S CHURCH, WELLINGBOROUGH, AND ALL SAINTS CHURCH, BRIXWORTH FRIDAY 5 SEPTEMBER / 10.30

Both Northamptonshire.

Meet at 10.30am at St Mary’s.

St Mary’s Church, Elsden Road/Knox Road, Wellingborough NN8 1HU Mike Sasse, 01892 531179, mike.sasse@btinternet.com

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

£15/£10 members/presenters free Presentations, and meet other members Leatherhead Institute, 67 High Street, Surrey, Leatherhead KT22 8AH Keith Evans FRPS, 01732 743943, richard.evans943@btinternet.com AUDIO VISUAL

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

THAMES VALLEY ANNUAL PRINT EXHIBITION AND JOINT MEETING WITH CONTEMPORARY

MONDAY 8 SEPTEMBER 19:00

£3.50/£3 group members A Suzanne Gregory ARPS, DPAGB, and Howard Gregory presentation Heath Citizens Community Centre (Front Hall), opposite 183, King George V Drive East, Heath, Cardiff CF14 4EP Edgar Gibbs FRPS, as above

£8/£7/£5 group member Workshop on Adobe Lightroom, plus show and tell of members’ prints Merryfield Village Hall, Ilton, Nr Taunton TA19 9HG Janet Haines ARPS, as above

SUNDAY 19 OCTOBER / 09.30&17.00

DI GROUP THAMES VALLEY

£18/£16 Howden Park Centre, Howden, Livingston, West Lothian EH54 6AE John Elliott, joma.elliott@btinternet.com

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

CONTEMPORARY NORTH WEST WORKSHOP MEETING £12; a one-day workshop with Dave West Days Inn Charnock Richard M6 Services, Mill Lane, Chorley, Lancs PR7 5LR Ian Maxwell, 01524 770278, mail@ihmaxwell.com

SOUTH WALES RPS AUDIOVISUAL GROUP # IT’S ALL IN THE PRODUCTION

SUNDAY 21 SEPTEMBER / 10.30&16.00

PHOTOBOOK MASTERCLASS WITH BRIAN STEPTOE FRPS

SATURDAY 8 NOVEMBER / 10.00&16.00

Royal Agricultural University, Cirencester Edgar Gibbs FRPS, as above

£8/£6 DIG members A wide-ranging presentation Greyfriars Community Centre, 44 Christchurch Road, Ringwood BH24 1DW Barry Senior HonFRPS, 01425 471489, barry@littlepics.freeserve.co.uk

DI GROUP WESTERN & DEBBIE JONES LIGHTROOM TRAINER

£7; Amersham, Drake Hall, Community Centre, Chiltern Avenue, Amersham Mark Buckley-Sharp ARPS, 020 8907 5874, mark.buckley-sharp@tiscali.co.uk

EDGAR GIBBS FRPS, 02920 564850,

FRIDAY 19,SUNDAY 21 SEPTEMBER

IMAGE: ROD FRY

SUNDAY 12 OCTOBER / 10.00&16.00

EDGAR.GIBBS(NTLWORLD.COM

RPS INTERNATIONAL AUDIO VISUAL FESTIVAL

An image from the Contemporary Group project, Ruin Lust

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

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

DOCUMENTARY AND VISUAL JOURNALISM MO CONNELLY LRPS, 01590 641849 DVJ(RPS.ORG

CREATIVE

DOCUMENTARY PHOTO ESSAYS

BARRY COLLIN LRPS CREATIVECHAIR(RPS.ORG

SATURDAY 18 OCTOBER / 10.00&17.00

CONTEMPORARY

CREATIVE PHOTOGRAPHY DAY

PETER ELLIS LRPS, 07770 837977

SUNDAY 9 NOVEMBER / 10.30&16.30

WORDSNPICSLTD(GMAIL.COM

£12/£10/£8 group/regional members Doors open 9.30am for refreshments.

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

SW CONTEMPORARY GROUP MEETING: REVIEW OF WORK SUNDAY 12 OCTOBER

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

572 / THE RPS JOURNAL / SEPTEMBER 2014 / VOL 154

GO TO RPS.ORG/EVENTS FOR THE LATEST UPDATES

£60/£55/£50 group members Tutor is Alison Baskerville Gloucester Guild Hall, 23 Eastgate Street, Gloucester GL1 1NS Mo Connolly LRPS, DVJ@rps.org FILM AND VIDEO JOHN TARBY FRPS, 020 7702 2205 INFO(TARBY.TV

Photographica Auctions 25 September – shop stock 22 October

Fine mahogany and brass cameras and lenses, sold for £4,120 in our last sale

On 17 July, Special Auction Services realised more than £15,000 for cameras and images from the collection of The Earl of Lichfield, internationally renowned photographer.

Other sections, including mahogany and brass, sold very well. Our next sale includes a rare Nikon I, estimated at £7,000 to £10,000.

We are currently taking in consignments for our upcoming auctions and are now the largest camera auction house in the United Kingdom. For our recent sales we have travelled all over the country collecting cameras and photographs of all types and values, which we sell to buyers around the world For further information, or to get a valuation, please contact Jonathan Brown or Hugo Marsh on: + (0)1635 580595 or hugo@specialauctionservices.com 81 Greenham Business Park, Newbury RG19 6HW www.specialauctionservices.com

573_RPS_SEPT14.indd 573

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INTEREST GROUPS 574 | GUIDE | SPECIAL CHAIRMAN’S DAY 2014

HISTORICAL JENNIFER FORD ARPS, 01234 881459

SUNDAY 9 NOVEMBER / 10.30&16.00

JENNYFORD2000(YAHOO.CO.UK

£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 Photographic Society Clubrooms, The Old Schoolhouse, Churchbridge, Oldbury, B69 2AS

ENGLISH HERITAGE PHOTOGRAPHIC ARCHIVE VISIT SATURDAY 20 SEPTEMBER / 10.30&16.00

Free; meet at 10.30am at entrance of The Engine House. Booking essential English Heritage Photographic Archives, The Engine House, Fire Fly Avenue, Swindon SN2 2EH Geoff Blackwell, 0114 266 8655, gblackwell@fastmail.fm

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

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

MEMORIES OF MYANMAR SUNDAY 21 SEPTEMBER / 10.30&16.00

The annual Combined Royal Colleges Lecture takes place on 20 November IMAGE: HORSE’S HEAD, PROFESSOR ANDERS PERSSON MD PHD

images in areas including dermatology, ophthalmology, maxillofacial surgery and medical education. The event is supported by the Wellcome Trust University of Westminster, 309 Regent Street, London W1B 2HW Dr Afzal Ansary ASIS FRPS, as above See page 542 for more

VISIT TO PARIS TUESDAY 11&FRIDAY 14 NOVEMBER

THURSDAY 20 NOVEMBER / 18.30&21.00

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

Free; Royal College of Obstetricians & Gynaecologists, 27 Sussex Place, Regent’s Park, London NW1 4RG Ticketed. For details see website Jo Macdonald, 01225 325721, jo@rps.org

DR TONY KAYE ASIS FRPS, 020 8420 6557 TONYKAYE(HOTMAIL.CO.UK

NATURE MEDICAL

FRIDAY 26&SUNDAY 28 SEPTEMBER

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

MARGARET JOHNSON LRPS, 01159 265893

IMAGES OF MYANMAR 2014

M.JOS(BTINTERNET.COM RYEWATER NURSERY

DR AFZAL ANSARY ASIS FRPS, 07970 403672

27 NOVEMBER&10 DECEMBER

AFZALANSARY(AOL.COM

IMAGES IN MEDICINE: A SYMPOSIUM FOR PRODUCERS AND USERS SATURDAY 18 OCTOBER / 09.30&16.30

£35 (non-members) £30 (RPS and IMI members) Clinical photographers and clinicians will discuss the production and use of

GO TO RPS.ORG/EVENTS FOR THE LATEST UPDATES

OVERSEAS CHAPTERS

AUSTRALIA Elaine Herbert ARPS, eherbert@alphalink. com.au BENELUX Stephen Johns, Steve_johns@me. com CANADA John Bradford, bradford@vaxxine. com CHINA BEIJING Yan Li, yanli88@yahoo.com CHINA SHANGTUF

WEEKEND IN CONWY Free; Conwy’s World Heritage Sites Conwy LL32 8AJ Allan Hartley ARPS, 01524 261173, HartleyAlmal@aol.com

THE COMBINED ROYAL COLLEGES LECTURE 2014

IMAGING SCIENCE

Discussion of recent trips, and more RPS Headquarters, Fenton House, 122, Wells Road, Bath John Cucksey, 01263 740415, cucksey@btinternet.com

Guo Jing, shangtuf@yahoo. com.cn CHINA QUANZHOU Xiaoling Wang, hgudsh@163.com GERMANY Tony Cutler LRPS, aec.flynn@tonline-de EXHIBITION “WEISS” SUNDAY 12 OCTOBER

&TUESDAY 2 DECEMBER / 10.00&16.00

Rathausgalerie der

574 / THE RPS JOURNAL / SEPTEMBER 2014 / VOL 154

TIM FLACH HQ SPONSORED LECTURE PLUS GRAHAM DUNN PEAK DISTRICT AND NORFOLK LANDSCAPE GUIDES 21 SEPTEMBER / 10.30&16.00

£1,750 Escorted photographic visit to Myanmar, Keith Pointon, as above VISUAL ART

£10; Radisson Park Inn, Mansfield Road, Nottingham NG2 2BT For details see East Midlands Regional Group

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

SW VA GROUP MEMBERS’ DAY

RPS members around the world Stadt Fröndenberg, Bahnhofstrasse 2, Fröndenberg/Ruhr, Germany, 58730 Siegfried Rubbert LRPS, Siegfried@Rubbert.de HONG KONG Wan Shan Sang 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 Ron McKie, ronmckie@paradise. net.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 | 575

COUNCIL REPORT JUNE 2014 SOCIETY FINANCE Treasurer Geoff Blackwell noted the current financial position was satisfactory.

A sum would be put on deposit with the Charities Aid Foundation.

MEMBERSHIP Membership stood at 11,110. A further discussion regarding recruitment of members initiated at the previous meeting was held. The Director-General offered to produce a CD of Society exhibitions and the Collection. Rod Wheelans would meet with Distinctions Manager Andy Moore to discuss producing a Distinctions CD to be used at camera clubs.

Membership Manager Simon Bibb said the membership attrition rate of 15 per cent is comparable with other membership organisations.

The lapsed member survey was continuing and questions asked would be amended.

GROUPS/REGIONS/ OVERSEAS CHAPTERS Advice had been received from solicitors Stone King regarding Group and Chapter publications. All material produced by volunteers for The Society should by licensed by the volunteer for use by The Society on the website, in publications and elsewhere. It was agreed that the Group (MP004) and Region (MP003) management procedures should be updated and that volunteers be asked to confirm their acceptance of these.

SUNDAY 14 SEPTEMBER / 10.30&16.00

£8/£5/£3 for group members Bring 10 of your own prints for discussion, or just come along The Dolphin Hotel, Station Road, Bovey Tracey TQ13 9AL Linda Wevill FRPS, linda.wevill@btinternet.com

AUTUMN WEEKEND IN BIRMINGHAM FRIDAY 3&MONDAY 6 OCTOBER / 18.00&10.00

More details available shortly Hilton Garden Inn, Brindly Place, 1 Brunswick Square, Birmingham B1 2HW David Wood ARPS, wood.david.j@virgin.net

Derek Birch reported that he would be writing to all the Chapter Organisers reconfirming their status and activities.

REGIONS MEETING DAY Vanessa Slawson reported that 10 Regional Organisers had confirmed their attendance, thus far. She would circulate a draft agenda to Council. Robert Albright and Geoff Blackwell had met to discuss regional boundaries, funding and programmes. They would use the day to explore their ideas with ROs. DOCUMENTATION Derek Birch introduced his draft annual report which he would circulate. The draft financial statement prepared by Geoff Blackwell would be added with new text relating to the change in The Society’s VAT status.

STAFF AND MANAGEMENT MATTERS The Director-General reported that he had attended the National Photography Symposium on behalf of The Society.

DISTINCTIONS Five direct Fellowships were approved. The nomination of the Fellowship of the Year panel was agreed. The criteria for exemptions were discussed. It was agreed that exemption would be given for Associateship for honours photography degrees at 1st, 2(i) and at 2(ii) provided the major project had received a 2(i).

Council reviewed and approved most of the updates in the ‘Introductions to Distinctions’

document including some of the changes of names of three Distinctions panels. Council would in July discuss proposed changes to the Visual Art Panel name with Roger Reynolds and Roy Robertson.

Andy Moore was asked to set up an autumn event with Ubicast Studio.

Derek Birch reported on the Distinctions Advisory Board meeting. Council confirmed it wished to continue receiving Distinction recommendations for approval.

EXHIBITIONS Lesley Goode gave an update on the status of The Society’s exhibitions. She had attended a meeting for the 2015 International Year of Light. Omni was quoting to upgrade The Society’s online competition websites based on the Exhibitions department’s requirements.

The Director-General reported he and Lesley Goode met Siemens to answer questions about The Society and the science exhibition.

A letter of intent regarding the sponsorship would be with The Society shortly, allowing it to recruit an exhibition coordinator.

EDUCATION, WORKSHOPS AND TRADE SHOWS Liz Williams provided an update on education activities. The workshop brochure would be published shortly. The Joan Wakelin bursary had attracted 51 entries. Robbie Ryan would judge the DepicT! award on the Society’s behalf.

LESLEY GOODE, EXHIBITIONS MANAGER

Society patronage has been granted to the following exhibitions and salons

FRI 24 OCTOBER&THUR 15 JANUARY / 10.00&16.00

40TH SMETHWICK INTERNATIONAL EXHIBITION OF PHOTOGRAPHY Closing date: 10 November spsinternationalexhibition.com

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

GLOBAL ARCTIC AWARDS Closing date: 20 November arcticawards.ru

VISUAL ART GROUP MEMBERS’ EXHIBITION

EXHIBITIONS

PATRONAGE

3RD WESTERN LIGURIA INTERNATIONAL CIRCUIT 4TH CERVO PRIZE; 29TH MALLARE PRIZE 17TH RANZI PRIZE 13TH SANREMO PRIZE 31ST TORRIA PRIZE Closing date: 6 October fotoponenteligure.it

David Cooke reported on a meeting with Willow DNA regarding online courses.

RPS JOURNAL Feedback from members had been circulated and the Director-General reported that members had mostly commented positively on the new design. There were some issues the publisher had been asked to address and the Journal would continue to evolve in the light of the feedback. Think Publishing would be invited to meet with Council in September.

WEBSITE The latest website statistics were circulated.

NATIONAL MEDIA MUSEUM The Director-General advised that the date of the next partnership meeting had been arranged for 14 August. A new exhibition based on the RPS Collection would be shown at Media Space, London, and in Bradford from December 2014. It would also be shown at the REM, Mannheim, in 2017. Both would be accompanied by publications. The UK exhibitions would be chances to promote The Society.

EXTERNAL ORGANISATIONS Copyright. The Director-General reported that statutory instruments would be laid before Parliament in October and effective from January 2015. These would deal with orphan works and extended collective licensing. A Journal article would be prepared about their implications for photographers.

01225 325720, LESLEY(RPS.ORG

MEMBER SHOWCASE Royal Photographic Society HQ, Bath SEPTEMBER

Regional Organisers OCTOBER

See the International Print Exhibition 157 in Aberystwyth IMAGE: SIAN DAVEY, BOY ON CLIFF

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

INTERNATIONAL IMAGES FOR SCIENCE EXHIBITION 24 SEPTEMBER&31 OCTOBER

Part of Gravity Fields Festival, Grantham 24-29 September gravityfields.co.uk Belton House & Grantham Museum

INTERNATIONAL PRINT 157 6 SEPTEMBER&8 NOVEMBER

Aberystwyth Arts Centre VOL 154 / SEPTEMBER 2014 / THE RPS JOURNAL / 575

THE RPS COLLECTION 576 | TIMES PAST | FROM

Photo-fiction

The Turkish Bath by Calum Colvin links photography and art, writes Brian Liddy

P

hotography is often sold as fact – newspapers offer images alongside headlines as proof of the journalist’s written word.

But Scottish photographer Calum Colvin (who was born in 1961) embraces the notion that photography is never objective or impartial and always offers a distinct point of view. The result, as seen in Colvin’s The Turkish Bath

(1986), is a heightened state of photographic fiction.

At first glance, The Turkish Bath looks like a painting, the artist having drawn inspiration from the 19th-century French painter Jean-AugusteDominique Ingres’ artwork of the same name.

On closer inspection we see that everything is not as it first appears. Colvin has juxtaposed disparate, everyday objects in

576 / THE RPS JOURNAL / SEPTEMBER 2014 / VOL 154

Calum Colvin (1961-)

the corner of his studio: a flaccid hot-water bottle is draped upon a mattress while, more surreally, glass eyes are hidden in a bunch of plastic flowers. Then there’s the dead mouse caught in a trap, and a book lying open at a chapter on sexual anomalies – not to mention the numerous art history references throughout.

All are then obscured by an overpainting of reclining nude female figures.

By playing with perception Colvin draws us in. The painted nudes can only be read when seen from the exact viewpoint of Colvin’s camera. Move to either side and the mattress and the hot-water bottle would begin to reassert themselves and become apparent to the viewer. But Colvin denies us this and forces us to adopt the only viewpoint from which the painted picture plane makes sense. We are reminded that photography, far from being a mere tool for passively documenting the world around us, is an art form as indebted to subjectivity as any.

There are 250,000 images in the Royal Photographic Society collection at the National Media Museum

ROYAL PHOTOGRAPHIC SOCIETY COLLECTION/NATIONAL MEDIA MUSEUM; ROBIN GILLANDERS

ON CLOSER INSPECTION WE SEE THAT EVERYTHING IS NOT AS IT FIRST APPEARS

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