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© Tim Kemple

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B IN FUTURE ISSUES Next month’s Journal will be dedicated to the Society’s awards. We reveal the winners and celebrate outstanding work in photography, science imaging, cinematography and more

ehind every magazine cover is a story – and this one goes far beyond the words and pictures you can find inside this issue of the Journal. It begins with a collaboration between two documentary photographers on an application for the RPS Environmental Awareness Bursary. After winning the bursary last year, friends and fellow graduates Hanna-Katrina Jedrosz and Carl Bigmore began a journey along the corridor of the former Iron Curtain, now part of an ecological network involving 24 countries. Their adventure is to continue as they show the results of their work at the annual Society awards next month. They hope to return to the border zone that became a sanctuary for endangered species and is now the European Green Belt. You can read of their inspirational journey on page 714. From emerging talent to a highly respected photographer and educator, Professor Paul Hill FRPS chooses his best shots on page 708. He began as a newspaper reporter but switched to telling stories in images long before journalists became ‘multiplatform content providers’. As an academic, he was a pioneering influence in the recognition of photography as an art.




Dougie Wallace, meanwhile, takes to the streets of London, New York, Tokyo and Milan for his latest project, Well Heeled. Peter Ross joins the photographer on his home turf to learn why he is fascinated by street life, from dogs to the super-rich. See page 700. Renowned for her series Women at War, the photographer and air force veteran Alison Baskerville explains her desire to explore the influence of gender in military and civilian life. Turn to page 718 to find out why she is championing Olive Edis, Britain’s first female official war photographer, in an exhibition of work by six artists who captured conflict. Finally, meet two photographers whose graceful images have impressed the Society’s Distinctions assessors. Enjoy the mesmerising images by Karen Jones LRPS and Stephen Hutchins ARPS from page 690. They might inspire you to take the first step to a Distinction of your own.




672 | SEPTEMBER 2017

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

© 2017 The Royal Photographic Society. All rights reserved. Every reasonable endeavour has been made to find and contact the copyright owners of the works included in this newspaper. However, if you believe a copyright work has been included without your permission, please contact the publishers. Views of contributors and advertisers do not necessarily reflect the policies of The Royal Photographic Society or those of the publishers. All material correct at time of going to press.

Circulation 11,374 (Jan-Dec 2016) ABC ISSN: 1468-8670

Cover The European Green Belt by Carl Bigmore and Hanna-Katrina Jedrosz

700 Dougie Wallace gives a cheeky peek at dogs and their owners in Well Heeled


PETER ROSS Street life &PAGE 700'

An award-winning journalist based in Glasgow, Ross contributes to publications including The Guardian and Scotland on Sunday. He is the author of The Passion of Harry Bingo (Sandstone Press) GEMMA PADLEY Beyond the boundaries &PAGE 708'


708 Harold Wilson, 1966, by Paul Hill FRPS

Padley is an editor and journalist who specialises in photography. Her clients have included LensCulture, Getty Images and Magnum Photos

708 | BEST SHOTS The life, times, images and insights of pioneering academic Dr Paul Hill FRPS 714 | GREEN SHOOTS RPS Environmental Awareness Bursary winners Hanna-Katrina Jedrosz and Carl Bigmore explore the route of the Iron Curtain


The author of 16 books and an award-winning photographer, Worobiec has exhibited in the Barbican Gallery, London, and the National Museum of Photography in Bradford


700 | WORD ON THE STREET Dougie Wallace shares the lowdown on Well Heeled, his study of pampered pooches

690 Leading crop by Karen Jones LRPS

718 | DRESS UNIFORM? Photographer and RAF veteran Alison Baskerville trains her lens on the issue of gender


EDITORIAL ENQUIRIES Editor Kathleen Morgan kathleen.morgan@thinkpublishing. 0141 375 0509 Deputy editor Alec Mackenzie Contributing editors David Clark, Fiona McKinlay, Jonathan McIntosh, Gavin Stoker Design Matthew Ball, Andrew Bell, John Pender Sub-editors Sam Bartlett, Andrew Littlefield Advertising sales Elizabeth Courtney elizabeth.courtney 0203 771 7208 Editor-in-chief Clare Harris Group account director John Innes


Alison Baskerville is to explore the theme of gender in her images of military life



725 | MUST TRY Gavin Stoker sees if he'd swap a smartphone for the Leica TL2 726 | LATEST KIT A range of new gear, plus we member test Fujifilm's X100F


729 | MASTERCLASS Tony Worobiec FRPS reveals his month-by-month tips for capturing landscape calendar shots

674 | BIG PICTURE Kiribati by Vlad Sokhin 677 | IN FOCUS Society news and views 688 | BOOKS Includes Firecrackers: Female Photographers Now 690 | DISTINCTIONS Karen Jones LRPS and Stephen Hutchins ARPS – fine art 748 | SHOWCASE Dennis Anguige FRPS exhibits his images at Fenton House

729 November by Tony Worobiec FRPS. Learn the secrets of the seasons in a three-page masterclass on capturing images for a landscape calendar

750 | TIMES PAST Dr Hugh Welch Diamond's work VOL 157 / SEPTEMBER 2017 / THE RPS JOURNAL / 673



Kiribati By Vlad Sokhin/Panos

Peia Kararaua, 16, swims in the flooded area of Aberao village in Kiribati, the world’s lowest-lying country. Kiribati has an average height above sea level of just two metres. During high tides many villages are deluged, making large parts of them uninhabitable. Vlad Sokhin, a Russian documentary photographer, shot this image as part of Warm Waters, an ongoing project begun in 2013. Warm Waters explores the effects of climate change on the environment and communities around the Pacific region. Sokhin became interested in social and environmental issues after moving to Australia in 2011. He has lived and worked in Russia, Portugal, Spain, Mozambique and Thailand, and is currently based in Dakar, Senegal. He says: ‘Global warming is not a distant reality for future generations, but a critical issue for which we must all take collective responsibility.’ An exhibition of work from Warm Waters is at the Visa pour l’Image photojournalism festival, Perpignan, France, until 17 September. Visit and VOL 157 / SEPTEMBER 2017 / THE RPS JOURNAL / 675


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DRONE’S EYE VIEW Society consulted on safety 678

NINETY!SECOND EPICS DepicT! short film competition 680

FRACTURED PHOTOGRAPHY Thomas Kellner’s cool cubism 682


Maintenance men checking the roofs at Salts Mill, Saltaire, 2017

FELLOW RETURNS TO MILL AFTER 30 YEARS Ian Beesley collaborates with poet as he retraces his steps Ian Beesley HonFRPS has returned to document Salts Mill in Saltaire, West Yorkshire, for a major exhibition opening on 8 September. Working with poet Ian McMillan, he has revisited locations he last photographed from 1985-86. At that time the mill was in use, but it closed soon


afterwards. Bought and renovated by entrepreneur Jonathan Silver, it is now a mix of retail and commercial units, and an art gallery. The majority of Beesley’s work has focused on the demise of industrial society and most of the buildings he has photographed have since been demolished. ‘To go back to a building 30 years later and find it a fantastic, vibrant, industrious


place has been really good,’ says Beesley, 63. From Salt to Silver, which features new and archive images, will be open daily until 17 September at Salts Mill, then weekends only until 29 October.

Beesley and McMillan will talk about their work on 10 September at 5pm. To book call 01274 531163. Visit

The weaving shed, 1986

Why not join this one-day workshop on Saturday 23 September at Society HQ, costing £63 for RPS members? For more information see page 746 VOL 157 / SEPTEMBER 2017 / THE RPS JOURNAL / 677

678 | IN FOCUS |

DRONE USE PLANS REVEALED Society welcomes response to advice on unmanned aerial vehicles The Society has taken part in a government consultation on the safe use of drones (unmanned aerial vehicles, or UAVs). Plans have been announced to bring in mandatory drone registration and competency tests for users of UAVs weighing 250g or more. The government said protecting the public is a priority and aims to introduce ‘geo fencing’, to prevent drones from entering areas such as airport spaces. ‘The RPS is pleased members’ views have been listened to and welcomes the government’s initial response,’ said Society chief executive Dr Michael Pritchard. Fergus Kennedy, a marine biologist, filmmaker and author, said: ‘The proposals should help minimise the sort of incidents that hit the headlines … The [few] people who might be tempted to fly recklessly will think twice.’ 678 / THE RPS JOURNAL / SEPTEMBER 2017 / VOL 157

Brighton Marina, above, and Cuckmere Valley, below, by Fergus Kennedy, author of Drone Photography and Video Masterclass

Confrontation by Alistair Cowan



A look back at some decisive moments

I TOP TALENTS AHOY The Society is showcasing images from photographers who received top marks for their work on the latest Open University/RPS online digital photography course. Find them in the album section of the RPS website. Registration closes on 5 October for the next session, which starts on 21 October. To register or to find out more information visit


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 Fenton House, 122 Wells Road, Bath BA2 3AH on Saturday 30 September at 10:15am. The business of the meeting will be: To receive the minutes of the 2016 annual general meeting as previously circulated To approve the trustees’ report and accounts for the year ended 31 December 2016 as previous circulated To authorise the Council of The Royal Photographic

Society of Great Britain to appoint and to agree a fee for the Society auditors To receive the results of the Society’s 2017 elections To approve revised by-laws and rules of the Society By order of the trustees. See the additional notice on page 736. The registered office of the Society is Fenton House, 122 Wells Road, Bath BA2 3AH. Note: The minutes of the 2016 AGM, together with the trustees’ report and accounts for 2016, are available as a download from the Society’s website. See NEXT ISSUE Watch out for the Society’s annual report inside the October edition of the Journal

t seems hard to believe that my two-year term as president of the Society is nearly over. In the main it has been exhilarating, although it would be also true to say there have been some rather interesting moments. Major events have included the moving of the Collection to the V&A; the Distinctions review and the governance review. The first item was unexpected and out of our control but the V&A has the funds to catalogue, digitise and display the RPS Collection for the benefit of the nation. The work is continuing apace, and their first photography festival takes place in autumn 2018. Distinctions are one of the most critical parts of the Society, and importantly the review confirmed that the process is well controlled, with standards being maintained, but it identified areas where improvements could be made. These have been actioned or will be effective from next year. The governance review was intended to see if our structure is still fit for purpose. Douglas May and his team did a splendid job. Perhaps the most significant proposal was that the Advisory Board, with more than 40 members, was not functioning as intended. It recommended that a representatives committee of around 15 members was more likely to be able to advise and counsel. All the review recommendations have been considered by

Council and, with some adjustments, have resulted in the changes to our by-laws and rules, on which you have already been asked to vote. Membership of the Society has increased during my term and our finances are at an all-time high. We are also considering a possible move to larger premises. I have been fortunate to have had a supportive vice-president and wellbalanced Council around me, unafraid of forthright discussions. Happily, a number are staying on to provide the continuity and experience that are so important to our long-term aspirations. The RPS staff too, ably led by Michael Pritchard, have done a splendid job for me, Council and the Society. As part of my role, I have really enjoyed meeting members, seeing their work and going to the events of our regions and special interest groups, illustrating the breadth of interests the Society encourages. Looking back – much achieved, but much more to do. WALTER BENZIE HonFRPS President of The Royal Photographic Society



A PHOTOGRAPHER IN TRANSITION Landscape photographer Paul Gallagher ARPS will give a talk about his work, titled ‘Transitions’, at Old Basing Village Hall, Basingstoke. He will focus on his 25-year use of large-format film cameras

See it one of the Society’s largest regions, and offers a busy programme of events, including lectures and field trips. See southern

DepicT! judge Seamus McGarvey


Competition judge and Lumière Award-winner Seamus McGarvey What are the challenges of making a 90-second film? You’ve got a minute and a half to tell a story or convey an idea in a cinematographic way, which is a real challenge. You have to tell it with economy of style and directorial, pictorial and editorial eloquence. What do you like about this format? What I love is that you can’t take your eyes off it. In longer formats, the viewer’s attention can drift. As a filmmaker, making something in 90 seconds is exciting because you know you have the rapt attention of the viewer. What will you look for in the entries? I think originality is key, but it’s a total open book and there are no rules here. I’m very excited to see how people respond to it and how they’ve let their imaginations loose. The diversity of approaches will be a joy to witness.


SOUTHERN REGION The Southern Region covers Hampshire, Dorset, parts of West Sussex, Berkshire, Wiltshire and Surrey, plus the Isle of Wight and the Channel Islands. It has more than 1,000 members, making

to produce black-and-white work, and his decision to make the transition to digital equipment and colour printing. The talk takes place on 5 November from 11am to 3pm and is organised by the Southern Region.

The best entries in the 2017 DepicT! Short Film Competition, organised by the Watershed media centre in Bristol and supported by the Society, will be announced at the awards ceremony on 23 September. Films entered have to be no more than 90 seconds long, and prizes include the main DepicT! award of £1,500 and the RPS Cinematography Award of £1,000. This year’s judging panel includes Seamus McGarvey, below, winner in 2004 of the Society’s Lumière Award for contributions to the art of cinematography. In his 30-year career McGarvey has worked on a number of major film projects including Atonement (2007) and Anna Karenina (2012). He received Academy Award nominations for both films.


IN FOCUS | 681

365 TIME OF WORK By Htet Aung The umbrella industry of Pathein, the capital of the Ayeyarwady Division of Myanmar’s delta region, is renowned worldwide. Established in

the city more than 100 years ago, the first Pathein umbrellas were made of paper and the industry has attracted visitors seeking these unusual souvenirs ever since. This image of a



Submit photographs for the next competition at rps–

man making a large umbrella in a Pathein workshop was taken using a Sony a7R coupled with a Sony FE 24-70mm f/4 ZA OSS lens, using the camera setting f/13 at 1/30sec and ISO 400.

BISMUTH CUBED By Richard Beech This is a macro photograph of the underside of a cube of laboratory-grown bismuth crystal. I captured it as part of my studies on the RPS and

Open University certificate in digital photography after being attracted to its bold shapes and colours. I took the shot on a Canon 5D MkIII coupled with a Sigma 150mm f/2.8

macro lens and used a Canon Speedlite 580EX II flashgun to bring out the crystal’s iridescent colours, which are caused by a thin oxide layer on the crystalline metal’s surface. BRIDGE By Paul Allison This photo of the Humber Bridge was taken on a December morning using a Nikon D3300 and Tamron 18-200mm lens set at a focal length of 18mm, aperture of f/11 and shutter speed of 1/640sec. My aim was to capture the enormous manmade structure dreamily disappearing into the horizon directly opposite the viewer while maintaining a sense of realism with the pebble beach and Humber in the foreground.


682 | IN FOCUS |


In 1983, Side Gallery commissioned Bruce Rae to document the shipbuilding industry on Tyneside, which was in the process of closing down. These black-and-white images record the workers employed in the different trades that were once part of a thriving industry.


German photo-artist Thomas Kellner has been creating his distinctive ‘deconstructions’ of famous

buildings and monuments around the world since the late 1990s. Carefully planning each frame, he shoots sections of his subjects on one or more rolls of 35mm film. The structure is then imaginatively reassembled on the resulting ‘multiple perspective’ contact sheet,

which becomes his final image. This selection of Kellner’s work includes his interpretations of locations such as the Houses of Parliament, the Eiffel Tower and Stonehenge.


After a 20-year career as an advertising photographer Lord Charles March turned to abstract and experimental landscape work in 2002. This is an exhibition of his seascapes, made over a four-year period and created using intentional camera movement during exposure. ALSO SHOWING

Impressions Gallery, Bradford Until 23 September MORE REAL THAN LIFE: 19th CENTURY PORTRAIT PHOTOGRAPHY The Barber Institute of Fine Arts, Birmingham UNTIL 24 SEPTEMBER

This exhibition explores early photographic studio portraiture and the role played by sitters. It considers how techniques, costumes and studio props enabled public figures to fashion and promote their own identities. It is curated in partnership with the National Portrait Gallery.


Affecting Change examines ‘how real change is made today and what role photography has in that process’. The five young artists featured – Yetunde Adebiyi, Danny Ryder, Libbi Groves, Jane MacNeil and Matty Lambert – have each documented community organisations driving positive change.



This touring exhibition of 57 winning and shortlisted images from the 2016 competition celebrates contemporary portrait photography from around the world. It encompasses a range of approaches, and features both formal commissioned portraits, and spontaneous and intimate personal work.

Perfect Chemistry: Photographs by Hill and Adamson

Scottish National Portrait Gallery, Edinburgh Until 1 October Gregory Crewdson: Cathedral of the Pines

The Photographers’ Gallery, London Until 8 October

Shadows of War: Roger Fenton’s Photographs of the Crimea, 1855

Queen’s Gallery, Palace of Holyroodhouse, Edinburgh Until 26 November


Field Work: Ten Years of Photography by Liza Dracup

Revisit the birth of photography through virtual Add atsome reality Lacockcolour Abbey to

your weekend this autumn at Gibside

16 September - 29 October Thresholds, a new virtual reality (VR) artwork by internationally acclaimed artist Mat Collishaw is being installed at Lacock Abbey this autumn. Using the latest technology, Collishaw is restaging Foxa forest Go crunching through fallen leaves and discover teeming with wildlife and autumn colours, with walking Talbot's pioneering 1839 exhibition of routes for all ages and abilities. photography. Booking is essential. Call 01249 730510 for details When you visit, donate, volunteer or join the National Trust, your

helps us to look 2017. after special ©support National Trust Theplaces <in the region> <like property X, Trust propertyis Y and Z> in for ever, for everyone. National anProeprty independent registered charity, © National Trust 2016. The Nationalnumber Trust is an independent registered charity, number 205846. Photography © National Trust 205846. Photography © National #nationaltrust Images. #nationaltrust Trust Images\Richard Eaton.

Calling the adventurer within... Join one of our new India routes built around sunrise & sunset for photography enthusiasts: 19 Sep – 3 Oct 2017

Amritsar & Himachal Pradesh

From The Golden Temple, to Chandratal lake, ancient Buddhist monasteries, mountain villages, cold desert terrain and the lush valleys of Kinnaur

7 Oct – 18 Oct 2017

Kolkata & Darjeeling

From Kolkata’s architecture, markets and pottery district, to Darjeeling’s tea estates, Buddhist temples, Himalayan villages and mountain vistas

22 Oct – 5 Nov 2017

Rajasthan, Taj & Varanasi

From Udaipur (Venice of India), to Jodhpur (blue city), Pushkar Camel Fair, Taj Mahal, Jaipur (pink city) and Varanasi (Dev Diwali light festival)

11 Nov – 24 Nov 2017 Tamil Nadu

From Chennai’s fishing ports to bird sanctuaries, silk weaving villages, rice fields, ornate Hindu temples, French architecture and salt flats

30 Nov – 14 Dec 2017 Assam & Hornbill Festival

From Meghalaya’s waterfalls and root bridges, to Assam’s Majuli island and rhino safari, to the heady tribal extravaganza of Nagaland’s Hornbill Festival

30 Dec – 13 Jan 2018 Kerala & Hampi

From New year in Kerala, the Kochi carnival, fishing ports, wildlife safari, Nilgiri villages and tea estates, to the ancient ruins of Hampi

View full itineraries at £100 discount code: RPHP817

684 | IN FOCUS


Dr Lilian Hobbs LRPS will give a talk titled ‘Night sky photography first steps’ as part of the Exmoor Dark Skies Festival 2017. Her talk will include advice on capturing shooting star trails, and is on 19 October at 10:30am in Dulverton Town Hall. Tickets are £5. For more information see


Honorary fellow Stephen Dalton unveils new book of species found in woodland near his home

Acclaimed nature photographer Stephen Dalton HonFRPS publishes his 15th book, My Wood, on 7 September. He is best known for breaking new ground in the 1970s when he became the first person to make sharp and detailed images of insects in flight.

His new images have been taken in Rookery Wood, an eight-acre broadleaf woodland near his Sussex home, which he bought in 1998. Through careful management he and his wife, Liz, have encouraged a great diversity of species to

flourish there, despite the general decline in wildlife species in recent decades. ‘The book definitely has a positive message,’ Dalton says. My Wood will be published by Merlin Unwin Books, priced £14.99


At its meeting on 25 July the Society’s Council approved the appointment of Ray Spence FRPS as acting chair of the Distinctions Advisory Board, until the end of the board’s current term on 31 December. The chair and members of the 2018-2020 DAB will be announced later this year, once they have been approved by the new council.


Grahame Soden_RPS_July_17.indd 1


15/06/2017 12:29


ARPS Exemptions, June Scuola Romana, Italy Rachel Berthiaume Gianni Caratelli Marta Chiappalupi Francesca D’Anversa Valentina Gai Gaetano Davide Latisole Matteo Natalucci Karin Pfaender Chiara Terri Carlotta Valente Accredited Senior Imaging Scientist and FRPS Dr Kevin Howell, Bedfordshire Accredited Senior in Imaging in the Creative Industries and FRPS Martin Keene, Surrey A figwort sawfly as captured by Stephen Dalton HonFRPS

A toadlet rests on a floating foxglove flower



Art meets anatomy in Combined Royal Colleges Lecture

Discover how clinical images help with forensic identification and recreating faces from the past as Professor Caroline Wilkinson delivers the prestigious Combined Royal Colleges Lecture 2017. Professor Wilkinson is director of Face Lab – a research group based at Liverpool John Moores University – and Liverpool

School of Art and Design. The lecture is at 6:30pm on 23 November at the Royal College Saint Nicholas of Obstetricians as recreated and by Face Lab Gynaecologists, London. Tickets are £5/£3.

To book online visit

Fellowships, June Eion Johnston, Edinburgh Suzanne Trower, Jersey James Mann (Direct Fellowship), Dorset LRPS, July Clifford Armstrong, Warwickshire Thomas Bailey, Birmingham Paul Berkeley, Hampshire Barbara Bogacka, Northumberland Colin Bryce, Scotland Annette Denny, East Sussex John Foster, London Kieran Green, Essex Philip Haith, Lincolnshire Debra Hopton, Gloucester Pamela Jones, Avon Dave Kiddle, Hampshire Andrew Knight, Cornwall Duncan Harold Locke, Worcestershire James Mahon, Co Kildare Fiona McCowan, Gloucestershire Kirsten Peake, Devon Keith Roberts, Warwickshire Amitava Roy, Essex Andrew Sharpe, Kent Eric Wallbank, Dorset Eric Williams, Worcestershire David A’Herne, Mid Glamorgan

Penry Archer, Cornwall Linda Duncalf, Cumbria Julie Francis, Hampshire Bijendra Gurung, Hampshire Michael Hearn, Buckinghamshire Karen Jones, Bucks Wendy Kennett, Kent Hei Yin Lam, Hong Kong Geoff Lambert, Hampshire Colin Mahoney, Hertfordshire Edward McCavana, Co Down Trevor Morecraft, Hampshire Fiona Quarterman, Cheshire Sanjoy Sengupta, India Vudhikrai Sovannakran, Thailand Lee Sutton, Lancashire Peter Swan-Durham, Avon LRPS Exemptions, July Stephen Dunn, Scotland Laurence Pang, Essex Ellen Pritchard, Lincolnshire Rebekah Smith, Ireland Gaby Smithson, Lincolnshire LRPS Referrals, June Lowie Bingham, Essex LRPS Referrals, July Anthony Woods, Worcestershire Michael Herrmann, Dorset Michael Moore, Norfolk Sarah Frost, Cornwall ARPS Exemptions, July Liam Beattie, Carlow Robert Brittle, Burton-on-Trent Jagdish Patel, Nottingham ARPS Exemptions, August Susann Bigglestone, Wiltshire Frank Browne, Cheshire David John Harding, Stoke-on-Trent Stephen Le Grys, Essex Becky Winter, Worcestershire


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Maritiem Museum, Rotterdam, by Kim Bybjerg


MEMBERS’ COMPETITION Want your image featured on the 2018 membership card? Then enter five photographs to the members’ competition before 30 September. Images should be 1,020 x 630 pixels in landscape format, uploaded as JPEG files in sRGB colour space. To enter you need to register for a 365 competition account. Visit


Society project inspires exhibition of almost 3,000 images A call for photographers to document every street within the Rotterdam ring road has resulted in an exhibition of 2,809 photos to be shown in the city. Rockin’ Rotterdam, showing from 10-30 October, follows a

six-month project organised by the RPS Benelux Chapter. More than 100 photographers submitted over 4,000 street scenes of the Netherlands’ second largest city. Janet Haines ARPS,

who coordinated the project, said: ‘In the words of one contributor, this is the city of the future – modern, vibrant but never forgetting its past.’ For more information visit

PHOTOGRAPHY FESTIVAL LAUNCHES Welsh town hosts inaugural event


The Welsh holiday resort of Colwyn Bay is to be transformed into an art gallery as it hosts a new photography festival. Speakers at the inaugural Northern Eye International

Photography Festival will include Eamonn McCabe Hon FRPS, former picture editor of The Guardian. The festival, from 14-15 October, will also feature an exhibition of work by Brian David Stevens, who has documented Grenfell Tower every day since

HISTORY COURSE AT V!A A course on the history of photography will take place at London’s Victoria and Albert Museum from 3 October-14 November. It is led by the museum’s senior curator of photographs, Martin Barnes, and curator of photographs Susanna Brown. Book a place at history-of-photography-2017

fire devastated the London flats on 14 June. Stevens said: ‘No matter how many times I went back, each time I saw the burnt-out husk of Grenfell Tower it utterly floored me.’ For more information visit

ONLINE WEATHER COURSE STARTS THIS MONTH A free online course, Learn About Weather, developed by the Met Office with the University of Exeter, starts on 11 September. It features advice from Society experts on how weather influences images. See courses/learn-about-weather

Grenfell Tower, London, by Brian David Stevens


688 | BOOKS | AFGHANISTAN Steve McCurry Taschen (£59.99) McCurry’s long relationship with Afghanistan began when he entered the country in 1979 after the Soviet invasion and he has documented it many times since. Afghanistan is the Honorary Fellow’s personal portrait of this war-torn country and its longsuffering people. It features his searching portraits (although not the overfamiliar Afghan Girl) and extraordinary battle-scarred landscapes. The book’s only text is the title and a brief dedication. The images speak for themselves.

An image from the Bees project (2010-2012) by Chen Zhe


Gender remains very much a live issue, as this work illustrates


FIRECRACKERS: FEMALE PHOTOGRAPHERS NOW Fiona Rogers & Max Houghton Thames & Hudson (£29.95) Although there are arguably more women photographers than ever before, the profession remains overwhelmingly male-dominated. Frustrated with the situation, in 2011 Fiona Rogers founded, a platform with the aim of encouraging, promoting and supporting women in photography. This book, co-written with academic and writer Max Houghton, is an extension of Rogers’ online work. Billed as ‘a celebration of some of the most inquisitive, intelligent and daring photography being created now,’ it showcases more than 30 young female contemporary fine-art photographers. The book is divided into sections on each individual photographer, with a brief overview of their output followed by a selection of images, almost always from a single body of work. The book has a truly international flavour and features women from a diverse range of countries and cultural backgrounds. Established photographers such as Anastasia Taylor-Lind and Chloe Dewe 688 / THE RPS JOURNAL / SEPTEMBER 2017 / VOL 156

Mathews, winner of the Society’s Vic Odden Award, are featured alongside younger artists who have emerged more recently. The book encompasses a diverse range of styles and approaches, from staged conceptual work to journalistic images. Haley Morris-Cafiero’s series of self-portraits draws attention to others’ reactions to her appearance; Jill Quigley stages ‘artistic interventions’ in abandoned cottages in Ireland, while Poulomi Basu photographs the mothers of Isis’s foreign fighters. Issues addressed include racial and gender stereotypes, self-harm, body image and genocide. Choosing which contemporary female fine-art photographers to feature in the book was inevitably subjective and a number of those worthy of inclusion are absent. More broadly, the book’s focus also omits a wide range of female photographers working in more mainstream genres. But the authors’ stated aim of highlighting ‘the contemporary, the best or the surprising’ has undoubtedly resulted in an intriguing, varied and thoughtprovoking book.

PITTSBURGH 1950 Elliott Erwitt Gost (£45) When aged just 22, Elliott Erwitt HonFRPS was commissioned by Roy Stryker to photograph the people and urban landscapes of the industrial city of Pittsburgh. He abandoned this work when drafted into the US Army and most of the images have never been published or exhibited until now. It’s a fascinating collection of work in which the young Erwitt’s trademark witty and perceptive style was already beginning to emerge. MOTHER Matthew Finn Dewi Lewis (£30) Matthew Finn photographed his mother, Jean, in her Leeds home over a 30-year period from 1987. He says she gradually became as much a director of the photographs as a subject. His book records everyday moments in Jean’s journey from middle to old age and the early stages of dementia; she’s shown washing up, drinking tea, smoking cigarettes. It’s a touching and highly personal collection of images reflecting a close mother-son relationship.

Refocus your attention

Image credit: Johnny Mobasher Our Revolution is to expose the BEST for free. To inspire & educate. If you have outstanding street photography, street-portraits, street art-photography, street-documentary or have something impressive to say about the past, present or the future of street photography, then we'd like to hear from you. Visit the new website to discover more.


Distinctions are standards of achievement recognised throughout the world

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


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

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



On reflection ABOVE

Leading crop

Iâ&#x20AC;&#x2122;m an experienced amateur photographer living in beautiful Buckinghamshire countryside. I took up photography seriously in 2008, and my love and knowledge of horses was a natural way for me to focus my early work. This was soon followed by model photography using the natural environment in and around my home. I have attended several workshops and group shoots, which I feel have helped me develop my passion and talent. This has brought me into contact with first-class photographers, some of whom have become good friends and mentors. I describe my style as appropriate and graceful, although I do not specialise in any particular genre of photography. This set of images represents what I consider a range of photographic skills, from slow and fast shutter speeds to shallow depth of field. VOL 157 / SEPTEMBER 2017 / THE RPS JOURNAL / 691






In the shadows

Velvet cascade


Predator in the sky

I feel it is important to establish the fundamental skills and gain a good knowledge of your cameraâ&#x20AC;&#x2122;s abilities in order to achieve images such as these. These photographs also demonstrate a variety of my interests. Some were taken in my local area, a few further afield and one as far away as Crete. They were all shot outdoors using only natural light in an attempt to keep the range of images as uniform as possible. Although these images were the final selection, I had prepared a few others that I was pleased with. After careful consideration I felt these final 10 showed the VOL 157 / SEPTEMBER 2017 / THE RPS JOURNAL / 693


best visual harmony while maintaining the photographic skills required. Aspects of my submission were rooted in the love of my rural surroundings, giving me inspiration to capture the beauty of subjects, both looking straight ahead and up. In some of the photographs I feel I managed to achieve a feminine touch, adding grace to the subject. To keep the content varied, I added some straight lines of architecture and purposeful use of shadows. Deciding to shoot all the images outdoors set the challenge of constantly changing conditions, which pushed my creative limits. I knew that using only natural light would mean dealing with the harsh contrasts of bright days, with not enough light on dull days and shadows in the wrong place. There were lots of days when conditions werenâ&#x20AC;&#x2122;t right for the subject in mind, leading to frustration, but ultimately perseverance paid off. The majority of the images were specifically taken for my portfolio submission over a period of around seven months. However, I shot three of them more than two years ago and selected these to enhance the layout once I had decided on the hanging plan. Most were shot using the camera hand-held. For image No.8 the camera was tripod mounted for the very slow shutter, and I used an ND filter to keep out some of the light while the shutter was open. Image No.10 was also tripod mounted to keep the framing and camera steady in order to freeze the movement of fabric and the subject. Here, I also used a higher ISO due to the poor light conditions and needed a fast shutter. For images No.2 and No.9 I used the panning technique. The advice I would give to photographers wanting to succeed is keep an open mind, ensure that your portfolio is varied and prepare content that will appeal to a broad audience.



Tunnel vision




PAUL REYNOLDS ARPS Licentiate panel chair People often ask if it’s possible to produce a successful portfolio of purely monochrome images, and Karen perfectly demonstrates that it is. First impressions of a portfolio are always important and, while it is unusual to see a purely monochrome print portfolio with such a wide variety of

subject matter, the layout and presentation were well thought through. The portfolio shows that Karen can capture a wide range of subjects. What struck me most was the stunning print quality of each of the images, with a beautifully consistent tonal range across the entire set. The composition of the individual images is strong and each demonstrates evidence of Karen’s personal input. I particularly like


Jet stream ABOVE RIGHT

Early riser

the use of strong shadows across the woman’s figure in image No.1 and the unusual but striking composition of image No.7. While the photographs are strong individually, they also work as a cohesive set, which is vital when producing a Licentiate portfolio. After enjoying such a highquality and well-thought-out portfolio of images it was my pleasure to announce that Karen would be recommended for the Licentiate Distinction.


‘What struck me was the stunning print quality, with a beautifully consistent tonal range across the entire portfolio’



Stephen Hutchins ARPS – FINE ART

I am retired and divide my time between Brussels and Sweden. I have always loved the cold, ice and snow, especially when the weather is hard and unyielding. Over the years I have turned more and more to the north for inspiration, seeking out the harshness of winter. The RPS Distinctions process provided me with an entirely new direction and challenge. It has rekindled my love of photography and has given me the confidence to slow down, reflect on my goals and look 696 / THE RPS JOURNAL / SEPTEMBER 2017 / VOL 157

more deeply into the photographic process. I am increasingly using mediumformat film, as its character and foibles capture the experience of the moment in a way that the perfection of digital imagery cannot match. The portfolio presents, in black and white, the changing light, and the beauty and emptiness of the northern lands. It portrays the stillness and savagery of this fragile environment; contrasting the fluid, organic patterns the wind has carved in the snow and ice with the hard lines of man-made structures imposed upon the landscape. I wanted to create a record of a time and a place that might,

within a few years, be irredeemably altered, thanks to the greed and stupidity of mankind. I also wanted to share my images with other photographers in the hope of learning how to improve through feedback and criticism, and to share the emotions that the images raised in me. The selection of the portfolio was the first time I had really tried to create a story, rather than focusing on the individual image. The process of developing and printing the


images to the extremely high standards required imposed a significant learning process that allowed me to develop new competencies in this area. It took my whole life to reach the point where I felt ready to share these images, and months to select, prepare and present them. I aimed to present a series of images that would draw the viewer into an environment of

great beauty and menace. This is a world where there is no margin of error, and human interests and concerns carry no weight. Its scale and emptiness can leave you feeling naked and alone while opening you to new ways of seeing the world. My advice to ARPS hopefuls is to find a story in which you believe and that you want passionately to share.


Mountains against a darkening sky, NW Svalbard


Shipâ&#x20AC;&#x2122;s wake through young ice, Svalbard


Winter storm, Arnarstapi, Iceland



STATEMENT OF INTENT This portfolio is a tribute to, and a memory of, winter in the far north in and around Iceland and Svalbard during a series of visits. This is a region and time of year that both attract and intimidate, with a stark beauty utterly indifferent to human existence and concerns. The portfolio aims to capture both the endless silence of the ice and the menace and violence of

the winter storms. The wind draws fluid, organic patterns in the snow which contrast with the hard lines of the man-made structures where these have been imposed upon the landscape. The images are in monochrome to emphasise the wildness of the environment and the natural balance between the white of the snow and the darkness of the skies and waters.


‘Monochrome emphasises the wildness of the environment …’



PETER PATERSON FRPS Chair of the fine art panel This is an excellent portfolio of images showing the winter landscape in its bleakest and wild states, the use of monochrome accentuating the wintry feeling with a couple of the images taken in almost a whiteout situation. The author has also managed to capture some of the quieter moments in the weather, with

wonderful dappled light on the snow-covered mountains. This is mixed with the influence of man on the landscape with fences, huts and the channel carved out in the ice. The portfolio showed an understanding of the landscape, with a distinctive style, good composition and the way light and shade play an important part in the final images. This portfolio was well deserving of the Associate Distinction.





Advancing storm on mountains in Magdalenefjord, Svalbard

Snow plains under early-morning light, Ny-Ålesund, Svalbard


Airship mast with storm approaching, driven snow, Ny-Ålesund, Svalbard



STREET LIFE ity in lurid detail, an m u h s se o p ex e H wealth to hen from Knightsbridge ce has sniffed la al W e gi u o D ow N parties. nd, finds Peter Ross out manâ&#x20AC;&#x2122;s best frie



just take pictures,’ says Dougie Wallace, ‘of fast cars, rich women and dugs.’ That ‘dugs’ is important. Despite 17 years in London, Wallace’s west of Scotland accent has retained its purebred strength, and in any case he does not photograph ‘dogs’, which would suggest rather academic, static, bestin-show portraits of Cruftsish animals. He very much photographs ‘dugs’ – yappy, scrappy, wild-eyed, wet-nosed individuals in all their paws-on-thepavement glory. He is obsessive in his pursuit of these creatures. ‘I’ll dae anything tae get the dugs. I’ve never shot one picture that isnae a dug for the last six months. I only dae dugs.’ Wallace, who is 42, has in a short time


built a considerable international reputation. He has been profiled in The New Yorker, The New York Times, and French Cosmopolitan, the latter detecting in his pictures of Blackpool stag and hen parties an interest in ‘alcool, sexe et humiliation’. Last year, his Harrodsburg series – images of vulgar, blinged-up wealth on the streets of Knightsbridge – won a Magnum award and was the subject of a BBC Four documentary. The first shot of the programme set the tone and established his philosophy: Wallace, rising naked from bed, reaches for a pork pie hat and plonks it on, while opining, in voiceover, ‘You don’t take your best pictures in the studio. You do them in the streets. The rest is bullshit, and you know it.’ We meet in a private members club in Shoreditch, the part of London’s east

end that has become synonymous with ‘hipsters’ – well-off young or young-atheart people affecting an extravagantly bohemian image and lifestyle. Wallace, despite his loudly patterned shirt and straw hat, despite his gym-toned whippet physique, is not quite a hipster. He has too much authenticity about him, too much depth to his talent. He does not seem the private club type, and it is a relief to learn that he gets his money’s worth for his membership fees by making off with as many free apples and newspapers as he can. You can take the boy out of Paisley, but not Paisley out of the boy. Paisley is where he grew up, an only child with a pet cocker spaniel. He often tells journalists he is from Glasgow, but that is not true. It’s a sort of handy media shorthand for a working-class



upbringing, a certain way of looking at the world, and it allows him to use the pseudonym Glasweegee, which suits his taste for puns and – I’d suggest – his ego. So, Paisley: a large town a few miles west of Glasgow, with a history of industry and political radicalism, more often associated these days with pockets of considerable deprivation, and in contention to be UK City of Culture 2021. Wallace has an exhibition of his Harrodsburg photos at Paisley Museum. It will be interesting to see how images of such flaunted wealth go down in a town without much wealth to flaunt. ‘I don’t have a chip on my shoulder, but I didn’t come from money,’ Wallace says. Photography, or anything artistic like that, was by no means written in the stars. At 18, he joined the army, and served for four years. ‘The Argyll and


Sutherland Highlanders. It was all the rascals from comprehensives in Glasgow and Greenock and Paisley in the one regiment.’ Why did he join? ‘It kind of saved me a bit, y’know?’ Meaning? ‘Dunno. I don’t know what kind of trouble I’d have been up to.’ He shrugs this off, moves on. Wallace seems ill at ease talking about himself. It winds him up when journalists misunderstand or get things wrong about his work, but he either can’t or won’t explain himself properly. He keeps disappearing off to puff on his vape, leaving me to flick through pictures of dogs – sorry, dugs – on his phone. In conversation, he leaps around, never settles. Sentences are left hanging, like Wile E Coyote running off a cliff, legs churning the air. VOL 157 / SEPTEMBER 2017 / THE RPS JOURNAL / 703



He has a horror of seeming pretentious. What Wallace depicts, very often, is the couple of seconds between people realising they are being photographed and having time to compose themselves. So what we see is their reaction to him and his camera; their recoil from the click and flash. He is very much in the faces of his subjects; ‘I’m not a photographic ninja, hiding away like Cartier-Bresson.’ I ask him what he finds interesting about that moment of provocation, and this is what he says: ‘You can go into a lot of bullshit about the mask not being on, but you’re better getting away from all that. Normal people like my pictures.’ Well Heeled is his name for the dog series. It will be published under that title later this year. He has photographed the animals in London, New York, Milan and Tokyo. Another set of dog pictures, which he considers separate, is the result of six weeks living in a beach hut in Goa, photographing strays. The city dogs are mostly the pets of wealthy owners, humans who appear in partial and suggestive form: a bejewelled cleavage pressed against a chihuahua; three poodles in a Ferrari; all manner of toy breeds trotting along beside glimpsed Pradas and Jimmy Choos. These dogs appear to be accessories of sorts, status symbols whisked around in big handbags, primped, pampered and Instagrammable. But Wallace subverts that with his love of lolling tongues, rheumy eyes, slavering jaws, meaty mouths. ‘You can tell a good dug picture when you can smell the dug off it,’ he says. He gets so close to the animals, nose-


PROFILE DOUGIE WALLACE Recognised for his social documentary and distinctive style of street photography, Wallace won the inaugural Magnum Photograpy

Award 2016 for his project Harrodsburg. He was part of the selection panel for the RPS International Print Exhibition 159

to-muzzle, and winds them up into such a pitch of tail-wagging, slobbery excitement that one fears for his safety. ‘I’ve never been bit,’ he says with some pride, then reconsiders. ‘Well, there was one on the Bethnal Green Road, man. One of those devil dogs.’ It strained at its lead, trying to get at him. ‘I got a fright. The owner looked a kind of junkie, but lucky he kept hold of it.’ Nevertheless, he likes working with dogs because, unlike the humans he encounters, they don’t chase him down the street asking him to delete the pictures he has just taken. That happened a lot with his Harrodsburg images, which tap into concerns about super-rich foreign buyers snapping up property, pricing out Londoners. The city’s flashy new monied classes are acquisitive; they buy and consume. Wallace, turning the tables, took something from them without permission – their image – and they weren’t always happy about it. The dogs series is a way of covering the same sort of territory, society’s wealthiest one per cent, but obliquely. ‘The dugs,’ as he says, ‘isnae just aboot dugs.’ So what is it about? ‘Twenty years ago, if somebody dressed their pet up and carried it aboot in a handbag they would have been some batty old woman. Now they get carried about, pushed around in prams. These dugs get treated better than probably 90 per cent of the people on the planet.’ This is as close as Wallace comes to making an explicit political point. He admits to being ‘left-leaning’, and that his photographs are ‘social comment’, but says: ‘I try not to be an activist.’ VOL 157 / SEPTEMBER 2017 / THE RPS JOURNAL / 705


Asked whether in his Harrodsburg and Well Heeled pictures he is being critical of the people he photographs, whether he is making a point about absurd wealth, he replies: ‘No. I’m just saying: “This is what we’re daein noo wi’ dugs.”’ In other words, the picture is the picture. He doesn’t mind what you read into it, but he isn’t going to give you the answer, possibly because he doesn’t quite know himself. ‘It’s nothing your mum or the man on the street wouldn’t understand. It is what it is.’ Does he deliberately make people appear ugly? ‘No. I want them to look nice and expressive.’ What about the racial aspect? Harrods is owned by the state of Qatar, and both the store and surrounding area are popular with Qataris. According to a story in the Doha News, Wallace’s photographs have been condemned online as ‘perverted’ and ‘disgusting’, while others have suggested that he should be taken to court for invading the privacy of shoppers. ‘May God curse him,’ said another. I ask Wallace: ‘Are your pictures racist?’ ‘No,’ he replies. ‘All I can say is that it’s a snapshot of Knightsbridge over two years.’ What about the public reaction? ‘A lot of them, especially the Arab women, say: “In my country, I’d take your 706 / THE RPS JOURNAL / SEPTEMBER 2017 / VOL 157


In the project Harrodsburg, Dougie Wallace explores in typically gaudy detail the territory of the superaffluent within the district of Knightsbridge, London

camera.” But you need to explain to them: “Well, this is not your country.”’ He brings up an incident in the BBC Four documentary in which a young woman, pulling an Islamic headscarf across her face, follows him down the street, saying, angrily, that she will call the police. He shrugs this off. ‘The main thing is that I got her picture. You can see her shouting through the veil.’ This, it seems to me, is Wallace’s main motivation, above any social or political considerations: a magpie desire to get the picture, to make the shiny things his own. Outside the club, following the interview, he’s showing me the way to the nearest tube when, out of the corner of his eye, he catches sight of a dog – a dug! – trotting across a zebra crossing. It’s a white chihuahua; the owner, a young woman, has long tanned legs ending in white Converse high-tops. I can feel Wallace tense, like a foxhound scenting its quarry, as he sees the picture. ‘I could have got it,’ he says, somewhat ruefully, as dog and owner round the corner and are gone. Ach, well, there will soon be another opportunity, no doubt. Every dog, after all, has its day.

Well Heeled will be published by Dewi Lewis on October 12, priced £25. The Harrodsburg photographs are on display at Paisley Museum until 29 October. Visit

708 | BEST SHOTS |

WHAT COLOUR IS THE SUN, 2008 From the series Corridor of Uncertainty This is an image (not mine) of my late wife, Angela, and Polaroids I took [when she was ill]. I pointed the camera at the sun to see what would happen. When the image developed, the sun was a green splodge. There was all this uncertainty in our

lives, and the image [made me think] you can’t be sure about anything – it is all illusory. It relates to photography being illusory as well. I took two other pictures where the sun had gone behind the cloud, and then the idea came to me – what colour is the sun? Placing the images on the print of Angela was something I did sometime later.

BEYOND THE BOUNDARIES How does a newspaper reporter become a renowned photojournalist, lecturer and champion of art photography? Paul Hill FRPS tells Gemma Padley his secret


| BEST SHOTS | 709


find the juxtaposition of things fascinating,’ says Professor Paul Hill thoughtfully in response to the question ‘what do you love about making pictures?’ Having worked within photography and journalism for decades as a reporter, photographer, writer, lecturer and workshop teacher, among other roles, Hill has spent much time contemplating photography’s complex, multifaceted nature – its many varied forms and functions, and how far it can be considered to be art. He is a photographer who really thinks about what he is doing, and has much to say; someone you could listen to for hours. ‘I take pictures to see what things look like when photographed,’ he says. ‘I like how you’re playing with this rectangular space, [placing it] on the world and making something of it – the transformative process that takes place. The aesthetics and form of the photograph are instantly fascinating to

me. I much prefer a ‘Zen’ approach where the picture finds you … I’m curious. If you’re not curious, you shouldn’t be a photographer.’ Based in the Peak District, Hill, who was made a Fellow of The Royal Photographic Society in 1990 and has an MBE for services to photography, started out as a reporter on a newspaper in his home county of Shropshire. With a passion for rock climbing, he took photographs of his escapades in his spare time, writing articles for mountaineering magazines and illustrating them with his pictures. Gradually his interest in photography grew. After meeting his late wife, Angela, at the evening paper where they both worked, Hill began to think about pursuing photography professionally. ‘It became my main occupation in 1965,’ he says. ‘I was in my early twenties and decided to go freelance. It was a leap into the unknown, which I’ve done a few times in my life. Thankfully it worked out.’

BRITISH TROOPS ARRIVE IN BELFAST, AUGUST 1969 The Observer sent me to Northern Ireland to cover the Troubles and this crucial moment was when British troops came into Belfast, and didn’t leave for 30 years. The man had been in a nearby pub, and when he came out the troops were positioned at the crossroads. He was remonstrating and formed this shape, which interested me. If he’d been standing still it wouldn’t have had the same [impact]. For an image to work and engage there has to be a gesture in one way, shape or form. VOL 157 / SEPTEMBER 2017 / THE RPS JOURNAL / 709

710 | BEST SHOTS | HAROLD WILSON ELECTIONEERING, BIRMINGHAM, 1966 I took this [for the Birmingham Post] at the general election in 1966. I’d been a photographer for a year. Harold Wilson used to light a pipe before giving a speech. You can’t

imagine it now – someone lighting a pipe just before they start speaking – and even then it was quite an unexpected thing to do. There is an implicit comment here I suppose about politicians and a smokescreen. If I remember correctly I used a 180mm lens.

Commissions followed from the Birmingham Post, Birmingham Mail, The Guardian and The Observer. In the 1970s he and Angela bought and renovated two cottages in the Peak District, turning them into a studio and darkroom. They began running photography workshops, with participants staying on site. What was known as The Photographers’ Place ran for 20 years, and was the first residential photography workshop in Britain. Hill and his partner Maria Falconer FRPS run workshops to this day. Not someone ‘to put all his eggs in one basket’, Hill found regular work as a lecturer after he gave a talk at what was then Manchester Polytechnic and discovered he enjoyed teaching. ‘[Honorary Fellows] Martin Parr, Daniel Meadows and Brian Griffin were studying there at the time, and I was invited to talk about my journalistic 710 / THE RPS JOURNAL / SEPTEMBER 2017 / VOL 157

RED CURTAIN, ARLES, 2011 From the series On the Edge of Emotion This image was taken in Arles, France, during the photography festival one year. Maria had work in an exhibition and we’d rented an

apartment. She was getting up and I noticed the light coming through the curtain. The red of the curtain interested me, and I liked how there was enough light to be able to see her, but she is almost a silhouette. People dance around

work,’ he says. ‘There weren’t many photography courses then. Normally it would be taught as part of a graphic design course, or similar.’ In 1974 Hill took on a full-time lecturing post at Trent Polytechnic in Nottingham and was later made head of its creative photography course. ‘Photography within the arts was a novel concept then,’ he says. ‘There was no outlet for that sort of photography. People had to do something else and do their creative, personal photography [on the side]. There was a suspicion it couldn’t be used introspectively, it had to document the world out there – it couldn’t be about personal expression, however personal or original your viewpoint was. It sounds daft now, but it didn’t register in those days in any way.’ Determined to help enhance the status of photography as an art form, Hill was instrumental in pioneering it being

nudity, in terms of making it aesthetically acceptable or whatever, but ... to me it’s about the human form. Photographically speaking, the image was about the red and seeing what it would look like photographed.


| BEST SHOTS | 711

DOG ON WALL, BRASSINGTON, 1992 From the series Concerning Animals This is my dog, Spadger (Derbyshire slang for ‘sparrow’). He used to come on my walks through the countryside. I used to take a point-andshoot compact with colour film with me. On this occasion I wanted to experiment using flash and available light, so I put Spadger on the wall and worked around the idea of animals being on pedestals in people’s lives. Of course he moved, which gives a ghostly double image. VOL 157 / SEPTEMBER 2017 / THE RPS JOURNAL / 711

712 | BEST SHOTS | taught as an art in Britain. He remembers fighting to get support for those who wanted to do their own projects while making time to do his own work, as he still does. Hill has written extensively for magazines, produced books including Dialogue with Photography with Thomas Joshua Cooper, and Approaching Photography, and been involved with numerous exhibitions. His career continues to be eclectic. It might be curiosity that drives him but it’s about turning one’s hand to many different things to make a living, he says. ‘There is a market for people to write about photography, and I’m asked to chair this or give a talk there from time to time, so there is a portfolio of activities that can generate income. I think that’s the way to survive, even more so today. You have to bring different skills you may not realise you have.’

Paul Hill and Maria Falconer are running a workshop on dance photography. Visit JOSEPHINE, NOTTINGHAM, 1974 From the series Light I am interested in the [photography’s] freedom and creativity so thought I’d do a project on the basis of light being a form and a shape. Light is insubstantial, effervescent and ethereal but as a

photograph it can be real. This is one of my former students. The light was coming through a window and shone across her face. Since she’s fair her eyes were disappearing. It was like the light was ... eradicating the most important part of her or of anyone’s identity – the eyes.

‘THAT’S THE WAY TO SURVIVE ... TO BRING DIFFERENT SKILLS YOU MAY NOT REALISE YOU HAVE’ This was for a story about travellers in the Black Country for The Observer. There was a lot of opposition to providing permanent sites for gypsies, and there still is. Travellers occupied the same position as immigrants do in the UK today. As usual the kids wanted their photograph taken, but didn’t know I’d [taken it] via the trailer home wall mirror. You couldn’t show [subjects] what you’d taken in those pre-digital days. 712 / THE RPS JOURNAL / SEPTEMBER 2017 / VOL 157

PAUL HILL A pioneering influence on the teaching of photography, Professor Paul Hill was made a Fellow of the Royal Photographic Society in 1990 and in 2016 received the Society’s Education Award. In 1994 he was awarded an MBE by the Queen for services to photography



| BEST SHOTS | 713 LEGS OVER HIGH TOR 1975 From the Prenotations project This is from Prenotations (1974-78) – ordinary situations transformed into something ‘extra-ordinary’. The white socks were an important element as I was continuing the idea of looking at light, only this time it was light-coloured objects. I was experimenting with the frame and vantage point – bringing things in the distance on to the same plane as things near. To me, the three most important elements of photography are light, frame and vantage point. I like how it looks as though my daughter’s legs are almost touching the road below. There is ambiguity; [to me it speaks of] the fragility of human existence.


714 | BURSARY |

Winning the RPS Environmental Awareness Bursary sparked an odyssey into an alluring wilderness for photographers HANNA!KATRINA JEDROSZ and CARL BIGMORE

GLASNOST AND CARL BIGMORE A documentary photographer, Bigmore won The Graduate Photographers Award 2017 in association with Magnum Photos. 714 / THE RPS JOURNAL / SEPTEMBER 2017 / VOL 157


HANNA$KATRINA JEDROSZ A documentary photographer and photojournalist, Jedrosz is part of the photography collective M55 Reports.

THE GREEN BELT Conceived in 2002, the European Green Belt is the spine of a 12,500km ecological network along the route of the former Iron Curtain. Spanning 24 countries, it is a haven for nature and rare wildlife, with 3,272 protected areas and 40 national parks. It proved irresistible for the winners of the RPS Environmental Awareness Bursary 2016 – Hanna-Katrina Jedrosz, 29, and Carl Bigmore, 34. Both MA graduates in photojournalism and documentary photography from the London College of Communication, Jedrosz and Bigmore spent six weeks travelling the Russian borders of the Baltic and Fennoscandian regions of the belt – encompassing Norway, Finland, Estonia, Latvia and Lithuania – as part of their documentary project investigating the impact of human activity on the European Green Belt. Here they reflect on nature’s tenacity, spectres of the Cold War and the power of collaboration. VOL 157 / SEPTEMBER 2017 / THE RPS JOURNAL / 715


I’m fascinated by the interplay of history, landscape and human experience. For my first major project for my MA at the London College of Communication, I Feel Every Stone of the Road, I retraced prisoner of war camps across Poland and Germany where the Nazis held my Polish grandmother, who was a freedom fighter. For Half the House, I explored how sites in Athens have been reappropriated as a result of the 2008 financial crisis and the 2015 European migration and refugee crisis. The inspiration for this project came from a podcast that mentioned the European Green Belt. I became interested in investigating the spectre of the Iron Curtain and how it affected those living along the route. 716 / THE RPS JOURNAL / SEPTEMBER 2017 / VOL 157

After explaining my ideas to Carl we decided to work together. We won the bursary a week after the Brexit vote, so it felt very timely. As we travelled we became aware of the reality of Russia, rather than the one-dimensional representation portrayed by the western media. The countries along the Green Belt seem quite neighbourly and it plays a vital role in maintaining the peace. We spoke to an artist in Riga about living through Soviet occupation. She got emotional telling me that although the Latvians weren’t necessarily fighting on the streets, there was a resistance, and a profound sense of living a dual life. Walking through the remnants of abandoned Soviet military towns was a reminder of the interplay

between everyday life, politics and the role nature has played in healing the scars left by the Cold War. With Carl I felt a meeting of minds. Although we bring our own perspective, it’s reassuring to know that we share a commonality in how we view the world. We shoot using medium-format cameras – square and 6x7 respectively – so getting the films processed, scanned and costed has been time intensive. Coupled with the fact we effectively have three bodies of work, editing the project for display has proved challenging. However, I feel we’ve selected images that will draw viewers into the narrative, which hopefully raises awareness of the powerful symbol of hope I believe the European Green Belt to be.


My interest in photography stems from my granddad, who worked at Kodak. I’ve always been drawn to the documentary genre but I want my pictures to create their own world. I’m interested in the space between fact and fiction in photography. Hanna and I met at my graduation show in 2014. Her ideas for this project spoke to my interest in the relationship between people and place. After being shortlisted for the RPS Environmental Bursary in 2015 it was great to have the Society’s support on this project. The inhabitants of Estonia, Latvia and Lithuania are extremely proud to be

European, but the shadow of the Soviet era looms large. The people are welcoming but difficult to bring out of their shell, due to scars inflicted on the nation’s psyche by the Cold War. I find the European Green Belt a paradoxical space. The route was carved out during a dark period of history but today these environments are positive because they have enabled wildlife to flourish and allowed those living along the belt to form a close connection to nature. When we visited Oulanka National Park in Finland we were shown a type of lichen that only grows in areas with

high air quality. These small indications of how nature is thriving along the belt highlighted how man’s interventions in other areas of the natural world are ultimately damaging. Throughout the editing process, working with Hanna, I’ve learned to be more objective about my work and now I can see subtle qualities in pictures that I might previously have missed. As well as exhibiting the project throughout the Green Belt we’re keen to turn it into a book. Given its geographical scale we hope to explore other regions of the belt, so this project is only the first chapter of something larger.



Rifleman Ross Mills – serving with A Company, 1 Rifles, in Helmand, Afghanistan – holds the company’s adopted dog called Sharpie, 2011



She has won recognition for her candid images of women at war. Now the military veteran and Society member Alison Baskerville is turning her focus on masculinity, she tells Kathleen Morgan






Captain Alice Homer of the Royal Electrical and Mechanical Engineers, 2012

A female soldier uses her bed space to create a sense of privacy, 2012

A young soldier prepares to join a patrol in Helmand, 2011


hen Alison Baskerville served with the Royal Air Force in conflict zones including Iraq, she says she rarely thought about being female in a maledominated environment. Her job was to follow orders and function as a team member in dangerous situations. Only when she left the air force to begin work as a photojournalist, turning her lens on women on the front line, did she realise how much gender mattered. ‘I was never really aware of my gender,’ she says of her 12 years in the armed forces. ‘I never thought of myself as being treated in a certain way because I am a woman. I think a lot of that was down to wearing a uniform most of the time.’ She adds: ‘What I have found very interesting, being out in the world for seven years now as a freelancer, is that actually, discrimination … happens in all areas of life, not just in the armed forces.’ Baskerville has won recognition for her candid and sometimes intimate 720 / THE RPS JOURNAL / SEPTEMBER 2017 / VOL 157

Alison Baskerville captures Afghan National Army training in Afghanistan, 2011; and in the UK, where she trains photographers to work in conflict zones

images of British military personnel in conflict zones. She is taking time out of a hectic schedule to speak about her involvement in a collaborative exhibition, No Man’s Land, launching at Impressions Gallery in Bradford next month. Baskerville’s work will feature alongside images by women who documented conflict a century ago. They include Olive Edis, Britain’s first female official war photographer, and nurses Mairi Chisholm and Florence Farmborough, who took pictures on the frontline when not saving lives. Inspired by Edis, a portrait photographer whose subjects included prime ministers and suffragettes, Baskerville is converting her own images of women in uniform into digital autochromes for the exhibition. Edis became a member of the Society in 1913, and was awarded a Fellowship in the same year. ‘I’d looked at contemporary representations of woman as war photographers and there were very few,’ says Baskerville. ‘ I started to look back a bit further … I saw that Olive Edis did




Lance Corporal Jamie Thorne takes cover behind a wall, Helmand, 2011

An RAF Chinook, from The British Army in Afghanistan series, 2011

Corporal Matt Snow, Helmand Province, Afghanistan, 2011

these beautiful autochrome portraits and realised that she was a real pioneer.’ Baskerville’s fascination with gender and war has influenced her latest research project, exploring masculinity in military and civilian life. She is already making inroads into typically male environments such as the boxing gym where she trains. ‘I’m learning to box and I’m really getting huge exposure to the male domain,’ she says. Besides new work, the project will involve revisiting images taken while she was embedded with the British Army in Afghanistan - including the portrait of Corporal Matt Snow that inspired her to explore the issue of gender. ‘Matt was more than just a soldier,’ she says. ‘I wanted to know more about him, and how men are seen when they wear a uniform.’ Another image from the same era, of Rifleman Ross Mills of 1 Rifles A company with his adopted dog Sharpie, questions some preconceived ideas of masculinity and the military. Baskerville grew up in a working-

‘I WANTED TO KNOW MORE ABOUT HOW MEN ARE SEEN WHEN THEY WEAR A UNIFORM’ class family in Birmingham with her brothers – one gay and one straight. She says she had little comprehension of how crucial gender could be. ‘I’ve always been aware of gender identity but had never really focused on it until I left the military,’ she says. Her horizons had stretched little beyond her home town until she joined the RAF, deployed in Northern Ireland and the Middle East before a tour of Iraq shook her world. Her watershed was when two colleagues were killed by an improvised explosive device on their way to pick her up from an airport. ‘[Iraq] was the big tipping point for me,’ says Baskerville, explaining that, in intensely dangerous conditions, she and her fellow soldiers had begun to see all Iraqi people as a potential threat. ‘What happens is they all start to look like an

enemy and normal civil society starts to warp into: “Are they all going to try to kill us now? Is that person a suicide bomber? Is that car going to try to drive into the patrol and explode?” Because those things did happen. So it becomes hard to separate everyday people [from] those who obviously want to commit acts of violence against you. When you’re in it, you don’t understand that.’ Baskerville had been taking pictures of her fellow soldiers after buying a camera from a US air base in Kuwait. The death of her colleagues, who were among her subjects, convinced her she should document the effects of conflict. After being offered promotion she made the decision to leave the RAF and pursue her passion for photography, completing a degree in photojournalism at the University of Westminster. Missing military life, she needed little convincing to return to the front line, this time as a combat camera team photographer commissioned by the Territorial Army. Growing in confidence as a photojournalist, working beside others VOL 157 / SEPTEMBER 2017 / THE RPS JOURNAL / 721



The exhibition No Man’s Land celebrates three First World War photographers 100 years on OLIVE EDIS FRPS (1876–1955) The UK’s first female official war photographer, Edis was a successful businesswoman and portraitist whose subjects included prime ministers, writers and suffragettes. A commission by the Imperial War Museum to photograph Britain’s auxiliary services in France and Flanders threw her into new territory as she photographed female engineers, commanders and surgeons using her large studio camera.

Olive Edis, portraitist and war photographer

Mairi Chisholm at a shell hole

An unknown Russian soldier lies dead on the battlefield, 1916, by Florence Farmborough

MAIRI CHISHOLM (1896–1981) A motorcyclistturned-ambulance driver and nurse, Chisholm set up a first aid post on the front line with her friend and fellow nurse FLORENCE FARMBOROUGH (1887–1978) Cross, she A nurse and depicted the amateur horrors of war at a photographer, time when the Farmborough British press documented life avoided publishing and death on the explicit images of Eastern Front. the realities of life Working with the amid conflict. Russian Red 722 / THE RPS JOURNAL / SEPTEMBER 2017 / VOL 157

Florence Farmborough, nurse and photographer

Elsie Knocker and Belgian soldiers, 1917, by Mairi Chisholm

Elsie Knocker. They used snapshot cameras to document their lives under fire at Pervyse, Belgium, yards from the trenches.


A member of the Women’s Army Auxiliary Corps in Étaples, France 1919, by Olive Edis




A soldier cools down in a river while on patrol, Helmand, 2011

Captain Anna Crossley prepares for a patrol in Helmand, 2012

A British soldier in a compound shared with an Afghan family, 2011

in her field, took her in new directions. ‘Once the uniform was off, and I started to go into people’s houses and chat to them and photograph them, I realised there are so many different sides to this story. As a soldier, that’s one side of it, but there [were] other sides I’d missed.’ Besides gaining a new perspective on the lives of people caught up in war, she became increasingly aware of the fallout of conflict on soldiers and their families. ‘It’s not just all the civilians ... it’s all the military lives that are affected, and the physical effect it has on families and beyond, and people who still struggle with post-traumatic stress disorder and long-term mental health conditions based on their experience of war. How could you possibly be pro-war?’ In 2012, the Royal British Legion sponsored Baskerville in an embedded position with the British armed forces in Afghanistan. Her brief was to explore the changing roles of women in the military. The resulting series, a candid glimpse of life behind the uniform, won her recognition. Included were shots of

‘ANNA AND I ATE AN ENTIRE TRAY OF BROWNIES. THE LADS WENT TO THE GYM AND LIFTED WEIGHTS’ Captain Anna Crossley, a female engagement officer in Helmand. Baskerville describes how she and Crossley came under Taliban fire shortly after visiting Afghan women in a compound. ‘They were waiting and had a go at us,’ she says. It was the first time Baskerville had been embedded as a photojournalist, with only body armour and a helmet to protect her. ‘I realised just how vulnerable I was at that point,’ she says, describing how Crossley slipped into ‘Army Anna’ mode as British infantry shot back at the Taliban. When they got back to base at night, the male soldiers reacted in a completely different way to Baskerville and Crossley. ‘Anna and I went straight into the kitchen area, ate an entire tray of brownies, like you do when you comfort

eat and have a tub of ice cream,’ she says. ‘All the lads went to the gym and started lifting weights. That was so bizarre, because I realised that this was all about their masculinity, it was about their warrior … They’d been out in the field, they’d shot at something, they were hyped up. What is that instinct inside men about being a fighter or a warrior?’ With such questions buzzing away in Baskerville’s head, and her research into masculinity in its early stages, she is happy for the focus to be on other female photographers for a while. Speaking passionately about her heroine, Edis, she says: ‘Not only was she creating portraits in autochrome … when photography was a male domain and women would often be studio assistants, she was pretty much doing it on her own.’ A century on, Baskerville is proving she is cut from the same cloth.

No Man’s Land: Women’s Photography and the First World War is at Impressions Gallery, Bradford, 7 October-30 December VOL 157 / SEPTEMBER 2017 / THE RPS JOURNAL / 723


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LATEST KIT Our pick of new equipment 730

MEMBER TEST The Fujifilm X100F 731

MASTER CLASS Landscape calendars 733




Leica TL2


The premium brand’s compact system camera upgrade seeks to tempt smartphone users to adopt a dedicated device, discovers Gavin Stoker

eica is targeting smartphone users with its latest camera upgrade in a choice of silver or black aluminium bodies, complete with recessed lugs for strap attachment. The TL2 appears very similar to its TL predecessor, continuing the minimalist design that largely eschews physical buttons for smartphone-like operation via a large back-plate LCD. But inside, its manufacturer claims, this is a very different beast indeed. The TL2 feels substantial in the palm, and responsive too. Touch

control is supposed to be eight times faster than its forebear, while it is five times quicker to power on and get going, thanks to a new processor, which also enables you to shoot DNG files separately from JPEGs. Although functionality centres around the LCD, the TL2 has a more simplified menu and image playback comes with a finger swipe from the top to the bottom of the screen. The camera has no eye-level electronic viewfinder, but one is available as an optional extra.

Price: From £1,700 body only Sensor: APS-C 23.6x15.7mm CMOS Lens: TL mount also compatible with Leica SL lenses Display: 3.7 inches, 1.3 million dots Weight: 399g body only More: Summary: For those who care as much about the look of their camera as the look of its output, this latest Leica is sure to be highly prized

Other positives are a 24-megapixel APS-C CMOS sensor, a light sensitivity range from ISO 100 to ISO 50,000, 4K video capture at 30fps, stills capture at up to 20fps for 29 consecutive frames, integral wi-fi and a 32GB internal memory. The bayonet mount’s compatibility with TL and SL series lenses can be broadened if investing in a Leica M-Adapter L or R-Adapter L. The TL2 is also compatible with three flashes, while a leather holster accessory and pouches complete the look.






Think Tank Signature bags From £244.99

Xiro Xplorer Mini £350

Durable shoulder bags for camera kit sporting a classic look and feel

A foldaway compact drone promises 360° selfies and more

1 If by ‘traditional’ we mean well made and durable, as opposed to fuddy-duddy, the latest pair of Signature-branded offerings from Think Tank should win favour with RPS members who value functionality as much as fashion. Manufactured using sewn fabrics, the shoulder bags in the series have the classic feel of fine wool and offer weather protection into the bargain. The Signature 10, the cheaper of the two, can house a standard DSLR, plus three or four prime lenses and a 10-inch tablet. The Signature 13, at £269.99, claims to be able to fit in one DSLR with mid-range zoom, plus two or three extra lenses and a 13-inch laptop. Both bags come in either slate grey or dusty olive.

2 This compact drone arrives in the UK from distributor Hama on the back of a couple of international accolades for product design. Manufacturer Xiro is pitching its drones at hobbyists and semi-pros, but this seems aimed more at the former, with features such as a 360° selfie, plus ‘Follow Me’ modes, while the Xiro Xplore app for iOS and Android devices provides motion control. The drone itself is lightweight and has a durable yet conveniently foldable body. Key specification appears marginally more heavyweight, thanks to a 13-megapixel camera and 1,080p video with standard 30fps frame rate, although image stabilisation is electronic rather than optical.



l Want to explore virtual reality and 360° shooting? JK Imaging will be launching its new 4KVR360 camera at German trade show IFA this month. Featuring two 20-megapixel CMOS sensors, this model purports to be able to capture 360° shots with even greater detail. l Following its seemingly short-lived Nikon 1 series, it appears the photo stalwart hasn’t abandoned a desire to make inroads into the interchangeable-lens compact market. An interview with the company’s president suggested a new mirrorless camera is in development. The sensor size is yet to be revealed, however.

Gitzo Arsène Gitzhoven Edition £2,499.95 Premium travel tripod marks 100 years of the brand The Gitzo brand is celebrating its 100th anniversary by offering this slick three-legger named after its founder. It’s a covetable limited edition of 100 and comes in black with laser-etched legs and an engraved signature. Its core tech is the same as Gitzo’s Traveller Series 1, so you get carbon tubing, 180° leg-folding mechanism, and a centre ball head for precise and smooth adjustments. This version adds an ergonomic Italian leather strap and, to complete the luxury feel, arrives in a white chest with leather detailing. If you can’t justify the price tag, a second option is the 100th Anniversary Edition tripod, which offers the same core features for £1,249.95. 3


‘The camera is a joy to use’

Fujifilm X100F 5

This pocket-sized camera impresses with its capabilities, but they come at a price

T Nikon AF-P NIKKOR 70-300mm f/4.5-5.6E ED VR From £749.99

Ricoh WG-50 £249.99

Image-stabilised telephoto zoom for Nikon APS-C-sensor DSLRs

Ruggedised camera resembling something from a sci-fi film

This sturdy-feel optic offers the equivalent of 105450mm in 35mm format when twinned with one of its maker’s APS-C cameras. With a light build and weatherproofed construction, sports and wildlife photographers are the most obvious beneficiaries. A sport vibration-reduction mode, inherited from Nikon’s pro lens, claims to deliver a more stable viewfinder image when tracking moving subjects and shooting handheld. Indeed, its manufacturer is marketing the zoom as a ‘go anywhere’ lens. Focus mode switches, which allow the photographer to override auto and jump to manual with a turn of the focus ring, promote ease of use and swift adjustments.

In a case of another month, another action camera, here comes Ricoh’s offering, outwardly recalling previous ‘WG’ generations and resembling something from Bladerunner or Tron. Features of note on the latest WG-50 include a 16-effectivemegapixel stills resolution, full HD video at 30fps, waterproofing to a depth of 16m, shockproofing against drops of 1.6m and the ability to operate down to -10°C. With operation centring around the 2.7-inch LCD, unsurprisingly the standard 5x optical zoom lens, equivalent to 28-140mm in 35mm terms, is of the internally stacked variety to avoid damage. For macro work, six miniature lights encircle the lens. It comes in orange or black.



he ‘out of the box’ moment is significant with this new iteration in the X100 line. Like its predecessors, it has the appearance of a 1960s rangefinder, but the first thing you notice is how heavy it is. They must pack a lot into this camera, which is small enough to fit in a reasonably sized pocket. Ergonomically, the camera is a joy to use. The lens is a fixed 35mm equivalent. Using a natty lever on the front you can switch the viewfinder between an LCD screen on the back, one in the viewfinder and a real optical viewfinder. The latter is overscanned with white lines to mark the frame edges. It is easy to change from auto to aperture or shutter priority, or to up the ISO, simply by changing the appropriate delightfully retro dial. At ISO 200, the quality is superb and the sensor made a good job of handling saturated blue flowers, which often cause gamut difficulties.

‘It handles saturated colours well’

There is a very acceptable level of noise even at ISO 12,800, although saturation reduces slightly along the way, as you’d expect. This camera uses a variation on Fuji’s unusual sensor design, with an angled matrix and non-standard colour pattern. Video performance is limited to a set of HDTV standards, not 4K, but the results look good and the internal mic is stereo. You can remotely operate the camera from a smartphone, including seeing the shot. There is also a useful panorama mode: click-and-pan. I like the camera for its operation and results, but with a list price of more than a grand you are paying for this. That said, you get a perfect ‘second camera’ for your money.

AUTHOR PROFILE ANDY FINNEY In 2014, Finney received the Fenton Medal for his efforts as the Society’s copyright representative and for promoting infra-red photography.


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How to capture landscapes for your calendar


A winter's tale This is my favourite beech wood. It had been snowing heavily, driven by strong winds. The extent of the cover wasn’t immediately apparent but as I walked back I noticed all the

trees facing north were blanketed in a layer of thick ice and snow. This was taken at dusk, which resulted in the image having a cast. Although sometimes problematic, in this case the overall blue enhances that distinct sense of coldness.

Exploit photographic opportunities whatever the time of year, says Tony Worobiec


f you find yourself on a grey day in February wishing it was May, or packing away your camera in August waiting for autumn, you could be bypassing great chances to capture inspirational photographs. The landscape changes month by month, revealing unique opportunities that shouldn’t be missed. The secret is to acquaint yourself with areas near to your home. As you become more aware of your own environment, you are able to capture those changes. This is far better than visiting overphotographed ‘honey pot’ locations that often result in the usual clichés.


TONY WOROBIEC FRPS Worobiec is an author, award-winning photographer and avid traveller


Something in the air … This is the same wood as the previous shot, illustrating how rapidly things change. February is great for landscapes as it is prone to morning fogs and mists that add an ethereal quality to a location. The secret is to anticipate weather conditions: fog is ephemeral, so get out early before it disappears. Mists and fog have a wonderful capacity to simplify the landscape.


730 | THE CRAFT |


Water, water, everywhere The end of winter is when rivers are at their fullest – an ideal time to photograph waterfalls. They are easier to shoot on overcast days which, coincidentally, are particularly prevalent throughout March. Try a relatively slow shutter speed – anything between 1/4–2sec appears to work well. Obviously, you will need to use a tripod. It is a matter of preference, but cascading falls tend to appear more pleasing to the eye.


Creative colour combinations The blazing yellow of April oilseed rape is a subject many find difficult, especially under a blue sky. Yellow and blue are ‘primary’ colours, which presents a clash. Paradoxically, adding a third primary colour – red – overcomes this. An aesthetically pleasing balance can been achieved by proportioning the colours so that the blue represents a third of the yellow, while the red occupies a third of the blue.


The month of regeneration Here, identifying a clear-cut composition is tricky. The square format adds discipline to an 'unruly' arrangement. For softness, make two exposures on a single frame: one in focus, the other out of focus.


Fleeting beauty Increasingly UK farmers are growing opium poppies as a cash crop for the pharmaceutical industry. Where poppies are cultivated they offer a wonderful show of colour, particularly during the month of June. For obvious reasons they tend to be situated in discreet locations, but if you do discover a field in full bloom don’t delay taking your photograph, as the petals disappear quickly, sometimes within just a day or two. This shot was taken at dusk. Needless to say it was necessary to use a graduated filter.


Not black and white but red all over Poppies can be seen at any time from late spring to early autumn but are at their most splendid throughout July. Tracking them down is not normally difficult. As you scour your area, the tell-tale patches of red can be visible from quite a distance. If you are experiencing difficulties why not visit a website such as Flickr, which regularly features images that have recently been posted. I am both amazed and heartened by how generous some photographers can be regarding location details. 730 / THE RPS JOURNAL / SEPTEMBER 2017 / VOL 157


Capture unique characteristics This is often the month many struggle to capture landscapes, but it is surprising just how many features are unique to this interesting period. One example is fascinating cloud formations, when warm air and moisture collide. If you can shoot these pre-dawn or at dusk the results can appear particularly impressive. In order to get the best sky shots, find a location with few features protruding above the horizon.


Life's a beach â&#x20AC;Ś after the crowds This is a great time to explore the coast. While we are often drawn to the sea, why not explore the sand dunes instead? As there are fewer visitors you are more likely to encounter dunes free of footprints. Here, take your shots early in the morning as you will benefit from the low-angled light the emerging sunshine provides and footprints tend to be erased by overnight breezes, rendering the dunes pristine.


Autumnal accents While the purpose of this article is to encourage you to ignore the obvious, it would be perverse to overlook the colours prevalent during October. Trees group together in different ways â&#x20AC;&#x201C; some randomly as a result of nature, while others are cultivated. Both scenarios offer splendid opportunities, but for simple, clear-cut compositions why not explore the latter, such as this intriguing avenue of trees?


Grey expectations While you can still see fabulous autumnal colours, the weather becomes distinctly moodier, so many landscape photographers look to the coast. With distinctly grey skies, an element of sadness is introduced, so look for subject matter that exudes pathos. In this context these weathered wooden groynes work wonderfully well. Here I used a shutter speed of 1sec to capture a sense of movement without obliterating the detail.


Transformational mists and frosts This is on the route of my regular walk through our local forest, but when I took this shot it was as if I had never seen it before. The frost offered an unusual, high-key element while the mist eliminated the background, bringing previously unnoticed small features to the fore. Get up pre-dawn as the rising sun can quickly thaw the frost.

LEARN MORE The landscape photographers calendar workshop with Tony Worobiec FRPS is on Sunday 17 September. For more information see page 746


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FOCUS RINGS Special interest group events 743

KNOWLEDGE BASE Hone your skills at a Society workshop 746

| GUIDE | 733

MEMBER SHOWCASE Dennis Anguige FRPS at Fenton House 748




Digital Imaging expo Hear from top names at this one-day event in Birmingham


his month, the Digital Imaging Group welcomes attendees to its annual exhibition – a full day of inspiring speakers, presentations and workshops. Taking place at Holiday Inn Birmingham Airport on Saturday 23 September, the event features an eclectic mix of presentations, including nature photographer and Honorary Fellow Tim Flach discussing his stylised portraits of animals. Nick Turpin, a self-proclaimed ‘street photography evangelist’, will

reveal why he sees this speciality as a distinct and vital photographic genre, while the studio area will host a portrait workshop, as well as a flower photography session, led by Polina Plotnikova ARPS. The event runs from 9am to 5pm, and includes additional speakers, Distinctions advisory sessions and a range of other activities. To buy your ticket, see a full list of speakers and to book your place for talk and practice sessions please visit

Top: The French by Nick Turpin Above: White-bellied pangolin hanging on tail by Tim Flach HonFRPS VOL 157 / SEPTEMBER 2017 / THE RPS JOURNAL / 733

734 | GUIDE |


Meet photographers and view work in your area CENTRAL

Field trip to Ynys Llanddwyn, Anglesey Saturday 28 October

`` Details TBC `` Mike Sharples ARPS, as above EAST ANGLIA

MIKE SHARPLES ARPS, 07884 657535

IAN WILSON ARPS, 07767 473594



Tour of northern India

Outing to RAF Barnham

Thursday 7 September / 20:00-21:30

Sunday 10 September / 10:30-16:30

`` £3 Society members `` Smethwick PS Club House,

`` An outing to this cold war

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

The art of metamorphosis Thursday 14 September / 20:00-21:30

`` £3 Society members `` Smethwick PS Club House,

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

Distinctions advisory day, LRPS and ARPS Sunday 17 September / 10:00-16:00

`` £20/£15/£10 spectators `` Mike Sharples ARPS, as above Advisory sessions for LRPS and ARPS at DI Expo Saturday 23 September / 10:00-16:00

`` Holiday Inn, Birmingham Airport, Coventry Road, Birmingham B26 3QW `` Simon Vercoe, 01225 325733,

Tiger tales

nuclear storage facility

`` RAF Barnham,

Gorse Industrial Estate, Barnham, Thetford IP24 2DJ `` Ian Wilson ARPS, as above

RPS Nature Group annual exhibition 2017 Sat 30 Sep – Sun 15 Oct / 11:00-16:00

`` A showing of the group’s annual exhibition

`` Wingfield Barns, Church

Road, Wingfield, Diss IP21 5RA

`` Moira Ellice,

Sun 10 Sep / 10:30-16:00

Creative Group joint event with East Anglia Region Sunday 8 October / 10:30-16:30

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

`` Hear from Eva and Tony Worobiec, both FRPS

`` Foxton Village Hall,

Hardman Road, Foxton, Cambridgeshire CB22 6RN `` Moira Ellice, 01473 720928,

Thursday 5 October / 20:00-21:30

`` £3 Society members `` Smethwick PS Club House,

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

Now you see it, now you don’t Thursday 5 October / 20:00-21:30

`` £3 Society members `` Smethwick PS Club House,

Re-dedication of Robert Howlett’s grave Saturday 14 October / 14:00-16:00

`` Wendling and Longham

Village Hall, Church of St Peter and St Paul, Wendling NR19 2NE `` Rose Teanby ARPS/Geoff Blackwell ARPS, 0114 266 8655,

`` Mike Sharples ARPS, as above

Churchbridge, Oldbury B69 2AS

Demystifying Adobe Photoshop Lightroom

Focus on the next level

`` £15/£12/£10 group

Sunday 5 November / 10:30-16:00 Sat 7 – Sun 8 October / 10:00-17:00

`` Join four of the Society’s

finest photographers on this two-day workshop `` Middleport Pottery, Port Street, Stoke-on-Trent ST6 3PE `` Mo Connelly,

Architectural interiors Thursday 12 October / 20:00-21:30

members `` Foxton Village Hall and Sports Pavilion, Hardman Road, Foxton, Cambridge CB22 6RN `` Mark Gillett, 07984 518959,

`` Foxton Village Hall, Hardman

`` Mike Sharples ARPS, as above

`` Ian Wilson ARPS, as above

One man and his van Thursday 19 October / 20:00-21:30

`` £3 Society members `` Smethwick PS Club House,

Churchbridge, Oldbury B69 2AS

`` Mike Sharples ARPS, as above

`` £10/£5 students `` Whatton Jubilee Hall, Church

Street, Whatton in the Vale NG13 9EL `` Stewart Wall ARPS, as above

The East Midland’s Region will hear from three speakers including Maria Falconer, discussing ‘photography that intervenes’

Natural history workshop at the University of Nottingham

Sunday 12 November / 10:30-16:30

Road, Foxton CB22 6RN

photographs with the academics of photography at the School of Life Sciences `` School of Life Sciences, Room 89, University of Nottingham, Nottingham NG7 2RD `` Stewart Wall ARPS, as above


2000, brings together different communities to experience a range of music, culture and food in a family-friendly atmosphere `` Kingston Railway Station, Wood Street, Kingston KT1 1UJ `` Roger or Judy, 07768 923620,

Sunday 15 October / 10:00-16:00

`` £10 `` With Ben Cherry and

Harry Borden HonFRPS

Jane Goodall `` Whatton Jubilee Hall, Church Street, Whatton in the Vale NG13 9EL `` Stewart Wall ARPS, as above

Tuesday 5 September / 19:00-21:00

`` £5 on the door `` Harry Borden, one of the UK’s finest portrait photographers, will be talking about his work. This is a co-sponsored event with City of London and Cripplegate PS `` St Joseph’s Church Hall, 15 Lamb’s Passage, London EC1Y 8LE `` London Cave,

LRPS advisory day `` Whatton Jubilee Hall, Church

Street, Whatton in the Vale NG13 9EL `` Stewart Wall ARPS, as above EIRE

London Region street walk


Photography that intervenes: talks by Paul



London Region members’

a chance to have your work shown at a London Region exhibition `` The Croatian Embassy, 21 Conway Street, London W1T 6BN `` London Competitions,

Sunday 3 September / 10:45-13:30

Saturday 9 September / 9:45-16:00


Until Sunday 17 September / 9:00-23:45

`` Submit up to four images for

`` The carnival, which started in

Environmental photojournalism and landscape photography day


exhibition – submissions

Kingston Carnival – ‘Enabling communities and celebrating diversity through music and culture’

Sunday 24 September / 10:00-16:00

`` Spend the day taking

Sunday 19 November / 10:30-16:00

East Anglia advisory day – LRPS and ARPS (applied, fine art)

`` £3 Society members `` Smethwick PS Club House,

Churchbridge, Oldbury B69 2AS

Hill, Maria Falconer and Hugh Hamilton



`` Free but booking essential `` Centred at Art Bermondsey, with photography sessions at Maltby Street Market, this month’s walk is of particular interest to Olympus users

736 | GUIDE | `` 183-183 Bermondsey Street, London SE1 3UW

`` London Cave,

Regular meeting of the SW London Group Tuesday 12 September / 19:00-21:00

`` The Prince of Wales,

138 Upper Richmond Road, Putney SW15 2SP `` London Web,

SW London Group exhibition: ‘People’ Until Saturday 16 September / times vary

`` Comprised of one picture for

ANNUAL GENERAL MEETING ! 30 SEPTEMBER 2017 In addition to the normal business of the annual general meeting, it will also consider a resolution to adopt new Society by-laws and rules. Background information on the key changes was given in the July Journal (p. 495) and the meeting agenda, incorporating a proxy form, was issued

each of the group’s 15 members plus a small number of individual images from the Breathing London exhibition `` Putney Library, 5/7 Disraeli Road, London SW15 2DR `` Judy,

London Bridge to Rotherhithe Sunday 24 September / 10:30-13:00

`` London Bridge, London SE1 3QX

`` London Naturally,

Understanding and creating a photobook workshop

Building a photographic style: the importance of personal projects

Saturday 16 September / 10:00-17:00

`` £65 non-members/£50

Monday 25 September / 19:00-21:00

`` Developing and defining

members `` This will help participants learn how to turn a set of images into a photobook `` Regent’s University College, Regent’s Park, London NW1 4NW `` London Events,

a personal style helps photographers to separate themselves from the competition `` The Hellenic Centre, 16-18 Paddington Street, London W1U 5AS `` Judy Hicks, 07768 923620,

LRPS assessment day

Regular meeting of the SE London Group

Sunday 17 September / 10:30-17:30

`` £10 spectators `` Fully booked for participants

but spectator places available `` The RPS assessment team is coming to London to carry out Licentiate assessments `` Regent’s University College, Regent’s Park, London NW1 4NW `` RPS Bath,

The Thames Path:

with the August issue of the Journal. Since then, the final versions of the by-laws and rules have been reviewed by the Society’s lawyers and approved by the trustees. In response to various questions from members there is also additional background information on the

Tuesday 26 September / 19:00-21:00

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

proposed changes in the form of FAQs. Members are encouraged to read these on the Society’s website at: Members who have yet to return the proxy form which was issued with the August Journal can download a replacement from the website. Those members who

members of the group

`` White House Café, The

Avenue, Greenwich SE10 8RS

`` London Cave,

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

Sunday 29 October / 10:30-13:30

£20 members/£15 spectators

`` The Nikon Centre for

Excellence, 63-64 Margaret Street, LondonW1W 8SW

Want to do your ‘A’ but not sure where to start? Saturday 7 October / 10:30-12:30

`` £10 Society members `` An informal meeting and discussion with a view to helping you to find your way forward `` Canada Water Library, 21 Surrey Quays Road, London SE16 7AR

`` The Prince of Wales,

138 Upper Richmond Road, Putney SW15 2SP `` London Web,

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

`` TBC, London BA2 3AH `` London Cave,

The Bookworm Club Wednesday 18 October / 18:30-21:00

`` The Crusting Pipe,

27 The Market, Covent Garden, London WC2E 8RD `` London Bookworms,

Effective websites for photographers Monday 23 October / 19:00-21:00

`` A functionally efficient

and well-structured website is an essential expression


through Oxleas Wood, via a hidden gothic tower `` TBC, London `` London Naturally,

Regular meeting of the SE London Group Tuesday 31 October / 19:00-21:00

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

`` London Cave,

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

SE London Group exhibition: ‘My Greenwich’ Until Sat 30 September / 10:00-18:00

Through Oxleas Wood to Severndroog Castle `` A Sunday-morning walk

Regular meeting of the SW London Group

`` Pictures taken by nine

Paddington Street, London W1U 5AS `` Judy Hicks, 07768 923620,

Wednesday 4 October / 10:30-16:30

Tuesday 10 October / 19:00-21:00

Uncover a hidden gothic tower with the London Group on a walk through Oxleas Wood

of you and your brand

`` The Hellenic Centre, 14-16

`` £25 non-Society members/

`` London Cave,

have already returned a proxy form are reminded that they can change their vote up to 48 hours before the meeting. The outcome of the vote, along with the election results, will be reported on the Society’s website on 30 September and in the November issue of the Journal.

`` TBC, London BA2 3AH `` London Cave,

London advisory day – ARPS applied including documentary and fine art Saturday 11 November / 10:30-16:30

`` Idea Store (TBC),

321 Whitechapel Road, London E14 7JE `` London Distinctions,

Regular meeting of the SW London Group Tuesday 14 November / 19:00-21:00

`` The Prince of Wales, 138

Upper Richmond Road, Putney SW15 2SP `` London Web,

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

`` The Crusting Pipe,

27 The Market, Covent Garden, London WC2E 8RD `` London Bookworms,


whilst technology has changed over the years, the importance of the printed image remains

Platinum Baryta bridges the gap between traditional darkroom papers and today’s digital media. I find that whilst known for reproducing superb black and white images, it should never be underestimated for colour work. Platinum Baryta 300 by Fotospeed, is my paper of choice. - John Swannell


738 | GUIDE | London Region advisory day – FRPS Saturday 18 November / 10:00-16:00

`` Idea Store, 321 Whitechapel Road, London E1 1BU `` London Distinctions,

Marketing your photography: how to reach a wider audience

North West Region advisory day – LRPS and ARPS (all five categories) Sunday 24 September / 10:00-16:00

`` Hough End Centre, Mauldeth Road West, Manchester M21 7SX `` Brian Smethurst, as above

Long exposures on the Lancashire coast

Monday 20 November / 19:00-21:00

Sunday 8 October / 9:00-15:00

`` Intense competition today

`` A great chance to improve on

makes marketing an essential part of a photographer’s activity if they are to get noticed and remembered `` The Hellenic Centre, 16-18 Paddington Street, London W1U 5AS `` Judy Hicks, 07768 923620,

your long-exposure skills

`` Blackpool Central Pier, Blackpool FY1 5BB

`` Mick Rawcliffe, 07711


Improve your creative images with Mike McNamee Sunday 19 November / 10:00-15:00

A Sunday-morning walk with the London Naturally Group Sunday 26 November / 10:30-13:00

`` TBC `` London Naturally,

Regular meeting of the SE London Group

`` An informative day with an

acknowledged authority on Photoshop and printing techniques `` Hough End Centre, Mauldeth Road West, Chorlton, Manchester M21 7SX `` Alan Angel FRPS, 0161 980 0106,

Place, London SE10 8RS


‘How to cheat in Photoshop’ with Steve Caplin Saturday 16 September / 10:30-16:00

`` A day with author

Steve Caplin `` Electric Mountain, Llanberis, Gwynedd LL55 4UR `` Martin Brown LRPS, as above

Dinorwig Quarry/ Chwarel Dinorwic photographic scenery and industrial heritage `` Gwynedd Council car park, Llanberis, Snowdonia LL55 4TY `` Richard Jones, 07974 235840,

An afternoon in the company of Joe Cornish HonFRPS Saturday 25 November / 14:00-16:00

`` See website for costs `` The Catrin Finch Centre,

Glyndwr University, Mold Road, Wrexham LL11 2AW `` Martin Brown LRPS, as above NORTH WEST BRIAN SMETHURST, 01942 719766 BSMETHURST(HOTMAIL.CO.UK

SCOTLAND JAMES FROST FRPS, 01578 730466/07881 856294


Saturday 2 September / 10:30-16:00

Using filters for landscape photography Sunday 3 September / 11:00-20:00

`` Around the Tees estuary. Meet

outside the Joe Cornish Gallery, Register House, Zetland Street, Northallerton DL6 1NA `` Mark Reeves, 07968 616551, com

Guided walk along Hadrian’s Wall Sunday 10 September / 10:30-17:00

`` Steel Rigg car park, Henshaw NE47 7AN

`` Carol Palmer ARPS, as above Northern Region advisory day – LRPS and ARPS (all five categories) Sunday 17 September / 10:30-16:00

`` Discuss images with current panel members

`` Newton Community Hall,

Newton, Stocksfield NE43 7UL

`` Carol Palmer ARPS, as above Fotospeed printing workshop Sunday 19 November / 10:30-16:00

`` An opportunity to see the

variety of printing papers and examples of exhibition-quality prints on Fotospeed papers `` Newton Community Hall, Newton, Stocksfield NE43 7UL `` Carol Palmer ARPS (as above),


Learn more about filters for landscape photography with the Northern Region

House, Dingwall IV15 9RY

`` James Frost FRPS, as above Scotland Region members’ print exhibition 2017/18 – Stow Sun 1 – Fri 27 October /10:30-16:00




Sunday 17 September / 10:30-16:00

`` An opportunity to


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

Tuesday 28 November / 19:00-21:00

`` Greenwich Gallery, Peyton


`` The Cloud House, 3 Townfoot, Stow TD1 2NQ

`` Ian Oliver LRPS,

`` Bridge of Allan Church Hall,

Scottish Region members’ print wxhibition 2017/18 – Shambellie House

Visit to the Scottish National Portrait Gallery, Edinburgh, and St Andrews Photography Festival

`` Shambellie House, New

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

Wed 15 – Thu 30 November / 10:30-16:00

Abbey, Dumfries DG2 8HQ

`` Laura Hudson Mackay LRPS,

Thursday 14 September / 14:00-17:00


`` An opportunity to see the new

Hill and Adamson exhibition at the Scottish National Portrait Gallery followed by a lecture by Colin Prior sponsored by the group at the St Andrews Festival `` Edinburgh and St Andrews, Scottish National Portrait Gallery, 1 Queen Street, Edinburgh EH2 1JD `` Donald Stewart, 01592 840277,

DIG Scotland Centre – September meeting Sunday 17 September / 13:30-16:15

`` All welcome. DIG members

and non-members. Non-DIG members £5 at the door `` Bridge of Allan Parish Church, 12 Keir Street, Bridge of Allan FK9 4NW `` Dave Hunt,

Photo Forum Dingwall Sunday 29 October / 11:00-16:00

`` Dingwall Camera Club, Eagle


Your events

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

South East Region advisory day – LRPS and ARPS (all five categories) Sunday 3 September / 10:30-17:00

`` £10 spectators `` Fully booked for participants but spectator places available

`` The Haven Centre, Hophurst

Lane, Crawley Down RH10 4LJ

`` Paul Connor,

South East Documentary Group meeting Sunday 17 September / 10:00-13:00

`` Tangmere Village Hall,

Malcolm Road, Tangmere PO20 2HS `` Janey Devine,

Visit to Holy Trinity Cuckfield and St Nicholas’ Worth Monday 18 September / 10:00-16:00

`` Holy Trinity Cuckfield, Church Street, Cuckfield, Haywards

740 | GUIDE | Heath RH17 5JZ

`` Garry Bisshopp,

Steven Le Prevost FRPS: creative photography Sunday 1 October / 10:00-15:30

`` Le Provost is a renowned

creative photographer and digital artist who will show many of his award-winning prints. His presentations will also feature several new and unseen works `` Weald of Kent Grammar School, Tudeley Lane, Tonbridge TN9 2JP `` Barrie Brown,

A&H members’ showcase Saturday 7 October / 10:00-17:00

`` This long-standing annual

event is for all those with an interest in archaeology or heritage photography `` Leatherhead Institute, 67 High Street, Surrey, Leatherhead KT22 8AH `` Mike Sasse, 01892 531179,

South East Region – ‘A walk between the two Brighton piers’ Sunday 8 October / 11:00-16:00

`` Guided photo walk in

Brighton with master street photographer Trevor Gellard FRPS `` Brighton Pier, Madeira Drive, Brighton BN2 1TW `` Martin Gandy,

South East Documentary Group meeting Sunday 17 September / 10:00-13:00

`` A review of members’ work – prints or DPI

`` Tangmere Village Hall,

Malcolm Road, Tangmere PO20 2HS `` Janey Devine,

South East Documentary Group meeting Sunday 19 November / 10:00-13:00

`` Tangmere Village Hall,

Malcolm Road, Tangmere PO20 2HS `` Janey Devine, SOUTH WALES SOUTHWALES(RPS.ORG SOUTH WEST MICK MEDLEY, 01626 824865/07980 073808 RPSSWREGION(GMAIL.COM

Field trip to Hartland Quay

Join the South East Region for a guided walk between the two Brighton piers

Sunday 10 September / 10:30-17:00

`` Hartland Quay,

Bideford EX39 6DU `` Mick Medley, as above

`` The Copper Room,

Heartlands, Robinson Shaft, Dundance Lane, Pool, Redruth TR15 3QY `` Vivien Howse, 01326 221939,

South West Region advisory day – LRPS and ARPS (all five categories)

West Cornwall Group meeting

Saturday 25 November / 10:30-16:00

Wednesday 20 September / 18:45-21:00

`` Bi-monthly meeting of the

Sunday 12 November / 10:00-17:00

`` Cobham, Surrey, Cobham

Village Hall, Lushington Drive, Cobham KT11 2LU `` Martin Gandy,

Road, Bovey Tracey TQ13 9NG `` Linda Wevill,

Peter Paterson FRPS lecture day

Documentary Group South meeting – 25 September

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


`` AUSTRALIA Elaine Herbert ARPS, eherbert `` BENELUX Richard Sylvester LRPS richard.sylvester `` CANADA `` CHINA BEIJING Yan Li, `` CHINA CHONGQING

Monday 25 September / 19:30-22:00

`` Nursling Village Hall, Nursling,


Fotospeed Foto Fest 2017 Sunday 10 September / 10:00-17:00

`` A day of talks from four worldrenowned photographers

`` The Edge, University of Bath,

Nursling Street, Southampton SO16 0XH `` Mo Connelly,

Imaging the moon Friday 29 September / 19:30-22:00

`` Enjoy a rare opportunity to

use a large telescope and take photographs of the moon `` Lilian’s Observatory, 36 Linden Grove, Chandlers Ford SO53 1LD

Royal Photographic Society members around the world

`` CHINA WESTERN Wei Han (Richard), `` CHINA SHANGTUF Guo Jing, `` CHINA QUANZHOU Xiaoling Wang, `` DUBAI Mohammed Arfan Asif ARPS, `` GERMANY Chris Renk, `` HONG KONG



Sunday 26 November / 10:15-16:00

PAUL COX ARPS, 07748 115057


Newbury RG20 8LN

`` The Dolphin Hotel, Station

Road, Bovey Tracey TQ13 9AL


current panel members

`` David Ashcroft, 07710

`` Mick Medley, as above

`` South West Visual Art Group `` The Dolphin Hotel, Station

Saturday 16 September / 10:00-16:00

`` Discuss your images with

`` Di Wilkins LRPS,

Saturday 21 October / 10:30-16:00

South East Region introduction to Distinctions

Southern Region advisory day – LRPS only September

`` Sutton Hall, Stockcross,

01392 469149,

A day with Christine Widdall

07748 115057,

`` The Dolphin Hotel, Station

Road, Bovey Tracey TQ13 9AL

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

Bath BA2 7AY

`` Paul Cox ARPS,

Shan Sang Wan FRPS, shansangwan@ `` INDIA Rajen Nandwana, rajennandwana `` INDONESIA Agatha Bunanta ARPS, `` ITALY Olivio Argenti FRPS, `` JAPAN TOKYO Yoshio Miyake, `` MALAYSIA Michael Chong ARPS, michaelcsc1985 `` MALTA Ruben Buhagiar, `` NEW ZEALAND Mark Berger, `` SINGAPORE Steven Yee Pui Chung FRPS, `` SRI LANKA

Romesh de Silva, `` SWISS CHAPTER Richard Tucker ARPS, `` TAIWAN Joanie Fan Hui Ling ARPS, djpassionfoto `` USA ATLANTIC CHAPTER `` USA PACIFIC CHAPTER Jeff Barton,

| GUIDE | 741 `` Lilian Hobbs, 07785


Stourhead National Trust house and gardens

`` All Saints Church Hall,

Dorchester Crescent, Abingdon OX14 2AQ `` Steve Oakes,

Saturday 14 October / 9:00-13:00

`` Wiltshire, near Mere, Wiltshire BA12 6QF `` Arron Davis, RPSLandscape.

Southern Region advisory day – LRPS, ARPS – Salisbury Sunday 26 November / 10:00-16:00

`` St John’s Place, Lower Road, Lower Bemerton, Salisbury SP2 9NP `` Paul Cox ARPS, as above

Meeting of Documentary Group South

Paul Mitchell FRPS: ‘Woodland ways and spirit of light’ Sunday 12 November / 10:00-15:30

`` Woosehill Community Hall, Emmview Close, Woosehill, Wokingham, Berkshire RG41 3DA `` Alan Bousfield ARPS, WESTERN WESTERN(RPS.ORG

Members’ showcase Sunday 10 September / 10:00-16:30

`` Nursling Village Hall, Nursling

`` Fenton House, 122 Wells


Road, Bath BA2 3AH

`` David Norfolk ARPS, as above Western Region advisory day – FRPS Sunday 1 October / 10:00-16:30


`` Fenton House, 122 Wells

Terry Hewlett ARPS – master flash and film-noir lighting practical session

`` Michelle Whitmore, michelle@

Sunday 10 September / 10:00-15:30

`` Woosehill Community Hall, Emmview Close, Woosehill, Wokingham, Berkshire RG41 3DA `` Alan Bousfield ARPS,

Robert Albright FRPS: ‘The drama of AV, future of the RPS’ and Millennium Cup print competition Sunday 15 October / 10:00-15:30

`` Woosehill Community Hall, Emmview Close, Woosehill, Wokingham, Berkshire RG41 3DA `` Alan Bousfield ARPS,

Thames Valley Region advisory day – LRPS and ARPS (fine art)

Road, Bath BA2 3AH

Provisional: academic photography Sunday 8 October / 10:00-12:30

`` A presentation and

discussion on how universities see the photographic art `` The Great Western Hotel, 73 Station Road, Swindon SN1 1DH `` John Law, 07814 993904,

How to get it right – a joint Travel and Documentary Group workshop Saturday 21 October / 10:30-17:00

`` Learn to get the most out

of your photo opportunities and how to critique your own and others’ images `` 13 Montpelier Central, Station Road, Bristol BS6 5EE `` Mo Connelly,

Sunday 22 October / 10:00-16:00

`` Amersham Community

Centre, Chiltern Avenue, Amersham HP6 5AH `` Kathy Chantler, 07738 112775,

Thames Valley AGM Sunday 22 October / 14:00-14:30

`` Amersham Community

Centre, Chiltern Avenue, Amersham HP6 5AH `` Mark Buckley-Sharp ARPS, as above

Society presentation about Distinctions Thursday 26 October / 20:00-22:00

FB Mono Gloss Baryta 320

DAVID NORFOLK ARPS, 07771 515273

Monday 27 November / 19:30-22:00

Street, Nursling, Southampton SO16 0XH `` Mo Connelly,


DI Group Western – David Mallows workshop Sunday 10 September / 10:30-16:00

Image © Paul Hassell

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`` This lecture workshop is

aimed at intermediate to advanced users of Photoshop and Lightroom `` Merryfield Village Hall, Ilton, Somerset EX4 9HG `` Sheila Haycox, 01392 468859,

Western Region advisory day – LRPS and ARPS (all five categories) 01789 739200

Saturday 28 October / 10:00-16:30

`` Fenton House, 122 Wells VOL 157 / SEPTEMBER 2017 / THE RPS JOURNAL / 741



Film is not dead!

nigmatic Burnley-based ‘film star’ Daniel Scanlin makes no bones about it – he hates digital photography. He always has. Daniel’s grandfather used to run a photographic lab – one of the first in the UK to use Fujifilm photographic paper for consumer prints. Now it’s a minilab set-up in a camera shop run by Daniel and his father. “I learned about the darkroom and the magic of film processing and developing after leaving school,” he says. ‘I think it should be a given that all photography students be taught these fundamentals. I confess I am a digital photography hater. I think this technology has just given people with money the opportunity to buy a camera, stick it on ‘auto’ and claim they are proper photographers. And yet the truth is, many don’t even know what an f-stop is.” He adds: “Now, with smartphones, everyone is a photographer. I think real photographers’ confidence has dropped. They’ve gotten lazy. To me nothing is more beautiful than grain. I believe digital images tend to be flat without the application of major post production.” Now Daniel, who says his mission is simply to document life, has produced an eBook (available free on Blurb) entitled Burnley loves Benedictine. The project completes next year – coinciding with the one hundredth anniversary of the troops’ homecoming. Additionally, he is planning a series of exhibitions (all work output to Fujifilm Original Photo Paper by ThePrintStore, London) in the north of England and also in Normandy at the Palais Benedictine (a distillery and museum housed in a palace). He describes the eBook as ‘a photographic insight into an unlikely love affair betwixt a French elixir and an industrial town in the north of England’. Daniel explains: “The link with this secret recipe and Burnley fascinates me. The history goes back to WW1 when physically injured and mentally exhausted soldiers from this area had been given bene‘n hot – Benedictine with hot water – by nurses in casualty clearing stations and auxiliary hospitals across Normandy. “When they came home in 1918 the soldiers still wanted to drink the liqueur – and to this day the renowned Burnley Miners Working Men’s Club is the biggest seller of Benedictine D.O.M in the world.” He adds: “Also Burnley Football Club is the only club in the Premier League to serve this cocktail ( made to a top secret recipe from 27 plants and spices with the flavour of sweet honey and holiday spice) – at halftime – which I am sure is why we win a lot of our home games!” (Check out Bene‘n Burnley video on YouTube).


Browse the new Fujifilm ‘analogue’ website at products/analogue-photography 8 September/October 2017 Cameracraft

Prints from the exhibition by Daniel Scanlin – left, the library at the Benedictine distillery and museum; below, the Benedictine lounge at Burnley Miners Working Men’s Club.

‘I love vinyl records. I have no television at home and I shoot with film’ – Daniel Scanlin, the digital photography hater whose latest exhibition, ‘Burnley loves Benedictine’, is shot on Fujifilm Pro 400H and Pro 160 NS.

Scarborough’s ‘ninja’ duo NOW A Scarborough studio is also running a ‘film is not dead’ theme. Scarborough-based sibling photographers Dom and Liam Shaw help run York Place studios. They describe themselves as ‘natural light ninjas’ – shooting local portraits/weddings and street photography across the world. The brother/sister combo frequently roam international cities ‘to try and find the true essence and soul of a place’. Recently they partnered with Digitalab. ‘After seeing the phenomenal work they do in developing, scanning and printing film… we decided it was time to go back to our roots and see what we could produce,” says Dom. Armed with Fujifilm Superia 200 film (sponsored by the lab) they took themselves off to Sri Lanka for a fortnight (see their website: Adds Dom: “Whilst much of the trip was actually spent shooting digitally, it was very exciting to pick up a film camera again and hear that old familiar click and winding of film- not to mention the absolute joy of receiving the beautiful scans back from the lab. I have a feeling there will be many more film images in our future.”


Right: Dom and Liam, top image, and photographs from their Sri Lanka documentary.

| GUIDE | 743 Road, Bath BA2 3AH

`` Michelle Whitmore, michelle@

Peter Basterfield on bird photography Sunday 19 November / 10:00-16:30

`` Members’ monthly meeting `` Fenton House, 122 Wells


Photography workshop at the Victoria Baths, Manchester Monday 4 September / 10:30-14:00

`` Chorlton-on-Medlock,

Victoria Baths, Hathersedge Road, Chorlton-on-Medlock, Manchester M13 0FE

National AV Championships Sat 23 – Sun 24 September / 10:00-18:00

`` Two-day event where the

best of UK AVs will be shown and judged `` Leeds Trinity University, Brownberrie Lane, Horsforth, Leeds LS18 5HD `` Howard Bagshaw, 01889 881503, howard.bagshaw@

Aysgarth Falls photo shoot Wednesday 11 October / 10:30-16:00

`` Aysgarth Falls car park,

Church Bank, Aysgarth, Leyburn, Yorkshire Dales DL8 3TH `` Geoff Meakin LRPS, 07730 655931,

Self-help group Saturday 14 October / 10:30-12:30

`` VJs Art Bar, Finkle Street, York YO1 8RW

`` Robert Helliwell ARPS,

01904 500231,

Yorkshire Region advisory day – LRPS and ARPS (travel) Saturday 21 October / 10:30-16:30

`` New Brookhouse Club,

221 Barnsley Road, Wakefield WF1 5NU `` Robert Helliwell ARPS, 01904 500231,

Landscape Group weekend conference and AGM Fri 3 – Sun 5 November / 14:30-17:00

`` Tickets for the conference are now on sale

`` The Coniston Hotel, Coniston Cold, Skipton, North Yorkshire, BD23 4EA `` Mark Reeves, 07968 616551, rps.landscape.

Your events

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

Friday 3 November / 19:30-22:00

`` The Coniston Hotel, Coniston Cold, Skipton, North Yorkshire BD23 4EA `` Mark Reeves, 07968 616551, rps.landscape.

Explore more aspects of photography and digital imaging ANALOGUE


Guided walk along Hadrian’s Wall


`` Steel Rigg car park,

South East Documentary Group meeting

`` Carol Palmer ARPS,

`` Tangmere Village Hall,

Sunday 10 September / 10:30-17:00

Henshaw NE47 7AN

Dinorwig Quarry/ Chwarel Dinorwic Sunday 17 September / 10:30-16:00

`` An opportunity to

photographic scenery and industrial heritage `` Gwynedd Council car park, Llanberis, Snowdonia LL55 4TY `` Richard Jones, 07974 235840,

Ilford inspires Saturday 14 October / 16:30-18:00

`` Featuring humanitarian photographer Giles Duley

`` Old Truman Brewery, F Block, T2, 91 Brick Lane, London `` Stephen Godfrey, 07812 605837, steve@ stephengodfrey-photography.

An evening talk by Charlie Waite


07968 746211, ANALOGUE(RPS.ORG

Sunday 17 September / 10:00-13:00

Malcolm Road, Tangmere PO20 2HS `` Janey Devine,

Photobook craft and publishing with Contemporary SIG AGM Saturday 30 September / 10:00-16:30

`` £10 `` A one-day event is to be

combined with the Contemporary SIG AGM `` Manchester Central Library, St Peter’s Square, Manchester M2 5PD `` Avril Harris, 07990 976390, CREATIVE BARRY FREEMAN ARPS CREATIVECHAIR(RPS.ORG

Creative Group joint event with East Anglia Region Sunday 8 October / 10:30-16:30


`` £15/£10/£5 Group and Regional members


Visit to Holy Trinity Cuckfield and St Nicholas’, Worth

`` Foxton Village Hall, Hardman

Road, Foxton, Cambridgeshire CB22 6RN `` Moira Ellice, 01473 720928,

Monday 18 September / 10:00-16:00

`` Holy Trinity Cuckfield, The Creative Group, jointly with the East Anglia Region, will hear from Tony and Eva Worobiec Image: Mono Lake by Tony Worobiec FRPS

Church Street, Cuckfield, Haywards Heath RH17 5JZ `` Garry Bisshopp ARPS,

A&H members’ showcase Saturday 7 October / 10:00-17:00

`` Leatherhead Institute, 67 High Street, Surrey, Leatherhead KT22 8AH `` Mike Sasse, as above

Visit to Kenilworth Castle Tuesday 17 October / 10:00-16:00

`` Entrance fee applies `` Kenilworth Castle, Castle

Green, Kenilworth CV8 1NG

`` Rodney Thring LRPS,

Improve your creative images with Mike McNamee Sunday 19 November / 10:00-15:00

`` Hough End Centre, Mauldeth Road West, Chorlton, Manchester M21 7SX `` Alan Angel FRPS, 0161 980 0106, DIGITAL IMAGING JANET HAINES DIGCHAIR(RPS.ORG

DI Group Western – David Mallows workshop Sunday 10 September / 10:30-16:00

`` £10/£8/£6 group members `` Merryfield Village Hall, Ilton, Somerset EX4 9HG

`` Sheila Haycox, 01392


AV National Championships Sat 23 Sep – Sun 24 Sep / 10:00-18:00

`` `` Leeds Trinity University,

Brownberrie Lane, Horsforth Leeds LS18 5HD `` Howard Bagshaw ARPS, as above


DI Group Thames Valley: Terry Hewlett ARPS – master flash and film-noir lighting practical session Sunday 10 September / 10:00-15:30

`` £15/£12/£8 group members `` Woosehill Community Hall, Emmview Close, Woosehill, Wokingham, Berkshire


| GUIDE | 745 `` £15/£12/£8 group

RG41 3DA

`` Alan Bousfield ARPS,

DIG Scotland Centre – September meeting



Sunday 17 September / 13:30-16:15

`` £15/£5 `` All welcome. DIG members

Demystifying Adobe Photoshop Lightroom

and non-members. Non-DIG members £5 at the door `` Bridge of Allan Parish Church, 12 Keir Street, Bridge of Allan FK9 4NW `` Dave Hunt,

Sunday 5 November / 10:30-16:00

`` £15/£12/£8 group members `` Foxton Village Hall and Sports Pavilion, Hardman Road, Foxton, Cambridge CB22 6RN `` Mark Gillett, 07984 518959,

Digital Imaging Expo 2017 Saturday 23 September / 9:00-17:00

`` See website for costs `` Holiday Inn Birmingham

Paul Mitchell FRPS: ‘Woodland ways and spirit of light’

Airport, Coventry Road, Birmingham B26 3QW `` Rex Waygood, 01425 673216,

Sunday 12 November / 10:00-15:30

`` £15/£12/£8 group members `` Woosehill Community Hall,

Advisory sessions for LRPS and ARPS at DI Expo

Emmview Close, Woosehill, Wokingham, Berkshire RG41 3DA `` Alan Bousfield ARPS,

Saturday 23 September / 10:00-16:00

`` £20/£15 Society members `` Holiday Inn Birmingham Airport, Coventry Road, Birmingham B263QW `` Simon Vercoe, 01225 325733,

DIG Scotland Centre meeting

DIG SE Centre: Steven Le Prevost FRPS `` £6/£9/£12 non-members `` Le Prevost will lead morning

Robert Albright FRPS: ‘The drama of AV, future of the RPS’ and Millennium Cup print competition Sunday 15 October / 10:00-15:30

`` Mo Connelly LRPS, as above Focus on the next level `` £140/£120 students and

Society members `` Middleport Pottery, Port Street, Stoke-on-Trent T6 3PE `` Mo Connelly LRPS, as above

How to get it right – a joint Travel and Documentary Group workshop £35 group members `` 13 Montpelier Central, Station Road, Bristol BS6 5EE `` Mo Connelly LRPS, as above

South East Documentary Group meeting

The Landscape Group has chosen the Aysgarth Falls for an October photography excursion

Monday 25 September / 19:30-22:00

`` £5 `` Regular meeting of DG South `` Nursling Village Hall, Nursling Street, Nursling, Southampton SO16 0XH

£65 group members

`` Around the Tees estuary, Meet outside the Joe Cornish Gallery, Register House, Zetland Street, Northallerton DL6 1NA `` Mark Reeves LRPS, as above

Fotospeed Foto Fest 2017 Sunday 10 September / 10:00-17:00

`` A day of talks from four worldrenowned photographers

`` The Edge, University of Bath, Bath BA2 7AY

Guided walk along Hadrian’s Wall Sunday 10 September / 10:30-17:00

`` Steel Rigg car park,

`` Tangmere Village Hall,

`` Carol Palmer ARPS,

prints or DPI

Malcolm Road, Tangmere PO20 2HS `` Janey Devine,

Documentary Group South meeting Street, Nursling, Southampton SO16 0XH `` Mo Connelly LRPS, as above HISTORICAL

Documentary Group South meeting

Sunday 3 September / 11:00-20:00

`` £80/£70/

Sun 19 November / 10:00-13:00

Monday 27 November / 19:30-22:00


Using filters for landscape photography

`` A review of members’ work –

`` Nursling Village Hall, Nursling

MO CONNELLY LRPS, 01590 641849


Saturday 21 October / 10:30-17:00

`` £45/£40/

19 November / 13:30-16:15



Sat 7 – Sun 8 October / 10:00-17:00

`` £15 group season ticket/£5 `` Bridge of Allan Parish Church `` 12 Keir Street, Bridge of Allan,

FK9 4NW `` Dave Hunt,

Sunday 1 October / 10:00-15:30

and afternoon sessions on his work, work flow and methods `` Weald of Kent Grammar School, Tonbridge TN9 2JP `` Barrie Brown, 07482 275811,

members `` Woosehill Community Hall, Emmview Close, Woosehill, Wokingham, Berkshire RG41 3DA `` Alan Bousfield ARPS,


Henshaw NE47 7AN

Dinorwig Quarry/ Chwarel Dinorwic Sunday 17 September / 10:30-16:00

`` £15/£5 Society members `` Gwynedd Council car park,

Llanberis, Snowdonia LL55 4TY

`` Richard Jones,

07974 235840,

Long exposures on the Lancashire coast (fully booked) Sunday 8 October / 9:00-15:00

Visit to the Scottish National Portrait Gallery, Edinburgh, plus a visit to the St Andrews Photography Festival

`` £15/£5 Society members `` Blackpool Central Pier, Blackpool FY1 5BB

`` Mick Rawcliffe, 07711


Thu 14 – Sat 16 September / 14:00-17:00

`` Edinburgh and St Andrews,

Scottish National Portrait Gallery, 1 Queen Street, Edinburgh EH2 1JD `` Donald Stewart, 01592 840277,

Re-dedication of Robert Howlett’s grave

Aysgarth Falls photo shoot Wednesday 11 October / 10:30-16:00

`` £15/£5 Society members `` Aysgarth Falls car park, Church Bank, Aysgarth, Leyburn, Yorkshire Dales DL8 3TH `` Geoff Meakin LRPS, 07730 655931,

Saturday 14 October / 14:00-16:00

`` Wendling and Longham

Village Hall, Church of St Peter and St Paul, Wendling NR19 2NE `` Rose Teanby/Geoff Blackwell, 0114 266 8655,

Research day

Stourhead National Trust house and gardens Saturday 14 October / 9:00-13:00

`` £15/£5 Society members `` Near Mere, Wiltshire BA12 6QF

`` Arron Davis, RPSLandscape.

Saturday 18 November / TBC

`` Sheffield Hallam University `` Geoff Blackwell, 0114 266


Landscape Group weekend conference and AGM Fri 3 – Sun 5 November / 17:00-14:30


`` See website for costs `` The Coniston Hotel, Coniston Cold, Skipton, North Yorkshire


746 | GUIDE |


`` Nottingham

Theatrical and creative dance lighting

members `` Make a camera and use it to take a series of shots `` Bath HQ

Hear from the experts and hone your skills

Saturday 2 September / 10:00-17:00

`` £130/£105 Society members `` Surrey

Introduction to Lightroom Saturday 2 September / 10:00-16:30

`` £95/£71 Society

`` Work alongside a

professional ballet dancer

`` Surrey

Developing personal projects and storytelling with Ben Cherry Wednesday 13 September / 10:00-17:00

`` £120/£95 Society


members `` Amersham

Printing with Lightroom

Introduction to Photoshop essentials for creative photographers

Sunday 3 September / 10:00-16:00

Thursday 14 September / 10:00-17:00

`` £95/ £71 Society

`` £115/£90 Society

`` Fully booked `` Bath HQ

members `` Suitable for beginners `` Bath HQ

Macro and art photography

members `` For those would like to become familiar with its range of tools and techniques `` Amersham

Friday 8 September / 10:00-16:30

`` £55/£41 Society members `` Amersham

Movement photography Saturday 9 September / 10:00-16:30

`` £95/£71 Society

members `` Learn how to produce interesting, more creative images `` Bath HQ

Creative techniques in Photoshop Friday 15 September / 10:00-16:30

`` £115/£90 Society members

`` John Humphrey shows a

range of approaches that enable participants to apply their creative vision to photographs `` Amersham

Pinhole photography Saturday 16 September / 10:00-16:30

`` £75/£56 Society

members `` Bath HQ

Sunday 24 September / 10:00-17:00

`` £120/£95 Society

`` £120/£95 Society

members `` Surrey

Two-day wedding workshop Sat 16 – Sun 17 Sep / 10:00-17:00

`` £165/£140 Society members

`` Fully booked `` Lacock Child portrait photography


`` Lacock

Portraiture photography and getting the most from your subject

beginners’ or introductory Photoshop courses `` Bath HQ

Practical wildlife photography Saturday 14 October / 10:30-16:30

`` £120/£95 Society members

`` Devon

Professional Photoshop colour control with Tim Daly Sunday 15 October / 10:00-16:30

`` £95/£71 Society members `` Bath HQ `` Night-sky photography first steps

Wednesday 27 September / 9:30-17:00

Thursday 19 October / 10:30-12:30

`` £115/£90 Society

`` £5 `` Somerset


`` Amersham

A beginners’ guide to product photography

`` £120/£95 Society

Advanced creative compositing in Photoshop

`` Amersham

`` £140/£115 Society

`` Amersham

The landscape photographers’ calendar with Tony Worobiec FRPS

`` Surrey

Hollywood lighting

Architectural and travel photography in and around Exeter

`` £95/£120 Society

Sunday 17 September / 10:00-17:00


Sunday 17 September / 10:30-16:30

`` £55/£41 Society

members `` This course aims to inspire participants to recognise that each month of the year offers different photographic opportunities `` Bath HQ

Friday 15 September / 10:00-16:30

Monday 18 September / 10:30-16:30

`` £120/£95 Society

`` With Martine Hamilton

`` £65/£48 Society

Friday 29 September / 10:00-17:30


Shooting for stock members `` Bath HQ

Wed 22 September / 10:00-16:00

`` £71/£95 Society members `` This covers all aspects of basic light painting `` Amersham

Plant and garden photography Friday 22 September / 10:00-17:00

`` £130/£105 Society members `` Hereford

Introduction to your digital camera Saturday 23 September / 10:00-17:00

`` £85/£63 Society members `` Bath HQ

Art-nude photography Saturday 23 September / 10:00-17:00

`` £120/£95 Society

Thursday 19 October / 10:00-16:30

`` £115/£90 Society members

Saturday 21 October / 10:00-17:00


`` Surrey

Saturday 30 September / 12:00-19:00

`` £95/£71 Society members `` Exeter Photographing landscape whatever the weather, with Tony Worobiec FRPS Sunday 1 October / 10:30-16:30

Painting with light


`` £95/£71 Society

Saturday 16 September / 10:00-17:00

Saturday 9 September / 10:00-17:00

Head outside for a plant and garden workshop in Hereford

Sunday 24 September / 10:00-17:00

How to photograph children and babies

Creative dance lighting photography


Introduction to Photoshop

Art figure painting with light

Architectural photography at Papplewick pumping station



`` Lacock

`` £55/£41 Society members `` Lynmouth

Running your own photographic business Mon 2 – Tue 3 October / 10:00-16:00

`` £190/£165 Society

members `` Discover the financial, management and marketing considerations required `` Bath HQ

Two-day Photoshop workshop Sat 7 – Sun 8 October / 10:00-17:00

`` £165/£140 Society members `` Bath HQ

Professional Photoshop retouching with Tim Daly Saturday 14 October / 10:00-16:30

Studio portraiture Saturday 21 October / 10:00-17:00

`` £140/£165 Society members

`` Lacock

Macro and art photography Thursday 2 November / 10:00-16:30

`` £55/£41 Society members

`` Amersham Learn to film with your DSLR Friday 3 November / 10:00-16:30

`` £120/£95 Society members

`` Amersham How to shoot modern architecture – Jubilee Conference Centre Friday 3 November / 10:00-16:30

`` £99/£75 Society members

`` Nottingham Creative techniques in Photoshop Thursday 9 November / 10:00-16:30

`` £115/£90 Society members

`` £95/£71 Society

`` Amersham

`` For delegates who have

Developing personal projects and


already completed

| GUIDE | 747 storytelling with Ben Cherry Friday 10 November / 10:00-17:00

`` £120/£95 Society

View the Nature Group’s annual exhibition until 15 October


`` Amersham Duo Dance – classic and contemporary lighting Saturday 11 November / 10:00-17:00

`` £140/£115 Society members

`` Surrey

Advanced Lightroom – how to organise your library with keywords, metadata and GPS Saturday 11 November / 10:00-16:30

`` £95/£71 Society `` Bath

`` Mark Reeves LRPS, as above

BD23 4EA

Night shoot

An evening talk by Charlie Waite FRPS

KEITH POINTON LRPS, 01588 640592


Saturday 11 November / 18:00-22:00

`` £35/£26 Society

`` £20/£15/£10 group


members `` The Coniston Hotel, Coniston Cold, Skipton, North Yorkshire BD23 4EA `` Mark Reeves LRPS, as above

Two-day wedding workshop Sat 11 – Sun 12 Nov / 10:00-17:00

`` Fully booked `` Lacock

An afternoon in the company of Joe Cornish HonFRPS

Advanced Lightroom creative editing techniques

Saturday 25 November / 14:00-16:00

`` £15/£12/£10/£5 students `` The Catrin Finch Centre,

Sunday 12 November / 10:00-16:30

`` £115/£90 Society

Glyndwr University, Mold Road, Wrexham LL11 2AW `` Martin Brown LRPS, 01691 773316,


`` Bath HQ Portraiture photography and getting the most from your subject


Combined Royal Colleges Lecture 2017

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

Thursday 23 November / 18:30-21:00

`` This lecture will be given by

Pinhole photography

Professor Caroline Wilkinson, director of Face Lab, a research group based at Liverpool John Moores University `` Royal College of Obstetricians and Gynaecologists, 27 Sussex Place, Regent’s Park, London NW1 4RG `` Jo Macdonald, 01225 325721,

Saturday 25 November / 10:00-16:30

`` £75/£56 Society members

`` Bath HQ Art-nude photography Saturday 25 November / 10:00-17:00

`` £120/£95 Society members

`` Lacock

`` £55/£41 Society members

`` Bath HQ

Rocky Mountain Gold 2017 – photo tour Monday 2 –Thursday 19 October

`` £2,250 `` An escorted photo visit to

Yellowstone, the Grand Tetons and Rocky Mountains `` Western USA, Denver, Colorado `` Keith Pointon LRPS, as above

How to get it right – a joint Travel and Documentary Group workshop Saturday 21 October / 10:30-17:00

`` £45/£40/£35 group members

`` 13 Montpelier Central,

Station Road, Bristol BS6 5EE

`` Mo Connelly,


Thursday 16 November / 9:30-17:00

Sunday 26 November / 10:30-16:30


Friday 3 November / 19:30-22:00

`` Bath

Photographing landscape whatever the weather, with Tony Worobiec FRPS



A day with Christine Widdall Saturday 21 October / 10:30-16:00

`` £13/£10/£5 group members `` South West Visual Art Group `` The Dolphin Hotel, Station Road, Bovey Tracey TQ13 9NG `` Linda Wevill,





RPS Nature Group annual exhibition 2017 Sat 30 Sep – Sun 15 Oct / 11:00-16:00

`` Wingfield Barns, Church

Road, Wingfield, Diss IP21 5RA

`` Moira Ellice,

01225 325724, SALLY(RPS.ORG


Salons/exhibitions with RPS-approved patronage

38th Northern Counties International Salon

Closing date: 1 September `` `` `` RPS 2017/20

The 50th E.A. International Salon of Photography Closing date: 5 September `` `` `` RPS 2017/35 8th International Photographic Salon – 2017 Targu Mures Closing date: 2 October `` `` `` RPS 2017/36 18 Sibiu International Photographic Salon Closing date: 10 October `` `` `` RPS 2017/40 6° Salon Inter. de Legé; 11° Salon Inter. de St Aignan; 4° Salon Inter. de St Martin; 20° Salon Inter. de Bagnols Marcoule (French Digital Tour) Closing date: 23 October `` `` `` RPS 2017/30-33 The 72nd Hong Kong International Salon of Photography 2017 Closing date: 30 October `` `` `` RPS 2017/38 Ozone Zone International Photo Salon Closing date: 31 October `` `` international

`` RPS 2017/41

43rd Smethwick International Closing date: 9 November `` `` `` RPS 2017/39



Metropolis of Bengal

A decades-long fascination with Kolkata is revealed in an exhibition of work by Dennis Anguige FRPS showing at Fenton House


45-year-long passion for photography began for Dennis Anguige when he started travelling in his early 20s. Initially the medium was a simple way to document his experiences around the world, but as the years went by and his travels continued Anguige’s interest in photography intensified. An active member of the Society’s Travel and Visual Arts special interest groups, Anguige continues to be influenced by the sights, sounds and people he encounters on his journeys around the globe. Ahead of his Fenton House exhibition, Images of Kolkata, Anguige explains why India’s second largest city, formerly known as Calcutta, remains a source of intrigue 15 years after he first stepped foot in it.

From the treasures of Bengal held within the Raj’s marble palace to the remnants of British architecture, the city is an important symbol of historic and contemporary Indian identity. As such, Images of Kolkata charts my documentation of the city over the years.

Does Images of Kolkata present a less romanticised perspective on the city? Having seen historic images of Kolkata under British rule, it’s eye-opening observing how the city’s identity has developed since the partition, and how it

What influenced your Fenton House exhibition? I’ve visited India numerous times since the early 1980s, so it definitely ranks among my favourite destinations to visit. Around 15 years ago I decided to visit the Sonepur cattle mela in Bihar. This cattle fair takes place on the full moon day in November as part of the Hindu and Jain holy festival of Kartik Poornima, celebrating the day that Lord Vishnu appeared to save an elephant king from a crocodile. Throughout the mela, elephants, horses and cattle are bathed in the river and dressed with colourful decorations before being traded. While travelling to the mela I stopped for a few days in Kolkata and was immediately struck by the city’s vibrancy.


continues to evolve between each of my subsequent visits. From exploring the city’s back streets to witnessing artisans busy in their workshops, with every visit I’ve been able to permeate different layers of Kolkata and delve deeper into the true heart of the city. I know the area well enough to recognise what parts of the city offer the most photographic interest throughout the day and when the light is at its best. This knowledge has allowed me to remove the touristic perspective from my work and present the everyday realities of Kolkata.


Hooghly River BELOW

Prayer meeting – Kolkata BELOW RIGHT

College Street – Kolkata



What is it that continually draws you back to Kolkata? Generally speaking, Kolkata doesn’t seem to rank highly with tourists, who tend to gravitate towards famous landmarks such as the Taj Mahal in Agra. Don’t get me wrong: I can understand why people aren’t immediately drawn to Kolkata. It can be very manic and is quite run down in parts, but it’s so full of life. You get colonial architecture contrasting with urban slums and colourful people, and I find that intoxicating. Kolkata is regarded as India’s intellectual, cultural and artistic capital, having been home to notable intelligentsia, including the poet Rabindranath Tagore who won the Nobel Prize for Literature in 1913, the first Asian person to receive the accolade. Therefore, I enjoy being able to highlight a part of India that people might not otherwise see. I hope my work will encourage people to visit Kolkata because there are so many wonderful things to discover. For me, the most challenging aspect of the project lay in selecting the highestquality images that I felt would

give audiences the broadest and truest representation of Kolkata’s vibrancy.

What do you hope visitors take away from your exhibition? I’d like to think that it would encourage them to go and seek out the secrets of Kolkata themselves, to witness the city’s colour and cultural richness that have continually piqued my interest. I also hope Images of Kolkata inspires more travel photographers to visit the city and capture their own perspectives on this wonderful place.



The fountain by Dr Hugh Diamond, left. He also pioneered using photography to document his patients at the Surrey County Asylum, such as the woman below

Window on the soul


o define true madness, what is ’t but to be nothing else but mad?’ While Hamlet’s concise, if tautological, definition may be adequate for dramatic purposes, it is insufficient for clinical use. In the early years of the 19th century, however, the treatment of mental illness was undergoing a revolutionary change. The advent of moral treatment as opposed to brutal restraint heralded a more humane process. Not only were the chains unfettered, a more systematic approach was taken to describing the behaviour of the patients. This was one of the uses to which Dr Hugh Welch Diamond suggested photography could be put. Diamond, one of the

original members of the Calotype Club – later the Photographic Society, then The Royal Photographic Society – was appointed superintendent of the female section of the Surrey County Asylum in 1858. Born in 1808, the son of a doctor with the East India Company, Diamond began studying medicine in 1824 and went on to be elected a member of the Royal College of Surgeons a decade later. He combined his professional and photographic interests to produce a series of remarkable images of some of his patients. These delicate salted paper prints from wet-colloid negatives succeed as both as documentary and art. Exhibited in the Royal Society of Arts photographic show in


1852 – its first – some were also used as visual aids in Diamond’s 1856 lecture to the Royal Society entitled ‘On the application of photography to the physiognomic and mental phenomena of insanity’. While not the first to visually document people with mental illnesses – in 1820 Dr Étienne-Jean Georget at the Salpêtrière hospital in Paris commissioned Théodore Géricault to paint his patients – photography had obvious advantages. In Diamond’s words, it had the ability to secure with ‘unerring accuracy the external phenomena of each passion’. By the time of his death in

1886 Diamond had made significant contributions to the technical, aesthetic and organisational development of photography. The RPS Collection not only holds his clinical images, but also a photogenic drawing created only three months after Fox Talbot’s. Diamond was a mentor for many, including Henry Peach Robinson; he served as secretary and editor of the RPS Journal for 10 years and was awarded a £300 testimonial (in 1855) and a Photographic Society medal (in 1867) for his contributions to photography. PETER HARVEY ARPS



How photography became a tool for documenting people with psychiatric illnesses

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The RPS Journal, September 2017  

The Journal of the Royal Photographic Society

The RPS Journal, September 2017  

The Journal of the Royal Photographic Society