RPS September 2016

JOE McNALLY

IT STILL GIVES ME A KICK, 35 YEARS ON

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

MASTERCLASS

DOCUMENTARY

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| SEPTEMBER 2016 | 641

OPENING SHOT

NO ORDINARY JOE, OR STACY

A COMING UP

IN FUTURE ISSUES October’s Journal will be dedicated to the Society awards, where we’ll reveal this year’s winners. Until then, my lips are sealed, but I can promise in-depth coverage

PRINCIPAL PATRONS

t last year’s Photography Show, I attended a talk by this month’s cover photographer, the exceptional Joe McNally FRPS. From the outset he struck me as a warm, generous guy with a big smile, ready to share his stories about a career that spans more than 35 years.

On hearing these tales of McNally shooting cover stories for the likes of National Geographic, Life and Time, some of which were mammoth logistical feats with budgets reaching into the tens of thousands, I knew right away he should feature in an issue of the Journal.

McNally, who approaches every new project afresh, responding to its singular demands, is an inspiration to other members, and especially those who rely on their skills to cope with challenging circumstances, whether in a professional capacity or producing images for a Distinctions panel.

A whole set of different challenges faces Stacy Kranitz, who also features in this issue.

For seven years she has been documenting life in Appalachia, an area of the USA often associated with poverty.

Kranitz spends large parts of the year travelling around the region, living in her car and truly immersing herself in the local

MAJOR PARTNERS

lifestyle, often befriending her subjects. It’s an exciting new method of documentary photography that gives her an insight not often available to others.

Also in this issue, and to coincide with this month’s Encounters Film Festival in Bristol, we have three articles dedicated to the art of filmmaking, including tips from one of last year’s winners and a masterclass in directing by one-time DepicT!-shortlisted filmmaker Rose Hendry, who is now an industry professional.

Finally, next month heralds the Society’s Open International Photobook exhibition, which will first showcase the shortlisted entries at the Espacio Gallery, London, from 18-23 October.

So with photobooks in mind, we take a look at some of the independent publishers making waves in the industry, and Bruno Ceschel offers advice on how to successfully self-publish.

ANDREW CATTANACH Acting editor

SUPPORTING PARTNERS

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642 | SEPTEMBER 2016

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

657 Gotthard Pass in Switzerland (from Mountains – Epic Cycle Climbs by Michael Blann)

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

670

Design Matthew Ball, John Pender, Alistair McGown, Raymond Francis

Appalachian residents, as captured by Stacy Kranitz

Sub-editor Sam Bartlett Advertising sales Helen Rosemier helen.rosemier@thinkpublishing.co.uk 020 3771 7230

FEATURES

670 | SEVEN$YEAR ITCH Drawn to 'poverty posterchild' Appalachia for the best part of a decade, Stacy Kranitz has been rewriting the rulebook of the documentary genre

Account director Helen Cassidy helen.cassidy@thinkpublishing.co.uk Group account director John Innes © 2016 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.

684 | JOE McNALLY The Society Fellow reveals how he's stayed up there with the best for almost 40 years

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

Cover US Coastguard Rescue

by Joe McNally FRPS

664 One of the images from Jo Kearney's successful Licentiate submission

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692 | IN THE CHAIR The inside track on the best way to direct a short film – and just what is a director of photography?

MICHAEL BLANN; JO KEARNEY

678 | A NEW LEAF Small-press publishing, the way forward for photobooks, and how to get your work in print

THE CRAFT

EVERY MONTH

697 | MUST TRY ) LATEST KIT The Fujifilm X-T2 under the spotlight, plus member test, and a host of gear gets the onceover

STACY KRANITZ; ISIDRO RAMÍREZ / VELVET CELL

701 | MASTERCLASS/IN DEPTH Expert tips on how moviemakers tackle low light conditions, and getting the most of your film concept – whatever the budget

644 | BIG PICTURE Nosy Neighbour by Sam Hobson 647 | IN FOCUS ) BOOKS News from the Society and beyond, plus four works reviewed 658 | DISTINCTIONS Mike Mills ARPS, Conceptual and Contemporary, and Jo Kearney LRPS 694 | SHOWCASE Michael Hallett ASICI FRPS 705 | MEMBER GUIDE Society events both near and far

678 Independent publishers' role in sustaining the photobook and other imprints

720 | TIMES PAST Venetian Franciscan friar

by J Craig Annan HonFRPS VOL 156 / SEPTEMBER 2016 / THE RPS JOURNAL / 643

644 | BIG PICTURE |

Nosy Neighbour

By Sam Hobson THE PROJECT

I spent just over a month photographing this family of foxes for my Bristol Fox project.

Being accepted as part of the family after taking a deliberately slow approach was key.

THE SUBJECT

After a few days following a local fox around the streets of Bristol, I worked out his daily routines and let him get used to my presence.

After a while, I introduced myself to the rest of the family.

I slowly brought my camera and strobes into the equation, and by the end of the month I could go to their territory and sit

down, and the cubs would come and sit with me, preening and scratching fleas.

TECHNIQUE

The young foxes would try to pinch stuff from my camera bag, and if I left anything unattended they would come over to sniff around.

I set up a pre-focused camera on a wall and waited for this cub to investigate. I used a pair of remote flash and camera triggers while I stood across the street.

Sam Hobson is a Bristol-based professional wildlife photographer.

His image was a finalist in the urban category of Wildlife Photographer of the Year 52

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647

CHOSEN ONES SHOW TIME Entries inspire IPE 159 selectors 648 The pick of the UK’s exhibitions 652

OUTSTANDING IN THEIR FIELD Focus on the Landscape Group 654

INFOCUS NEWS, VIEWS, EXHIBITIONS AND MEMBER INSIGHT

Sunrise at Te Pare Point, New Zealand, by David Noton

DIRECT FELLOWSHIPS AWARDED

© DAVID NOTON FRPS

Society recognises the work of three photographers, including David Noton

Three direct Fellowships have been awarded to a trio of well-known professional photographers: David Noton, Andrea Liggins and Levon Biss. To receive a direct Fellowship, with ratification by the highest levels of the Society, is a very rare honour.

While all three are superbly talented photographers, Noton’s

BOOK NOW!

Noton: skilled communicator

direct Fellowship is also a recognition of his teaching and communication skills, as seen at the Travel Group’s successful Springboard to Success symposium in April.

‘Getting a direct FRPS is a ARCHITECTURAL AND TRAVEL PHOTOGRAPHY

great honour after all these years in the profession,’ said Noton. ‘I hope to be involved in how people get their various Distinctions, and to run some dedicated courses and workshops. I am also keen to take photography into new areas, working with charities and schools.’

Meanwhile, Biss, whose macro image of an orchid cuckoo bee featured in the May issue of the Journal, said: ‘To receive a direct Fellowship is an honour that I am extremely proud of.’

Yangon, Myanmar, by David Noton

Join a workshop on architectural and travel photography in and around Exeter on Saturday 1 October. For more information turn to page 708 VOL 156 / SEPTEMBER 2016 / THE RPS JOURNAL / 647

648 | IN FOCUS |

TO INFINITY AND BEYOND Astronomy Photographer of the Year stars soon to be revealed Shortlisted images from this year’s Insight Astronomy Photographer of the Year have been announced. This year’s contenders feature a diverse range of entries, including a meteor shower over California, the aurora australis in New Zealand, and a total solar eclipse in Indonesia.

This year’s contest attracted 4,500 entries from all over the world, and the winners will be announced on 15 September at an awards ceremony at the Royal Observatory Greenwich in London.

Follow the awards live on Twitter #astrophoto2016

Images by Yuyun Wang, above, and Nicholas Roemmelt, right

INTERNATIONAL PRINT EXHIBITION FINALISED Last month, selectors for the International Print Exhibition 159 spent a day viewing all the shortlisted prints, working together to make the final selection for the exhibition.

‘It was such an enjoyable experience,’ said selector Gemma Padley. ‘I came away feeling very inspired.’

Look out for a feature on the award winners in October’s Journal, and see all shortlisted entries at rps.org/ipe159

The selectors, from left to right: Malcolm Dickson, Gemma Padley, Celia Davies, Russ O’Connell and Dougie Wallace

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© YUYUN WANG; © NICHOLAS ROEMMELT

Selectors ‘inspired’ as they whittle down selected photographers

| IN FOCUS | 649 FROM RICHARD TUCKER ARPS

SO FAR, YET SO NEAR

In celebration of Society’s ‘foreign legions’

O

DISTINCTION MUG SHOT

Associate can now drink to her own success Getting a Society Distinction is a major achievement, so if

you’re looking for a more lasting way of celebrating it than opening a bottle of bubbly, what about putting your successful panel on a mug?

Sally Sallett ARPS did just that after getting her Associate Distinction.

‘I’ve created photo mugs before as gifts and thought it would make a nice keepsake,’ she explained.

‘A local printing shop only charged me £10 for two.’

ne in 11 members of the Society lives outside the UK and Eire, which amounts to more than 1,300 people. I am one of those.

It is tempting to imagine that we comprise retired expatriates and former colonials, but that is far from the truth. In fact, the great majority are nonBritish, with more than half living in Asia.

Chapters have been formed around the world, serving some of the functions of the UK regions. However, they often have to cover vast territories, with members sometimes living thousands of miles apart.

Chapters receive no funding from the Society and most have few members. They are independent, selffinancing and self-governing.

The combination of distance, widely dispersed memberships and precarious financing makes it particularly difficult for chapters to run a meaningful programme of activities. Yet chapters persist; some making extensive use of digital communication; some publishing digital journals which are distributed throughout the chapters.

Others run blogs for their members, which they share with other Society members.

Some run monthly imaging critique circles, while others organise competitions leading to touring exhibitions.

Each chapter does what is feasible given the number of members and the areas it has to cover.

However, it is just as difficult running a meaningful programme in Malta as it is in Indonesia.

So why do people living outside the UK choose to join the Society? A small number were resident in the UK when they joined and have moved overseas, but the great majority have chosen to become members while living abroad.

Firstly, there is the prestige of belonging to the world’s oldest photographic society, with royal patronage.

Undeniably the chance of gaining a Distinction is a major attraction for overseas members, just as it is for those in the UK. Our overseas members are an important, dynamic and enriching part of the Society. A regular look at the 365 monthly competition will show that we punch well above our weight.

While the trustees are actively concerned with all aspects of the council’s affairs, I am proud to carry a special interest in matters concerning overseas members.

Richard Tucker ARPS Swiss Chapter organiser and a co-opted council member

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650 | IN FOCUS | NEWS IN BRIEF

VIVECA KOH FRPS

On page 626 of last month’s Journal, we wrote that Viveca Koh FRPS is the secretary of the Audio Visual Group. Koh is in fact the honorary secretary of the Visual Art Group.

Furthermore, Koh would like to thank her friend Nicola Spencer, who supplied the portrait for the article.

RECOGNISING VOLUNTEERS Facets of imaging will be discussed on the day

FOUR TO EIGHT YEARS’ SERVICE Mary Crowther ARPS Chris Leak Kevin Elsby FRPS

IMAGING SCIENCE GROUP SYMPOSIUM

EIGHT TO TWELVE YEARS’ SERVICE Margaret Hocking ARPS Stanley Hodgkiss LRPS Anne Sutcliffe FRPS Sue McGarrigle LRPS

Society group to hold its 14th such annual event in December The Imaging Science Group’s annual Good Picture meeting (subtitled ‘facets of imaging’), will be held at the University of Westminster, London, on Saturday 10 December.

The event is aimed at photographers of all levels, from keen amateurs to professionals.

Speakers aim to provide technical advice on a

variety of topics and include industry professionals, academics and Society members.

There will also be time for questions and discussion.

For more information on the presentations and an online application form see bit.ly/sciencesymposiumrps or contact Mike Christianson on 01753 890480

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

The annual event is aimed to interest photographers of all levels

TWELVE YEARS’ AND OVER SERVICE Roger Parry ARPS John Bebbington FRPS Barbara Lawton FRPS John Jones FRPS Geoff Trinder ARPS Tony Bond FRPS Tony Wharton FRPS

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| IN FOCUS | 651

365 MEMORY OF AN IRISH LANDSCAPE BELOW

By Rosangela Borgese This was taken from the shore of Lough Conn in County Mayo on a winter trip to the west coast of Ireland.

By blurring elements in the landscape and altering

JULY’S ONLINE COMPETITION WINNERS

DISTORTION

GET INVOLVED

Submit photographs for the next competition at rps-365.org

LANDSKAB

By Nicol Hockett This was taken on a winter photo walk in my favourite park during the golden hour.

I was struck by the sweeping landscape, and wanted to record all of it. For a level horizon, I secured the camera to my chest and spun around like a top with the shutter open. Movement photography yielded a rewarding work of art.

I captured the image with a Nikon D810 and Nikkor 35mm f/1.8 lens at 1sec, f/16, ISO 100. Edits were made in Lightroom and Nik Collection Color Efex Pro.

the colour palette to create undefined paint strokes, reminiscent of impressionist artists, I was able to convey my inner experience of the subject – the pure, quiet, wet and uncomfortably cold memory of the country.

BRIGHTON PIER

By David F Stevens ABOVE

Following a business trip, I found myself at a loose end and having to stop over for the weekend in Brighton. An early-morning start

found the weather overcast but bright. The derelict pier has always fascinated me in its many guises and this day was no exception.

I tried various angles but a prone position – with a few odd looks

from dog walkers – proved to be the best option. I always carry my little Sony RX100 III for such occasions. The image was shot with ISO 125, f/11 at 1/50sec, with post-production completed in Photoshop.

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652 | IN FOCUS |

WHAT NOT TO MISS SIBYLLE BERGEMANN Street Level Photo Works, Glasgow UNTIL 25 SEPTEMBER

The late Bergemann covered a diverse range of subjects but the social context was always a key factor in her work, as seen in her critical analysis of reality during the days of former East German GDR. bit.ly/bergemannshow

BRITISH ARTISTS AT LUMAS GALLERY LUMAS London, South Molton St FROM 4 SEPTEMBER

INTERNATIONAL IMAGES FOR SCIENCE EXHIBITION 2016 The Crystal, London E16 1GB 14(28 SEPTEMBER

The five winners and 95 shortlisted entries for the Society’s International Images for Science

competition go on tour this month after being unveiled on 13 September.

There were more than 2,500 entries to the competition, which is supported by Siemens as part of the Curiosity Project, a three-year programme that

aims to engage young people with science and engineering.

After London, the images will tour to venues in Manchester, Edinburgh and Cheltenham.

The winners will be showcased in the November issue of the Journal. bit.ly/iisrps

Fine art photo gallery LUMAS features work by Justin Barton, Peter Adams and Jonathan Andrew, plus Jane Bown (from 4 October).

Barton is an addition to the LUMAS portfolio, focusing on personal history and heritage through the English landscape. lumas.co.uk

THE CAMERA EXPOSED V & A, London UNTIL 5 MARCH 2017

A fascinating display of more than 120 images that explores the camera as a subject in its own right.

Amateurs and well-known professionals feature, including Bill Brandt, Paul Strand and Weegee. Society directorgeneral Michael Pritchard acted as consultant for the exhibition. bit.ly/camexposed

BÉTON BRUT

BY SIMON PHIPPS The Foundry Gallery, London 9 SEPTEMBER * 27 OCTOBER

Simon Phipps showcases a new set of monochrome images of brutalist architecture, screenprinted on to brushed aluminium. Phipps focuses on the sculptural quality of concrete, with an emphasis on abstract shapes and texture. thefoundrygallery.org

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LOOK Arts University Bournemouth 6(10 SEPTEMBER

Sue Macpherson ARPS presents her MA in commercial photography project showing how, with courage and determination, people with visual disabilities embrace activities and challenges. She worked with people in Dorset who were keen to show they are not defined by sight loss. suemacpherson.co.uk

St Andrews Photography Festival Various venues Until 11 September Terence Donovan: Speed of Light The Photographers’ Gallery, London Until 25 September Painting with Light Tate Britain, London Until 25 September Jo Spence Stills Centre for Photography, Edinburgh Until 16 October William Eggleston: Portraits National Portrait Gallery, London Until 23 October

OBELIA HYDROID, TERESA ZGODA; © SIBYLLE BERGEMANN; © PETER ADAMS; © SUE MACPHERSON ARPS; © SIMON PHIPPS; © RICHARD SADLER

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654 | IN FOCUS |

WHEN IN ROME …

GROUP FOCUS

Students at top Italian photography school achieve Distinctions Fourteen students from Scuola Romana di Fotografia e Cinema in Rome are the latest group at the school to receive Society Distinctions.

Italian Chapter organiser Olivio Argenti FRPS handed out nine Licentiate and five Associate certificates to the masters students in July.

This latest round of awards continues an

established relationship between the Society and the university that has already led to several students gaining Distinctions.

‘The students’ achievement confirms the enormous success of the partnership between our school and the Society,’ said the students’ teacher, Carla Magrelli ASICI FRPS.

LANDSCAPE In this issue we speak to the group’s newsletter editor Jim Souper ARPS

COLLECTIONS NETWORK NETS £55K Society closely involved in major initiative A national body, set up to offer advice and support on photographic collections, has received £55,000 in funding from Arts Council England.

The Photographic Collections Network (PCN) is a steering group made up

IN A NUTSHELL Launched in January 2016, the Landscape Group aims to encourage and develop the practice of landscape photography. As of August this year, we have 431 members – a figure we hope will increase as time goes on.

of representatives from the Society, the V&A, National Media Museum and Redeye.

‘The PCN will provide support and guidance, assist the public and act as a wider advocate for collections,’ said Society director-general Dr Michael Pritchard FRPS.

NOTABLE MEMBERS Perhaps the best known is

For more, see bit.ly/PCnetwork

travel and landscape photographer David Noton FRPS (see page 647).

Susan Brown FRPS, whose masterclass on long-exposure photography appeared in August’s Journal, is also a member, as is the editor of the online magazine On Landscape, Tim Parkin.

AGM

NOTICE OF THE SOCIETY’S ANNUAL GENERAL MEETING Saturday 24 September 2016 at 10:15am.

The business of the meeting will be: To receive the minutes of the 2015 annual general meeting as previously circulated.

To approve the trustees’ report and accounts for the year ended 31 December 2015 as previously circulated.

To authorise the council of The Royal Photographic

Society of Great Britain to appoint and to agree a fee for the Society auditors in 2016.

By order of the trustees.

Dr Michael Pritchard Director-general

Note: the minutes of the 2015 annual general meeting, together with the trustees’ report and accounts, are available as a download from the Society’s website. Any member wishing to obtain a printed copy of the above documents should contact: Dr Michael Pritchard, Director-general, The Royal Photographic Society, Fenton House, 122 Wells Road, Bath BA2 3AH. Tel: +44 (0)1225 325730 (direct line) or email: director@rps.org

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CARLA MAGRELLI ASICI FRPS

REGISTERED CHARITY NO. 1107831 Notice is hereby given that the annual general meeting will be held at the Society’s registered office, Fenton House, 122 Wells Road, Bath BA2 3AH on

| IN FOCUS | 655 NEWS IN BRIEF

COMBINED ROYAL COLLEGE LECTURE

Winskill Stones after a rain storm by Dorcas Eatch LRPS

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

To find out more, visit, bit.ly/royalcollegelecture

Spurn Lighthouse

by Steve Cheetham LRPS

Dedham Vale

by Liz Akers LRPS

WHY JOIN THE GROUP? The group has run a number of field trips and a workshop on the use of tilt-and-shift lenses for landscape photography.

Over the next few months we have day-long field trips planned across Liverpool, Crosby, the Lake District and West Sussex, and a weekend meeting in Pembrokeshire in October. We produce a monthly e-newsletter to keep our members up to date with any developments.

CHALLENGES AND JOYS It has been a thrill to witness

the group grow so quickly over such a short period of time. Although this is encouraging, it poses some challenges.

We must be mindful that our events have a geographical spread that reflects our membership and ensure that we put the results of our recent members’ survey into practice.

As newsletter editor, I’ve enjoyed viewing the variety of work submitted by members, whether from one of our field trips or taken at their own favourite locations.

BLUE PLAQUE

Sarah Angelina Acland FRPS, the pioneer colour photographer, has been honoured with a blue plaque on her former home at 10 Park Town, Oxford. To read more go to bit.ly/sarahacland

SOCIETY’S PHOTOBOOK EXHIBITION Selectors for the Society’s Open International Photobook exhibition will this month choose a shortlist from 155 entries.

To read more about the competition – and our guide to independent and self-publishing – turn to page 678.

A participant in the group’s tilt-and-shift workshop

For more information, visit rps.org/special-interestgroups/landscape From Uma Kinoshita’s entry

DISTINCTIONS SUCCESSES Well done to members on their recent achievements 07/16 ARPS EXEMPTIONS Paul Cox, Hampshire Chin-Tiong Ong, Singapore

Laura Maricela Rivera Rojas, Spain Rebecca Tribelhorn, Washington

07/16 GIS ) ARPS EXEMPTION Imogen Barker, Nottinghamshire Charles Robert Conway, Hertfordshire Svanhildur Egilsdottir, Iceland Samantha Jayne Ibbott, Herefordshire

08/16 ARPS EXEMPTION Martin Richards, Leicestershire Stephen Salmon, Cambridgeshire Miles Thomas Roberts, Surrey 08/16 GIS ) ARPS EXEMPTION Alexander Browne, Derbyshire

O7/16 LRPS Steve Carlile, Essex David Cole, Hertfordshire Susan Dall, Kent Catherine Dashwood, Hampshire Duncan Herring, Middlesex David Jones, Wiltshire David Penrose, Suffolk Lyn Phillips, West Sussex Pamela Russell, East Sussex John Scully, Middlesex Chris White, Kent Vivien Elizabeth Aylwald Brett,

Hampshire Michael Brittain, Northamptonshire Michael Butterworth, Oxfordshire John Clare, London Susan Clark, Denbighshire Alan Cork, Kent Greg Dunn, Netherlands David Freeman, Nairnshire Guy Gentry, Essex Susan Goldberg, Zuid Holland Kenneth Rennie, Cumbria David Sanders, Northumberland Michael Kevin Simpson, Lancashire James Armitage Thomas, North Somerset Timothy Paul Williams, Cheshire

VOL 156 / SEPTEMBER 2016 / THE RPS JOURNAL / 655

BOOK REVIEWS

| IN FOCUS | 657

PHOTOGRAPHING LANDSCAPE WHATEVER THE WEATHER Tony Worobiec FRPS RHE Media (£15.99) Tony Worobiec is a Society stalwart and celebrated landscape and travel photographer. His latest book should be essential reading for anyone who puts their camera away during inclement weather.

It’s full of practical ideas for making the most of less than ideal conditions: the right gear, stormy or drab skies, flooded landscapes, ice, snow and more.

Worobiec’s images are second to none, and the inspiring tips on storms and wet weather are highly relevant to UK readers.

GEOFF HARRIS LRPS

UPHILL STRUGGLE

COL DU TOURMALET: THE MOST VISITED CLIMB IN THE HISTORY OF THE TOUR DE FRANCE © MICHAEL BLANN

Photo study of gruelling cycle routes proves to be a wearying ride

MOUNTAINS ! EPIC CYCLE CLIMBS MICHAEL BLANN Thames and Hudson (£34.95) British success in the Olympics and Tour de France means that interest in competitive cycling has never been higher, so the release of this new photography collection is certainly very timely. Upon a first scan, I formed the opinion that this is a book that tries to address two audiences: the avid alpine cyclist and the mountain landscape photographer.

It became clear, as I worked my way through the book, that it satisfies the requirements of the former far more than the latter. Speaking as a photographer, I felt the book fell short of being an exciting or inspirational read.

In fairness, the author does admit to adoring cycle road racing, confessing that his book is a photographic record of the landscapes that have to be conquered in that sport.

The book presents a succession of mountain scenes, mostly punctuated with roads and/or cyclists – and sometimes lots of them. Certainly, there

BANARAS: HOLY CITY Christopher Roche Prestel (£29) Pity any travel photographer producing a book on India these days: Raghu Rai, Steve McCurry HonFRPS and other greats cast a long shadow.

Their influence is discernible in this collection, but Roche’s images are strong enough to stand up in their own right.

The portraits and longexposure work particularly stand out, and the light (and colours) of this iconic city come over wonderfully.

are some stunning shots to be had but these are tempered by quite a significant number of images which are technically substandard, with signs of a dirty lens, poor choice of viewpoint and other issues in evidence.

Other than the introductory paragraphs, which were written by the photographer, the textual content is provided by contributors whose involvement with the genre is not elaborated upon until one encounters the ‘rider profiles’ at the end of the book. So they are not photographers, which adds to my feeling that the book is more geared to the cyclist.

In summary – and again from a photographer’s point of view – I felt jaded by the time I got to the end of Mountains (there are 190 images). It is described as ‘a landscape photography book of Europe’s most majestic mountains and historic cycling climbs’, and while it may be exciting for a Tour de France fan, for me, as a photographer, its promise was left unfulfilled.

36 HOURS: LOS ANGELES $AND BEYOND% Barbara Ireland, editor Taschen £7.99 Making the most of a destination on a short trip can be a tough photographic challenge, particularly if you are there with others.

These well-researched New York Times guides cut through the distractions and identify the key sights and events, with lots of great images to inspire you. A bargain considering the high Taschen production values.

IAN THOMPSON ARPS

GEOFF HARRIS LRPS

JANE NORTON

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658 | SEPTEMBER WHAT ARE DISTINCTIONS?

Distinctions are standards of achievement recognised throughout the world

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

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

Mike Mills

ARPS CONCEPTUAL AND CONTEMPORARY

One of the images in my Licentiate panel from 2013 was taken at the Norwegian National Opera and Ballet. The image was also selected for the Society’s 156th International Print Exhibition. This inspired me to continue photographing the location.

I photographed the Norwegian National Opera and Ballet on 30 different occasions over a two-year period. I visited in all weathers and at all hours of the day, aiming to capture the interplay between landscape and light, and people and place.

The ever-changing light

interacts with glass, marble, white aluminium and passers-by, as though in dialogue with these elements.

Some visitors can be seen hurrying by, while others are more relaxed, content to soak up the last rays of the evening sun or take a romantic stroll in the twilight.

As an overseas member living in Norway, attending an advisory day was difficult. However, I took the opportunity to get online advice from the Society, which was an excellent alternative and very comprehensive.

ABOVE

Winter perspective RIGHT

The human touch

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

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ASSESSOR’S VIEW

DOUGLAS J MAY FRPS Chairman of the Conceptual and Contemporary panel The key phrase in Mike Mills’ statement, which accompanied his submission, is what he describes as ‘the strange symbiosis’ between the Norwegian National Opera and Ballet and those walking around its architecture.

Mills has been successful in revealing this ‘symbiosis’ by using light, structure and the arrangement of people interacting with the architectural landscape.

Part of that success is due to the length of time he allowed for the gestation and completion of his project. He resisted the temptation to dash it off over a weekend. As a result, he has captured the dramatic design of the building and those who use it through the seasons, be it in the desolate, cold greyness of winter or during glorious, sunlit, northern summer evenings.

It is clear from Mills’ statement that the architects wanted there to be open access to the roof of the building so that people could enjoy the external features in addition to the structure’s primary purpose as a venue. That intention is captured through, for example, the image of the dog walker in the snow or the shadows on the fly tower.

The author’s concept has transformed what could easily have been a skilled but clinical presentation of architectural photography into something that brings life to the building, and an intellectual and emotional context to the photographs. This admirably fulfils what a conceptual and contemporary submission is all about.

CLOCKWISE, FROM ABOVE LEFT :

Walking on sunset Fetch Into the breach Celebration day

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ABOVE

After midnight RIGHT

Slipping and sliding

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FEATURE SPONSORED BY

A couple of couples

HANGING PLAN

‘He has captured the dramatic design of the building and those who use it’

FACT FILE

Mike Mills was brought up in Kent, training as a typographer before moving to Norway in 1969.

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Jo Kearney LRPS

My portfolio focuses on travel photography and includes images from the Middle East, Nepal and Romania, including one of a man making an offering on the edge of the Pashupatinath Ghats in Kathmandu, a girl selling colourful dyes during the festival of Diwali and the Dubai camel races.

I am inspired by strong colours and the desire to photograph people in their traditional environments – modern cities don’t really interest me.

I felt that these photographs matched the Distinctions guidelines. I tried to show a variety of skills, including still life, landscape and portraiture. I feel these images capture an atmosphere of a time gone by.

Modernisation is making it harder to find scenes like these, particularly in places such as Dubai. Even the camel-racing track was modernised soon after I took these photos.

In other places, plastic has replaced natural materials, such as wicker baskets used by tea pickers, and in the Dubai fish market the sellers all have to wear a white uniform – very different from the Oman fish market pictured in my panel.

There is an animal theme in the second row of the submission, including images from a Romanian livestock market and the Dubai Deira fish market. The more muted colours of the Romanian animal market contrast with the brighter fish pictures at either end of that same row.

Pig woman 664 / THE RPS JOURNAL / SEPTEMBER 2016 / VOL 156

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FACT FILE

Jo Kearney LRPS has spent her life travelling around the world and for the past 14 years has tailored her journeys around her photography.

She is a video journalist working mainly for Associated Press TV

THIS PAGE

Top: Dye woman Right: Camel train OPPOSITE PAGE

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FEATURE SPONSORED BY

ASSESSOR’S VIEW

ROBERT GATES ARPS Chairman of the LRPS panel

HANGING PLAN

‘The panel was very well printed and the mounting excellent – something often forgotten about’

We see an increasing number of theme-based panels submitted for the Licentiate Distinction, and while this is to be recommended if you are a specialist, it is essential the images show variety of techniques and approaches.

Looking at Kearney’s panel, it is clear that there is a travel theme throughout. Most of us go on holiday, and many of the images taken abroad would be suitable for inclusion in a panel. But, for a successful panel, such as Kearney’s, the images should not be mere snapshots taken as a record of the place.

Most of Kearney’s images show some interaction with the locals and give an impression of everyday life in the area. The panel has been well constructed, with the dominant colour image in the centre of the top row.

The vertical images on the bottom row are well placed and, although both fish, are quite different.

Two images on the bottom row give us a glimpse into rural life – the woman holding the pig being one of my favourites. There is a good appreciation of the use of light, especially in the image of the man and boy in the desert, where the highlight detail has been very well controlled.

Kearney has used different lighting, viewpoints and lenses to make images that are not just holiday snaps. The panel was very well printed and the mounting excellent – something often forgotten about, although an important part of the assessment process. Here, panel members were unanimous in their support for the submission and we were delighted to recommend that she be awarded a Licentiate.

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Pictorial and Creative categories to merge

New Fine Art Photography category will be introduced in 2017

Image: Fiona Alison

A creative landscape by Peter Paterson FRPS

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rom the start of next year, the Pictorial and Creative Distinctions categories will be amalgamated into a new category called Fine Art Photography. By joining the two categories, the Society hopes to prevent any confusion photographers felt over which discipline – Pictorial or Creative – their work came under.

FINE ART PHOTOGRAPHY Submissions in this category will consist of photography produced to fulfil the creative vision of the photographer in expressing and sharing perceptions or emotions.

All applications for the Associate and Fellowship Distinctions will be assessed against the criteria set out in the Associate and Fellowship outline document. The following criteria are in addition to, not instead of, those criteria.

Images can be produced either solely in the camera, or subsequently creatively altered by the photographer Each image in the

submission may be based on one or more original photographic images The applicant must own the copyright to, and be the creator of, all the photographic elements in the images submitted. The Society reserves the right to view the original files There is no restriction on the subject matter or techniques used. However, your portfolio should present a cohesive visual statement on your chosen subject or subjects, communicating a clear personal vision or style, and sharing a sense of design, emotion, mood or meaning which encourages the viewer to look beyond the subject Submissions may be based on a single or a small number of themes or techniques, although this is not essential Assessment of your application will include whether it meets the criteria set out in your statement of intent, and whether the techniques used are appropriate and suitably controlled.

FIND OUT MORE ABOUT FINE ART PHOTOGRAPHY

For more information about the new Distinctions category, including forthcoming assessment dates, go to bit.ly/FineArtDistinction

Studying with the OCA has stretched my horizons.

I now feel my work has a greater sense of my personal presence and I can communicate my ideas creatively. John Umney

LIVE | LEARN | CREATE

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COME PARTY WITH US

Stacy Kranitz has spent seven years documenting – and taking an active part in – life in Appalachia, a vast and often misunderstood region of the USA.

By Lucy Davies

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West Columbia, West Virginia, with Pat, an Appalachian Kranitz befriended during the project

Pine Mountain, Kentucky

E

very summer, for months at a time, Stacy Kranitz lives out of her car. It’s an SUV from which she’s removed the back seats, built a bed and installed a fridge; a system perfected over seven years, since she began her enquiry into the people, history and landscape of Appalachia.

‘It’s easiest to be in constant motion’ she says by phone from Ohio, which she flew into the day before, on her way to Kentucky, from where she will begin an eight-week journey around the region.

‘It’s the best way to work in Appalachia because it’s very mountainous. Even if things seem close on a map the journey can take five or six hours’.

When she first began travelling for her work, some 15 years ago, Kranitz had apartments in either Los Angeles or New York. ‘But I realised these were getting in the way of a deeper engagement, and I needed to create a life that revolved around making the work, so I got rid of the apartment. I sublet places when I need to, or do artist residencies.’

Time’s Instagram Photographer of the Year 2015, Kranitz became interested in Appalachia while working on From the study of Post-Pubescent Manhood, a project documenting cathartic violence among male teens. ‘I didn’t know I was in Appalachia at first but, in talking to people, it became clear that I was somewhere with a unique history and a connection to an idea of rural white poverty. I began exploring, and reading.’

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Appalachia stretches through 13 states but is famously indistinct, which encouraged Kranitz to ‘create my own map; to feel out what was significant’.

She quickly focused on the coal mining region, Appalachia’s heartland.

Kranitz has grouped the series into four chapters – Arrival, Exploration, Salvation and postscript. They’re loosely based on the Bible, but also myths concerning frontiersman Daniel Boone who, in 1775, cut a trail through the Appalachian Mountains; the ‘Wilderness Road’, the main route to the west.

‘I wanted a narrative arc,’ says Kranitz.

‘I was thinking about colonialism; the idea of discovering a place. It seemed that the photojournalist in me is part of that colonial legacy, and there are a lot of problems with that gaze. I am constantly reconciling with that as I work’.

The work’s title – As it was Give(n) to me – comes from a column in a rural Tennessee newspaper. ‘“As it was give to me” is a local saying, but when I say it I have to say “As it was given”, so it was this idea of us both saying the same thing but saying it differently. I’m very conscious with this project that I don’t pretend to be Appalachian, so the phrase symbolised that inside/outside relationship that underlies my concern’.

Arrival opens with a typed index card on which an anonymous author works through potential titles for his or her book. ‘Everyone finds titling hard, as you have to essentialise your work in some way, and that isn’t always – and perhaps

‘I WAS THINKING ABOUT COLONIALISM; THE IDEA OF DISCOVERING A PLACE’

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FAR LEFT

Welch, West Virginia NEAR LEFT

Index card from the DK Wilgus Folklore Collection at Berea College Southern Appalachian Archives

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BELOW

Jolo, West Virginia

ON THE FRINGES To see more of Kranitz’s work, including her examination of masculinity, From the Study on Post-Pubescent Manhood (near right), and her look at World War II reenactors, The Crevasse of the Reich (right), go to stacykranitzprojects.com

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| STACY KRANITZ | 675

BELOW

East Bernstadt, Kentucky

‘A GROUP OF PEOPLE SAW THEIR REPUTATION SPLASHED ALL OVER AS POOR AND BACKWARD’

shouldn’t be – possible. I wanted to open my project by saying “this isn’t a solution, or an answer: this is a struggle to understand a way of life”.’

These ephemera are central to her presentation. Throughout Exploration are cards from a local archive listing Appalachian superstitions about coal mining. She also photocopied historical illustrations: ‘I liked that they were rough copies – representations of a representation of a representation’ – and scanned messages from a column in a Kentucky newspaper where readers say what’s on their mind, anonymously. It covers lost loves, grievances and politics, and is incredibly moving.

While at the University of California, Kranitz read fiction (Christy, by Catherine Marshall; The Dollmaker by Harriette Simpson Arnow, and a series of novels by Scott McClanahan), alongside critical thinking about photography and the representation of poverty.

Appalachia’s reputation as a breeding ground for the rural white poor came in 1964 when President Lyndon B Johnson announced initiatives aimed at relieving, curing and preventing poverty.

‘He had to make America care about poverty in order to vote his legislation through,’ explains Kranitz. ‘It was the same time as civil rights, so they were wary of using inner-city poverty, because that was a poverty of colour, so he chose Appalachia, and he asked the media to come to the region and depict that poverty. Appalachia became the

poster child for poverty in America. The whole thing was totally constructed, and left a group of people who had seen their reputation splashed all over the world as poor and backward. They are still deeply affected by that’.

Kranitz knew from a very early age that she wanted to document things. ‘I started out wanting to be a filmmaker but I wasn’t so great at directing other people to my ideas. Photography took that out of the equation: its solitariness is much more suited to my personality’.

As a teen, her idol was the German photographer, actress, dancer and film director Leni Riefenstahl, best known for her propaganda films in support of the Nazi party. ‘I was rebelling against my Jewish history,’ says Kranitz. ‘I read her biography, and I thought, “this woman is batshit!”, but she’s also brilliant. Even though a lot of the things she was involved in were atrocious, that she couldn’t’ be kept from making her work was fascinating to me. I like my heroes to be deeply flawed.’

In order to integrate herself into the Appalachian communities, Kranitz learned ‘to be myself, but that meant only certain types of people would respond. There’s a connection there, something about their wanting to be around a person who’s different, so they are interested in me as much as I am in them. Once they open the door, I walk into it and I make sure I keep it open’.

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BELOW

BELOW

Beckley, West Virginia

Madison, West Virginia

return to over and over. I’ve even had two local boyfriends over the seven years’. The boyfriends are included in the project, although anonymously. ‘I’ve been talking about how my relationship to Appalachia can only be subjective, but I wanted to say that even as an outsider you can still develop meaningful relationships,’ says Kranitz.

Another subject, Pat, has his own chapter – postscript. ‘I met him through a kid in Post-Pubescent Manhood, who suggested I meet his “crazy” cousin.

When we got there … I shook hands and Pat said we were welcome to hang out.

He was really drunk, and later he and his best friend Dozer got in a fight.

‘It wasn’t serious, but they were throwing things at each other and I got really excited by their comic hysteria, so started taking pictures. Pat got really angry, but later apologised. When I brought the pictures, he really liked them.

I’ve often stayed in his spare room, or camped in his yard. He’s a central figure, like a hub. People flock to him, he’s always helping someone or other out. His trailer acts as a sort of community centre.

He’s a very special person’.

This summer has been less about photographing than concluding her project. Kranitz intends to spend her time ‘pressing flowers, capturing spider webs, collecting dolls’. When she exhibits the work, these original materials are shown alongside.

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around people, I couldn’t confront them, I couldn’t be a photographer. The heat prevented me just sitting in the car, so I had to find something else I could do. I like it because it’s very similar to the photographer’s impulse to preserve. The dolls came from characters that exist in Appalachian folklore; wise women who sit on their porch and make quilts. These women are really fetishised – people make dolls, have dolls in their homes.’

She’s already begun developing her next series too, a project in Louisiana addressing its legacy of plantations and slavery. And she’s about to extend a series on Leni Riefenstahl she began with The Crevasse of the Reich, in which she impersonated Riefenstahl among set up shots with Nazi reenactors. Chapter two will pick up Riefenstahl’s story in Sudan.

So what does she look for in a project?

‘I’m interested in this reconciliation between fantasy and reality, how documentary photography fails. I’m also interested in long-form storytelling: what is deep engagement in a place?

‘A lot of documentary photography fails society; it attempts to create a right and a wrong, a black and a white, as in, “I am showing you this injustice we solve”. We have to know by now that photography cannot do that. It doesn’t mean photography’s useless; it just means we have to acknowledge we’re embracing that fantasy. I can go into anything with those ideas and there are so many directions in which to move, it’s endless.

I’m in a position to make a life of work.’

‘SOME DAYS I COULDN’T BE AROUND PEOPLE, CONFRONT THEM, BE A PHOTOGRAPHER’

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FAR LEFT

Gatlinburg, Tennessee NEAR LEFT

Beckley, West virginia

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The small publishers

Small-press firms can help to bring photography to new audiences – but can they secure a future for the photobook, asks Rachel Segal Hamilton

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O

nce upon a time, if you wanted to get your book out into the world you needed a deal with a major publisher. Not any more. Power has spread to other players – small presses, DIY publishers and independent imprints – along with E-publishing tools, print-ondemand processes, and crowdfunding platforms such as Unbound.

This new climate has brought an explosion of creativity to the photobook scene, including events such as Offprint at London’s Tate Modern, Photobook

Bristol and Impressions Photobook Fair in Bradford. And some of the most talked-about projects of late have been books, rather than exhibitions – such as Subotzky & Waterhouse’s Deutsche Börse Photography Prize 2015-winning Ponte City or Cristina de Middel’s selfpublished book The Afronauts.

Here, find out how four publishers – Café Royal Books, The Velvet Cell, Errata Editions and GOST – are reimagining the photobook and where they think it will all go next. And don’t miss our quick guide to self-publishing from Self Publish, Be Happy if you fancy a go.

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making a big impact

Café Royal Books

Treats from one of Café Royal's archive boxed sets

Founder Craig Atkinson

How it all began ‘My background is fine art. I used to paint large abstracts.

They were very expensive to make, exhibit, transport and store so I was restricted to showing in the UK. I wanted to create work that was fast, cheap, easy to send across the world, in multiple, so in 2005 I started making DIY books and zines.’

Why we’re different ‘The books are somewhere between zines, artists’ books, photobooks and info leaflets.

Everything is a test, nothing is considered for too long.

I like spontaneity, making quick decisions and being able to take a gamble with what I publish. I work mainly with history photographs – people’s archives. What’s

happening now doesn’t interest me as much.’

A book we’d recommend ‘I can’t pick a single book. The most significant thing I’ve made is the archive boxed sets, marking 10 years of Café Royal Books. There are two so far, each holds 100 books from the current series of – broadly speaking – UK documentary, 1970 to 2000.’

The future of photobook publishing ‘I suppose eventually there’ll be fewer printers, mills and paper stocks but it’ll never go away.

The book will always be a place for photographers to exhibit.

The excitement comes in the object, the personal nature of it, the collectibility, the smell and touch.’ caferoyalbooks.com

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Errata Editions

Images from Errata's photobook study of Long Live the Glorious May Seventh Directive

Co-founder Jeffrey Ladd How it all began ‘In 2008, I conceived of a series, Books on Books – studies of photobooks that are now mostly inaccessible to students because of their extreme rarity or value. In 2009, I told the photographer Edward Grazda about my idea and he suggested we start a small publishing company with

his partner Valerie Sonnenthal.’

Why we’re different ‘A series like Books on Books has never been done. Perhaps navigating copyright issues has prevented anyone from even wanting to start. It is complicated, especially with books more than 50 years old, but it’s interesting, like detective work.’

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A book we’d recommend ‘I’m finalising a study of Long Live the Glorious May Seventh Directive. A Chinese propaganda book from 1971, it’s extremely rare and a key example of socialist realism from the Cultural Revolution.

The imagery is fascinating – a mix of staged, supersaturated colour settings and black-and-

white documentary-style work, which masks the revolution’s harsh realities and human cost.’

The future of photobook publishing ‘Thousands of photobooks are self-published each year; the printed page still seems a perfect vehicle for photographic messages.’ errataeditions.com

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GOST

Pages from SWAMP by Chloe Sells, who lives in Botswana and London

Co-director Gordon MacDonald How it all began ‘GOST was set up after I stepped down as founding editor of Photoworks magazine and as head of publications at Photoworks. The idea was, together with an experienced designer [Stuart Smith], to work with artists to realise photobooks of the highest quality – not just in the sense

of the production, but also in the editorial and design.’

Why we’re different ‘Our books always reflect the artist’s ambition for their work.

We try to make each from a standing start, rather than having a house style: an approach I have defined “strategic inconsistency”.'

A book we’d recommend

‘SWAMP by Chloe Sells – an artist’s book in its purest form.

It shows images of the Botswana swamp, in which Sells lives, transformed into a technicolour dreamscape in her London darkroom.

The book is reflective of this approach to the medium, with oddly-cut pages and no white or text whatsoever.’

The future of photobook publishing ‘With more books published per year than I’ve known in my 30-year career, I’d like to see more experimentation. They’ve become formulaic, rather than the vital outcome of an engagement with ideas and with the medium.’ gostbooks.com

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682 | PHOTOBOOK PUBLISHING | Pages from In Search of Habitat

by Lars Rolfsted Mortensen

SEVEN STEPS TO SELF!PUBLISHING Bruno Ceschel shares his advice for would-be photobook self-publishers Forget everything you know about photobooks Your job is to challenge tradition, to make something new. The technology is out there. Get on with it.

1

Bring a designer on board. Pick a title that’s simple, nothing too pompous. A book is a physical object.

How do you want people to engage with it?

Enjoy the ride Make a book for the pleasure of it – not the money, or the fame. See your publication as a work in progress.

Print on demand means you can experiment with layouts, edits and sequencing and make mistakes along the way.

Do your own distribution You'll be disappointed if you're in it for the money. Books cost an awful lot to produce so don’t tend to generate huge profits.

Cover production by fundraising and, as much as possible, sell your book through your own website or at book fairs.

2

The Velvet Cell

Founder Éanna de Fréine How it all began ‘I set up The Velvet Cell in 2011. Themes of urbanisation and modernity have guided me, although the way I’ve approached them has evolved.

We focus on publishing monographs, namely one project by one photographer.’

Why we’re different ‘Our narrow focus – to explore cities through photography. I want our books to question this urban world we’ve been creating over the past few hundred years. We are at a critical point in that we are becoming an urban species for the first time in our existence.

How does this shape us? How does it change us?’

A book we’d recommend ‘In Search of Habitat by Danish

photographer and architect Lars Rolfsted Mortensen – a series of images, all taken in India, and an engaging essay by the photographer himself.

The topic of the book is the urban fringe of Indian cities, currently growing at an exponential rate but in a haphazard manner without much regulation.’

The future of photobook publishing ‘Scrape beneath the surface and you see there’s no money in this for most publishers and photographers. It makes you wonder how long it can go on. But as long as there’s fascinating work I hope I can find ways to bring it to life and to people who appreciate it.’ thevelvetcell.com

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SOCIETY PHOTOBOOK EXHIBITION There has been a total of 155 entries from 26 countries for the Society’s Open International Photobook exhibition.

Selectors David Campany, Dewi Lewis HonFRPS and Lucy Kumara Moore are now making a shortlist.

The selected books, plus prints from the publications, will be on show from 18-23 October at the Espacio Gallery, London. They will then be exhibited in Plymouth and Bradford. See bit. ly/rpsphotobook

Be a tough editor If pictures don’t serve the book, they don’t make the cut.

Divide images into sets according to content or style.

Pick the best from each and start to spot relationships between them.

Print your pictures and play around until you have a sequence that works intuitively.

3

Let the project (and your budget) guide the format Consider: size, binding, paper type and printing process.

Find a good printer, someone who you like and respect, and get their input.

4

5

Share Tell everyone you know that you’ve made a book. Send copies to relevant people.

Get the word out on social media.

Enter competitions.

Keep a copy on you at all times.

6

Ignore advice, including this There’s no formula. So just do it.

7

Self Publish, Be Happy. A DIY Photobook Manual and Manifesto is published by Aperture and Self Publish, Be Happy.

Visit selfpublish behappy.com

Impressions Gallery is looking for self-published and/or handmade photobooks, and photography zines to sell at its photobook fair this October. For more details go to bit.ly/impressionsphotobook

Bob Books

photobooks Design and print your own professional photobooks. You can even share and sell in the Bob Bookshop. UK based Bob Books is an award winning print-on-demand platform and the number one choice for lay-flat photographic books.

20% off photobooks

Enter code: RPS20* *T&C’s apply

bobbooks.co.uk/rps

Creativity, expertise and the knack of finding new angles exemplify the work of Joe McNally FRPS. And it still gives him a kick after 35 years, hears David Clark 684 / THE RPS JOURNAL / SEPTEMBER 2016 / VOL 156

© JOE MCNALLY FRPS

HIGH ACHIEVER

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MICHELLE YEOH Los Angeles, 1998 ‘This was shot for National Geographic.

I had a mandate to work with an Asian movie actor, preferably one who does stunts, which would become a vehicle to discuss how influential Asian cinema had become.

I was given absolutely

free rein to shoot what I wanted. I roughly described my idea to my editor; I said I wanted to photograph her dangling from a cable under a stunt helicopter flying over the Hollywood sign.

He just chuckled and said: “Give it a try.”

Michelle’s agent said no, but she said yes, and it worked out.’

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686 | JOE McNALLY | my whole career by doing whatever seemed to be the next best thing to do, because there’s really no clear path for a photographer,’ he says. ‘Second, I have a lot of interests. I’m curious about lots of different things and that lends itself to becoming more of a generalist.

‘Finally, there’s my background: I came out of press and wire photography in New York, where you don’t specialise – you do everything. So I did news and sports and celebrities and a sort of grabbag of assigning work. I was happy to do it. I was always happy for the work.’

A Fellow of the Society, and a member of the Creative Group, McNally came to photography via journalism.

Born in New Jersey in 1952, he attended journalism school at Syracuse University, which included a

‘I CAME OUT OF PRESS AND WIRE PHOTOGRAPHY, WHERE YOU DO EVERYTHING’

VIEW FROM BURJ KHALIFA TOWER Dubai, 2013 ‘The tower, at almost 830m high, is the tallest building in the world. Photographing from the top of it was a self-assigned project that interested me. However, it took about three years to get permission from the owners that I could climb it. I’ve photographed from a lot of high buildings, but every building’s superstructure is different. This one was basically a long tube and I had to climb a rung ladder endlessly to get to the top.’

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LARGE BINOCULAR TELESCOPE Arizona, 2008 ‘This was for a National Geographic story about observing deep space. I couldn’t judge the lighting until it was almost dusk because the slits in the telescope can’t be opened until the light is very weak. Then the race was on to make this picture. I think I ended up with 15 useable frames.

The mirrors are 8.4m across, among the biggest on earth.

To see them dwarfed inside that building gives you the sense that this is a mammoth structure.’

© JOE MCNALLY FRPS

I

f there’s one word that defines Joe McNally, it’s ‘versatile’. Few photographers could tackle his diverse range of assignments and produce such consistently strong images. He seems equally at home photographing a film star dangling from a helicopter, the view from the tallest building in the world, a sensitive portrait, a state-of-the-art military drone or a live human brain.

McNally has been a pro photographer for over 35 years on high-profile magazines including National Geographic, Time, Sports Illustrated and Life. In parallel with this editorial career, he has also shot campaigns for commercial clients such as FedEx, Sony and Nikon. Taking on major technical and creative challenges is a normal part of his professional life, yet he comes across as a modest, down-to-earth person who wears his expertise lightly.

Speaking at his home in Connecticut, USA, he attributes his varied career to three main factors. ‘First, I’ve conducted

| JOE McNALLY | 687

X&47A PEGASUS DRONE China Lake, California, 2003 ‘As part of a National Geographic story, The Future of Flying, I photographed this prototype unmanned combat aircraft at a naval air station.

Delivered in darkness at about 2.30am, I had to quickly decide how to best light it to define its shape. I used speedlights to illuminate the undercarriage and two strip lights powered by Profoto 7Bs to light the edges of the wings. I got lucky with the sunrise. It looks kinda Martian.’

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GREAT HALL, ELLIS ISLAND New York, 1989 ‘One of my first stories for National Geographic was about the soon-to-be reopened immigrant

inspection station at Ellis Island. For this shot, I had to light the whole of the building. I used approximately 60 flash heads and 65 power packs.

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It was December and the weather was freezing cold.

My poor assistants were damn near mutiny and it was one of the worst jobs I ever did.

However, as a junior photographer, I realised this job was a gateway I had to go through and if I failed I wouldn’t get hired by the magazine any more.’

© JOE MCNALLY FRPS

688 | JOE McNALLY |

| JOE McNALLY | 689 HEMISPHERECTOMY Maryland, USA, 1994 ‘Three-year-old Jody Miller was having constant seizures, and needed an 11-hour operation to remove the diseased part of her brain. There was a substantial chance she wouldn’t survive the surgery, and I had to be extremely cautious in how I worked. The operation was successful and Jody has since gone on to graduate and get married. I’m still in touch with the family.’

photography course. Finding an affinity with the medium, he then did a master’s degree in photojournalism, followed by three years as a copy boy and studio apprentice on New York tabloid the Daily News. After getting fired and freelancing for various titles, he got his first job as a staff photographer, working for ABC Television.

Until this point, little of McNally’s work involved lighting his subjects. However, one of his new duties was photographing the news anchors in the studio on 25 ASA Kodachrome film. ‘To do this work, I had to know what I was doing with lights,’ he recalls. ‘It was very much on-the-job training.’ From that point, he began to develop an expertise in the use

of professional lighting that has been an invaluable asset throughout his career.

McNally says you never stop learning about light. ‘I know my way around the block a bit when it comes to lighting,’ he says, ‘but I’m always looking, trying to improve, looking at different examples of light and wondering how we might take a turn and do something a little different. So working with light is really a lifelong educational process.’

After working at ABC he freelanced for

‘I’M ALWAYS LOOKING, TRYING TO IMPROVE, LOOKING AT DIFFERENT EXAMPLES OF LIGHT’

KIM PHUC Toronto, Canada, 1995 ‘I photographed Kim for Life magazine.

The feature was called The Decisive Moment and I was assigned to photograph people who had been the subjects of Pulitzer Prize-winning photographs. Kim was of course the child in Nick Ut’s famous Napalm Girl picture from the Vietnam War. When I photographed her, she had recently had a baby. There wasn’t any agenda in this picture, other than to show a loving moment and something of what she had gone through with all of her scars.’

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690 | JOE McNALLY | I went out on assignment and just say, “Joe – surprise me.” It was a delightful mandate. In the editorial world I think surprise is one of the best things you can bring back in your pictures.’

At 64, he remains in demand as an editorial and commercial photographer, workshop instructor and lecturer. And despite shooting professionally for more than 30 years, the challenge of finding fresh perspectives, and creating the kind of ‘surprising’ images for which he is famous, is still one McNally enjoys.

‘In a world that’s muchphotographed,’ he says, ‘I do get a kick out of knowing that perhaps I just got my camera into a place that not too many people will get a camera.’

See more of his work at joemcnally.com

‘HISTORICALLY, WORKING FOR MAGAZINES, THE PICTURE FRONTIER WAS WIDE OPEN’

LOUIE CACCHIOLI New York, 2001 ‘This is from Faces of Ground Zero – Portraits of the Heroes of September 11 – a series of 246 portraits taken in the three weeks after 9/11. I photographed people using a 12ftx12ft Polaroid camera which takes images 80x40in in size. Firefighter Louie Cacchioli saved between 40 and 50 people by guiding them out of the World Trade Center just before the first tower collapsed. He was very lucky to survive. I photographed him in the clothing he was wearing on 9/11.’

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DONALD TRUMP New York City, 1987 ‘I did a week-long assignment on Trump for Newsweek, back in his first major wave of success and notoriety. We got along fine, in the sense that he just regarded me as a piece of equipment.

He would make himself available because he liked having his picture taken and the idea of being famous. Here he’s in his Puma helicopter, which he was very much bragging about. Out of the window you can see the Queensboro Bridge in New York.’

© JOE MCNALLY FRPS

Life, Sports Illustrated and others and his growing reputation led to his first freelance jobs on National Geographic in 1989. He has remained a frequent contributor to the magazine and maintained a steady flow of editorial assignments on other titles. He says he has been allowed to bring his own interpretation to editorial briefs, although that freedom is more restricted today.

‘Historically, working for magazines, the picture frontier was wide open,’ he says. ‘The best editors would hopefully choose you because they thought you could bring something to that particular assignment. Then, having assigned you, they wouldn’t try to restrict you. They would say, “go and do”. That approach has grown less and less prevalent as budgets have got tighter. Editors want to know what you’re going to do with their money before you go and do it.

‘The best photographic advice and one of the best blessings I ever got from a picture editor was from Mel Scott at Life magazine, who would look at me before

| JOE McNALLY | 691

GEORGE LUCAS Los Angeles, 1998 ‘National Geographic was running a story, The Globalisation of Culture. I wanted a global storyteller and George was at the height of his powers.

I rented a defunct movie theatre, had Star Wars put up on the marquee, and we hired a bunch of extras. George’s colleagues at Industrial Light and Magic were on location and we discussed where they could drop in CG characters when retouching – such as the landspeeder, and Jar Jar Binks in the background.’

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TO DIRECT A SHORT FILM 692 | INSIGHT | HOW

LIGHTS, CAMERA, ACTION …

W

hen I started art school, I never gave much thought to what a director does, or considered becoming one. I see myself more as a filmmaker than a director – but, using industry titles, director best suits what I do.

I see the director as someone who is the driving force for an idea, working with others to realise a project. On set, my closest ally is the director of photography (DOP), and together we decide how we want each shot to look.

Even the simplest short film can take a lot of work and preparation. Here, I outline my process when making a film.

Concept At university, I had a particular interest in depicting everyday life. So, while

exploring ideas for a short film, I came across an image by Miles Aldridge and couldn’t get it out of my head. It showed a lipstick-stained cigarette stubbed out in a fried egg. There seemed to be an inherent narrative in the picture and this inspired Egg & Fag, shortlisted for DepicT! in 2011.

Script The script is not always a screenplay, for me. As I don’t use much dialogue, I might just have a list describing the on-screen action. For Egg & Fag I wrote a single paragraph illustrating what happens in the present tense.

It’s important the script is as detailed as possible, but leaving enough room for interpretation. I want input from others – particularly the DOP. It’s important there’s space for innovations on set, which might not happen if everyone is too closely following a detailed script.

Storyboard The storyboard is a series of images showing how shots will look on the screen alongside a description of the action. It helps the director and DOP visualise the film before the shoot.

With Egg & Fag, I knew I wanted it to begin with a woman lighting a cigarette, ending with her stubbing it out in an egg. My original storyboard included lots of close-ups of the actor’s hands, feet and the cigarette lighter. But after speaking to the DOP, he suggested that the film just be a single shot. From there we decided it would begin with a closeup and slowly pull back to a wider shot.

Pre-production Here, I contact the cast and crew, making sure everyone is available for the shoot.

ABOUT THE AUTHOR ROSE HENDRY A graduate of Duncan of Jordanstone in Dundee, Hendry lives in London, working on commercial commissions. She is also currently working on her latest personal project, a 35mm short film entitled Bubblegum.

To see a selection of Hendry’s films, including Egg & Fag, visit cargocollective.com/ rosehendry For more filmmaking techniques, turn to page 701

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HOW TO DIRECT A SHORT FILM

| INSIGHT | 693

Above left and centre: shots from Stovies, one of Rose Hendry’s short films and, above right, a scene from her production Bubblegum

A professional film director, and one-time DepicT!-shortlisted artist, Rose Hendry outlines the process of making a short film To organise the shoot, I draw up a shot list, which is a log of all the shots that need to be captured during production. The shot list should be clear and easily understood by anyone new to the project. It will help keep everyone on track and prevent production running over schedule.

When finding a location, you have to consider both practical and creative aspects – the logistics of a place as well as how it looks. Can I squeeze all the cast and crew into such small a space?

Can a dolly fit through that doorway?

Production This is when we capture the material that will make up the scenes in the film.

Depending on the project’s needs, I work closely with a team of heads of department: DOP, production designer, costume and hair and make-up.

Shooting a film never goes entirely to plan. It’s therefore important I have a clear concept, which will be a reference point when things go awry. As the author of this concept, I’m the one tethering everyone to that ‘vision’, even when realworld elements come into play, such as weather and time restraints.

Post-production This is when the project comes together.

I usually edit my own films, but editors are valuable: someone less invested in the footage, watching it with fresh eyes.

Music and sound design come into play here, which are further creative avenues, allowing you to explore fresh ideas.

After this, all that’s left for you to do is find an audience. Look out for short film festivals, such as Encounters festival in Bristol, which can be the perfect way to reach like-minded audiences.

A scene from Hendry’s film Egg & Fag, which was shortlisted for a DepicT! award in 2011

WHAT IS A DIRECTOR OF PHOTOGRAPHY?

Rose Hendry’s regular collaborator Ian Forbes talks about his role A director of photography (DOP) is someone who leads the camera and the lighting departments to capture the film’s scenes in a way desired by the director.

All the team’s questions about the look and feel of the film come directly to me, but I also pose a lot of questions to the director.

I usually get involved in a project during pre-production, but if it’s a short film or an artist’s film it will tend to be earlier.

Some directors come to me with a plan and have an understanding of the aesthetic they wish to create.

Others are less exact and require I be more involved creatively, offering

my aesthetic input.

I use the camera as a tool to get the best shots possible.

On most shoots, I will also operate the camera.

In my eyes, a good DOP is someone who can come to a project with ideas and enhance the director’s vision.

For me, it’s about getting to grips with the elements of the director’s concept that need to be brought on to the screen. It’s about connecting those ideas with the audience by understanding what the director wants the audience to feel.

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HALLETT FRPS 694 | SHOWCASE | MICHAEL

TIME TO REFLECT

Michael Hallett ASICI FRPS shares how his autobiographical exhibition at Fenton House has helped him chronicle the evolution of his photographic style

The Cobb, Lyme Regis, in October 2005

T

his month, Michael Hallett’s exhibition >fragments< is on show at Society HQ in Bath. Ever since he was gifted a box camera for Christmas when he was 13, Hallett has enjoyed a prevailing passion for photography.

Attaining his Fellowship in 1967, at the age of 27, he has undertaken a variety of roles

during his membership, including chair of the Society’s Distinctions advisory and boards and, while the chair of education, Hallett helped instigate the creative industries qualification.

Currently associate academic at the University of Worcester, Hallett is influenced by the works of Ansel Adams, Aaron Siskind and Paul Strand.

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What inspired the exhibition?

Interviewing Magnum photojournalist Eve Arnold was an experience that has stayed with me. She was putting together a retrospective of her work and discussed how the passing of time inspired her to look at her photographs from new perspectives.

This September marks 60 years since I began studying photography at the

Bournemouth Municipal College of Art. Marking this, and echoing Arnold’s retrospective sentiment, >fragments< is a cohesive autobiographical celebration of the work I’ve created and an opportunity to take stock.

The Fenton House exhibition focuses on my photographic narrative from 2001 to 2016, reflecting on the changes the digital revolution catalysed.

MICHAEL HALLETT FRPS

| SHOWCASE | 695

‘MY CURIOSITY IS IN SEEING HOW INDIVIDUALS INTERACT WITHIN THEIR ENVIRONMENT’

VISIT THE SOCIETY HEADQUARTERS

>fragments< is on display at Society HQ, Fenton House, 122 Wells Road, Bath BA2 3AH until 29 September. See the Society website for more details

Having analysed your career, what have you found?

Some pictures withstand the passing of time better than others. Today, photos that were vitally important when captured have less significance, and vice versa.

In 1970, while a professor in photographic illustration in New York, I created a body of work titled America.

Returning to these images has been particularly

interesting – especially comparing the ways I photographed people then to the vision I employ today.

Has your style evolved?

Over the past decade, I’ve developed my photo constructions [collages].

My work has also become increasingly people-focused.

My curiosity is in seeing how individuals interact within their environment.

It’s a challenge, distilling and expressing the significance of a moment in time (the Cartier-Bresson quandary), but I’m continually attempting to encapsulate the feeling of a moment.

What do you hope visitors get from the exhibition?

I’m keen people question my perception of reality, as revealed in the exhibition.

I’m always interested to see

how viewers’ preconceived perceptions alter their response.

Also, being a professional in higher education affects the way I approach my work.

Engagement with people is crucial to me – whether I’m being a photographer, an educator, a photographic historian or a human being.

See fragments.zone to view the full retrospective

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MUST TRY

SEPTEMBER 2016 THE LATEST TECHNOLOGY, TECHNIQUES AND SKILLS

Fujifilm X-T2

Gavin Stoker gets hands on with Fuji’s latest SLR-styled mirrorless camera update

F

ujifilm has updated its X-T1 with a new mirrorless enthusiast camera that records 4K video alongside stills; a first for its ‘X’ range.

Curiously though, Fuji has removed a dedicated video button from the front, suggesting its primary market remains dedicated stills photographers.

The X-T2 features a slightly larger grip and more prominent ISO and shutter speed dials and, in another first for this series, the tilting LCD screen is an obvious boon for filmmakers. We also get

a 2.36 million dot-resolution eye-level viewfinder, twice as bright as its forebear’s, and the same old weatherproofed camera construction we admired from the X-T1.

Other tweaks include the 24.3MP APS-C-sized sensor from Fuji’s dual-flagship X-Pro2, while AF-C custom settings include the ability to change focus-tracking sensitivity; potentially useful, for example, with fast-moving subjects.

For video, the built-in 3.5mm stereo microphone is okay for

Price: £1,399 body only Sensor: 24.3MP CMOS, 23.6x15.6mm Lens: Fujifilm X-mount LCD screen: 3-inch, tilting, 1,040K dots Weight: 507g including battery and memory card More: fujifilm.co.uk Summary: We loved the X-T1 as an approachable and portable high-end mirrorless camera and the X-T2 all-rounder ups the performance ante a stage further

starters, while the battery grip features a terminal for better sound options.

Accessories include a VPBXT2 vertical power booster, upping capture speed from 8fps to 11fps and providing enough juice for 1,000 shots (in tandem with the in-camera battery) and up to 30 minutes of continuous 4K video, plus a weatherproofed EF-X500 shoe mount flash.

Serious photographers looking for a compact all-rounder should find this Fuji an enticing bet.

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698 | THE CRAFT | 3 LATEST KIT

2

1

Impossible I-1 From £229

Panasonic Leica DG Summilux 12mm/ £1,199.99 F1.4 ASPH

The I-1, a standalone instant print camera, is the first new system in more than two decades for the original Polaroid format, although it utilises a 12-LED ring flash-type set-up for arguably softer, more flattering portraiture.

With the exposed photo covered in developer paste as it leaves the camera, there is still the thrill of watching the image come to life, with the options of colour or black and white film.

Its polycarbonate body with soft rubberised coating weighs a relatively solid 440g. Available focal range is 82-109mm, with closest focus being 0.3m.

It’s not all retro chic, however; incorporating Bluetooth, there is also an app, enabling remote triggering and use of creative tools.

Panasonic’s Lumix range hasn’t quite caught the imagination of photographers like the Fujifilm X or Sony Alpha series, despite being first out of the blocks and offering some convincing solutions and accessories, of which this is one.

Providing a focal length the equivalent of 24mm in 35mm terms, due to the properties of the Four Thirds system adopted

by Panasonic, the rugged dust and splashproof Leica DG Summilux 12mm/F1.4 ASPH has been engineered for high-end or pro-level adopters of its Lumix range – with price tag to match.

The f/1.4 aperture suggests adeptness at low-light work and achieving shallow depth-of-field effects, while its AF performance is said to be able to keep up with the shooting of 4K videos.

Maker of film for old Polaroids offers instant camera of its own uk.impossible-project.com 1

GEAR SPY

High-end wide-angle prime lens for Lumix G mirrorless cameras panasonic.co.uk 2

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Pentax K-70 £559.99

Weather-resistant APS-C DSLR aimed at outdoor photographers ricoh-imaging.co.uk l Fujifilm has opened up about plans for the mirrorless ‘X’ system of interchangeablelens compacts, revealing three forthcoming lenses.

The semi-wideangle XF23mm f/2 R WR offers an equivalent of 35mm in 35mm terms, and is described as compact and lightweight. It is promised for 2016.

Next year we should get the release of a compact midtelephoto lens in the XF50mm f/2 R WR plus a mid-telephoto 1:1 macro lens in the XF80mm f/2.8 R LM OIS WR Macro.

Fuji now claims its line-up should cover most creative bases, from ultra wide-angle to ultra telephoto.

With autumn on the horizon, enter the Pentax K-70. Capable of operating in temperatures down to -10°C, and presented as body only or body-and-lens combo at £799.99, the idea is that this Pentax model offers the kind of advanced features otherwise found on higher-end DSLRs, such as ISO 102,400 light sensitivity.

We get a variangle LCD and a viewfinder offering nigh-on 100 per cent field of view, a built in shake-reduction mechanism equivalent to 4.5 stops, and wi-fi for sharing images on smartphones or tablets.

What will be more noteworthy is its autofocus performance – the camera uses what Pentax refers to as ‘hybrid AF’ – a blend of phase and contrast detection.

3

| THE CRAFT | 699 MEMBER TEST

4

5

Sony radio-controlled MyMyk camera audio lighting system From £208 systems From £59 External flash package for Sony Alpha system users sony.co.uk

Video-aiding windshields and shotgun microphones mymyk.com

Sony Alpha users have been given their own compatible external flash system, complete with a wireless radio commander in the FA-WRC1M (£350) and radio receiver in the FA-WRR1 (£208), boasting a range of 30m, or 98 ft.

The pitch is that the dust and moisture-resistant system can control a maximum of 15 separate units in up to five groups, adjusting exposure manually or automatically, with the commander featuring a large, user-friendly control panel and Sony promising sync speeds of up to 1/250th of a second.

The flash level can also be controlled over 25 steps in 1/3 EV step increments. Availability is from this month, so should be being embraced by Sony users by the time you read this.

MyMyk is a ‘robust’ Australian brand of audio accessories, built from polycarbon ABS mouldings for extra rigidity, for those recording video using DSLRs. Recommended are a directional shotgun microphone, the £149 ‘SmartMyk’, designed for DSLRs, mirrorless or video cameras, and the SmartMyk Windshield for the same, at £59.

This is claimed to reduce wind noise by up to 20dB. There is also the ‘SmartLynk’ compact two-channel mixer at £199, designed to allow videographers to monitor their sound input prior to and during recording. It features a removable cold shoe to reveal an external 1/4-inch thread in the base, allowing attachment to a tripod, pistol grip or boom pole.

4

5

Olloclip mobile lenses Smartphone lens accessory package

T

he Olloclip mobile lens kit includes wide-angle, macro and telephoto lenses, a polarising filter, an extension ring, and an iPhone case. However, when I used the case, the clip-on lens attachment wouldn’t fit.

Overall, I would describe the kit as ‘fiddly’ – I found it awkward to manage all the pieces in the process of taking a photograph. Swapping the lenses without the lens caps on resulted in fingerprints on the glass, so I found myself constantly taking the lens caps on and off.

Telephoto images were clear in the centre, but quality deteriorated at the edges, with a lack of

focus and blue fringing on brighter elements.

The wide-angle lens produced similar results, showing blown highlights that the iPhone exposed perfectly by itself.

The macro lens is the most successful and can focus more closely than the iPhone alone but it too incurred a loss of definition around the edges of photographs.

Interestingly, when the Olloclip lens isn’t lined up with the iPhone camera you get a blurring effect reminiscent of a Lensbaby – an inadvertent bonus for those interested in this creative effect.

I’m glad to have tried the Olloclip … but I’ll be sticking with my unadulterated iPhone.

A shot taken with the wide-angle lens AUTHOR PROFILE Viveca Koh FRPS A self-taught fine art photographer, Koh aims to create images that make viewers question the world around them. See instagram.com/vivecakohphotog/

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MASTER CLASS

| THE CRAFT | 701

‘Lighting your subjects from one side can be powerful’

A shot in the dark

Cinematographer Karim Souissi reveals the best ways of filming in low light

P

roperly lighting a scene is one of the most important aspects of cinematography. You often get better results with good lighting on a regular camera than poor lighting with a good camera – just as you would shooting stills.

The same factors have to be considered: sensor sizes, ISO vs grain, apertures, focusing and available light. I always recommend investing in light as a priority.

CHOOSE THE RIGHT CAMERA

The bigger the sensor in your camera, the more sensitive to light the sensor will be. So if you can, get or rent a full-frame camera such as the Sony a7S II for your film. It’s a spectacular camera that performs very well in low light.

1

USE PRIME LENSES

Even though zoom lenses are more flexible and seem more convenient, fixed focallength (prime) lenses are better suited for low light conditions.

Prime lenses usually have wider apertures than zooms, so can get the most from the available light. They also typically offer better image quality and can be less expensive.

2

STAY FOCUSED

When shooting with wide apertures, manual focus can be a challenge. But a shallow depth of field can give an interesting look to your image. In my film Hand Maid most of the shots were like this, and my subject moving in and out of focus gave the image a feel of energy and dynamism.

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AUTHOR PROFILE KARIM SOUISSI DepicT! 2015 winner Souissi made an impact with his film Hand Maid, the story of a Moroccan maid told through her hands.

A CONSTRAINT CAN BECOME A STRENGTH

When your budget is too tight to invest in lighting, be creative and use available light sources, such as windows, lamps or a garden projector, to create a specific, original look. Lighting your subjects from one side can be powerful, and as long as you are consistent with this look, you can tell your critics that it was by design and an artistic choice.

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| SIGN UP | NIGHT SHOOT |

A still from Karim Souissi’s short film Hand Maid

Explore the wonders of nighttime photography with a workshop at Bath Abbey on Saturday 12 November, 18:00-22:00. For more details turn to page 708 VOL 156 / SEPTEMBER 2016 / THE RPS JOURNAL / 701

IN DEPTH

World in motion

Make films with impact, whatever the budget. Cinematographer Adam DJ Laity explains how

I

’m a cinematographer and filmmaker working on low-budget digital motion pictures. I’m also a practiceled researcher looking at cinematographic approaches to depicting the landscape, specifically in terms of climate change.

Essentially, I’m examining how ‘the human’ and ‘the landscape’ relate to each other cinematographically, with reference to the history and theory of film, and in relation to my own practice.

For most of my work, I have to travel into quite inaccessible landscapes on foot, so my kit is often the smallest it can possibly be without jeopardising the aesthetic results. Sometimes this means shooting on a DSLR attached to a homemade shoulder mount or camera-stabilising rig.

Photography and

‘TAKE THE TIME TO THINK WHERE EACH SHOT FITS IN TO THE GRANDER SCHEME OF THE NARRATIVE’ cinematography are completely separate and distinct crafts and practices.

They have a lot in common in terms of kit and, to some extent, method, but they both require very different sets of skills.

The primary thing the ‘DSLR revolution’ has brought about is the accessibility of kit, which has empowered

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people to approach a subject photographically, and then add movement.

I’ve known some excellent stills photographers who have started making films – the framing and composition of their shots is always impeccable.

However, there is a lot to learn when it comes to moving the camera and

editing moving images together in a sequence.

The world is saturated with moving images of massively varied quality and impact, thanks to the growing accessibility and affordability of digital video kit. This means that as makers we have to raise our game to produce more effective and affecting cinema.

Working on a low-budget project comes with challenges, but there are approaches I adopt to make these challenges work for my projects.

Think big Whatever I’m making, or at whichever stage of production, I always take the time to step back and think of the bigger picture. Shots have to balance and match with what comes before and after,

| THE CRAFT | 703

AUTHOR PROFILE ADAM DJ LAITY DepicT! RPS Cinematography Award winner 2014, Laity was director of photography on 2016 indie feature film Brown Willy. adamlaity.com

so I have to consider where each shot fits in the narrative.

To this end, I will always design my work – whether it’s a small-scale community video project, an online music video or a low-budget feature – to be experienced on a cinema screen. If you design your images to work well on a large screen, then they will transfer down to other formats with the best possible quality.

work with the shots in a sequence.

For example, I will often shoot in close first, because this is where most of the action and emotion of a scene usually happens. That way, I understand the drama of the scene as I start to move my camera back, and I have a clearer idea of how the sequence might fit into the landscape and the larger story.

Shot selection

Keep shooting

The wide shot is often used to make sure all of the action is being covered – it's a safety net to cut back to – but it's not really cinematography.

Cinematography is understanding when to use a specific type of shot – close-up, medium, wide, static, steady, handheld – and how it will

Too many times I have pressed the button to stop shooting only to find that I should have kept rolling.

Shooting at sunset is a perfect example of this – if you think you’ve got that perfect ‘magic hour’ moment, the likelihood is it’s only going to get better if you keep on filming.

Bare bones I always aim to travel light: a camera, a couple of prime lenses, a couple of reflectors and three small directional lights. Using minimal equipment can be inspiring and a boon to the imagination.

And thinking minimally in terms of set-up can also give the work an authenticity lacking in a lot of films, ie if I use a reflector instead of lights, or shoot a whole scene on a single lens instead of having multiple changes.

Above all, I would swap all the kit in the world for an assistant who ‘gets’ my vision and understands how I want to work.

Location For me this more often than not means landscape, and this is often the largest

character that one sees on the cinema screen. Landscape, if shot well, can add to the poetics and meaning of a narrative in ways that no human character ever can.

I try to spend time hunting for the right place and, when I find it, spend time there, reading the weather and tracking the direction of the sun. Being prepared and patient is everything.

Score I always have a soundtrack, or at least key pieces of music that inspire how I want a scene or sequence to feel or look. It’s great to have music in mind as a common point of reference for the director, editor or sound designer. For me, it is inevitably an emotional conduit to specific scenes and landscapes.

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Bluebells and Leaves by Susan Brown FRPS

South-eastern promise

Coastal long-exposure specialist to deliver lecture to East Anglia Region

I

nternationally renowned photographer Susan Brown FRPS is to share her methods and experiences with East Anglia Region at a special event in October.

Passionate about the changing moods of light, tides and wind at the coast, as well as the graphic design of cities, Brown will show work spanning more than 30 years, with a focus on her more recent digital output.

Brown experiments with varying shutter speeds and particularly enjoys producing coastal imagery using a very long exposure, which results in works that are restful and ethereal.

Although predominantly a seascape/landscape specialist,

Brown enjoys producing bodies of work so her lecture will include some architectural shots and panels of images taken in Devon.

The talk will include about 130 prints using various fine art papers, and Brown hopes the audience will join her in some lively discussions.

Last year the region hosted John Hooton FRPS from Cork, and they hope Brownâ&#x20AC;&#x2122;s visit next month will be just as successful.

The event is free and nonticketed, but anyone intending to come is requested to email the regional organiser beforehand.

For more details turn to page 706 or see the Society website

Capturing The View on a Mobile Phone by Susan Brown FRPS VOL 156 / SEPTEMBER 2016 / THE RPS JOURNAL / 705

706 | GUIDE |

REGIONS

Meet photographers and view work in your area

‘A creative mind’

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

by Dianne Owen FRPS

`` Mike Sharples ARPS, as above

Thursday 13 October / 19:30-22:00

`` £3 Society members `` Smethwick Photographic

EAST ANGLIA IAN WILSON ARPS, 07767 473594

MIKES.SHARPLES(VIRGIN.NET

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

An introduction to Distinctions

‘Miles and miles of fresh air’ by Nick Jenkins ARPS

Field trip to Ynys Llanddwyn, Anglesey

`` £15/£10 Society members `` The Barn, Sacred Heart

Thursday 1 September/ 19:30-22:00

Sunday 16 October / 8:30-14:00

`` £3 Society members `` Smethwick Photographic

`` Nearest town: Newborough,

CENTRAL MIKE SHARPLES ARPS, 07884 657535

IAN(GREENMEN.ORG.UK

Saturday 17 September / 10:30-16:30

`` Society members £60,

Thursday 20 October / 19:30-22:00

Thursday 8 September / 19:30-22:00

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

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

Central Region in association with PermaJet

‘Confessions of a competition addict’ by Robert Millin LRPS

Sat 22 – Sun 23 October / 10:00-16:30

`` Black Country Living

Museum, Tipton Road, West Midlands, Dudley DY1 4SQ

Thursday 15 September / 19:30-22:00

`` £3 Society members `` Smethwick Photographic

Distinctions advisory workshop (Creative/ Pictorial) (LRPS ARPS)

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

‘An evening with … ’

by Des Clinton `` £3 Society members `` Smethwick Photographic

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

Distinctions advisory day (LRPS/ARPS in Conceptual & Contemporary and Natural History) Sunday 18 September / 10:00-16:00

`` £20/£15/£10/£5 students `` Whatton Jubilee Hall, Church

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

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

‘Our life in photography’

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

`` £3 Society members `` Smethwick Photographic

Road, Foxton CB22 6RN

`` Ian Wilson ARPS, as above Members’ annual exhibition of prints and projected images

Street, Whatton in the Vale NG13 9EL `` Ralph Bennett, 07752 870422, ralph.emrps@gmail.com

Wingfield, Suffolk IP21 5RA

Sponsored event: Discover the Art in Photography

Moira.ellice2011@btinternet.com

`` Whatton Jubilee Hall, Church

`` Moira Ellice ARPS,

DIG East: The Law of Averages Says ... a lecture

by Roger Hance FRPS

Sunday 16 October / 10:00-16:00

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

Sunday 9 October / 10:30-15:30

`` £12/£10/£8 non-Society

members `` Foxton Village Hall, Hardman Road, Cambridge CB22 6RN `` Mark Gillett, 07984 518959, mark_gillett@icloud.com

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

`` Joint meeting with the Creative Group

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

‘Contemporary photography from the Netherlands’ by Armando Jongejan FRPS

STEWART WALL ARPS, 07955 124000

Society, Churchbridge, Oldbury, Birmingham B69 2AS

Macro workshop with Alex Hyde (fully booked – waiting list taken) Saturday 8 October / 10:00-16:30

`` Foxton Village Hall, Hardman

Thursday 17 November / 19:30-22:00

Row, Nottingham NG1 6HL

`` Stewart Wall ARPS, as above

`` £115/£85 Society members `` Whatton Jubilee Hall, Church

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

`` £3 Society members `` Smethwick Photographic

Wednesday 5 October / 14:15-17:00

`` Bromley House Library, Angel

Sunday 2 October / 11:00-16:30

Sat 8– Sun 23 October / 11:00-16:00

`` £3 Society members `` Smethwick Photographic

Exclusive visit to the 175-year-old darkroom, studio and exhibition at Bromley House Library

`` Free `` Foxton Village Hall, Hardman

`` Wingfield Barns, Church Road,

Thursday 3 November / 19:30-22:00

706 / THE RPS JOURNAL / SEPTEMBER 2016 / VOL 156

Regional sponsored lecture – Susan Brown FRPS

Tuesday 1 November / 19:30-22:00

‘The Cotswold lad returns’

by Martin Fry FRPS

The East Midlands Region’s annual exhibition will be on display throughout October Image: Crofter’s Daughter by Patricia Jacobs LRPS

non-members £70, free for observers `` For print submissions only `` The Barn, Sacred Heart School, 17 Mangate Street, Swaffham, Norfolk PE37 7QW `` 01225 325733, lrps@rps.org

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

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

Thursday 22 September / 19:30-22:00

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

‘Divine light’

by Clive Tanner FRPS `` £3 Society members `` Smethwick Photographic

`` £3 Society members `` Smethwick Photographic

Thursday 6 October / 19:30-20:00

LRPS assessment day

89, University of Nottingham, Nottingham NG7 2RD `` Stewart Wall ARPS, as above

Sunday 18 September / 10:30-17:30

‘Me and my eye’

by Andy Beel FRPS

`` £3 Society members `` Smethwick Photographic

as above

`` Mike Sharples ARPS,

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

‘Travels towards the edge’

by Sue O’Connell ARPS and Peter Brisley ARPS

Llanfairpwllgwyngyll LL61 6SH

School, 17 Mangate Street, Swaffham, Norfolk PE37 7QW `` Ian Wilson ARPS, as above

`` School of Life Sciences, Room

Road, Foxton CB22 6RN `` Ian Wilson ARPS, as above EAST MIDLANDS STEWARTWALL(ICLOUD.COM

Natural history workshop at The University of Nottingham (fully booked) Sunday 4 September / 10:00-16:00

`` £10

Research day at Bromley House Library Wednesday 16 November / 10:30-15:30

`` £5 spectators `` A research day, welcoming

papers on new or completed projects, and work in progress `` The Gallery, Bromley House Library, Angel Row, Nottingham NG1 6HL `` Geoff Blackwell ARPS, 0114 266 8655, gblackwell@fastmail.fm

‘How to develop your photographic practice’ by Brian Griffin HonFRPS and Shy Burhan Sunday 20 November / 10:30-16:00

`` £10 `` Whatton Jubilee Hall, Church

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

| GUIDE | 707 LONDON DEL BARRETT ARPS LONDONEVENTS(RPS.ORG

Extraordinary general meeting of the London Region

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

`` The Crusting Pipe, 27 The

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

Saturday 3 September / 14:30-15:00

`` The Magic Gallery,

Charing Cross Undeground Arcade, Strand, London WC2N 4HZ `` RPS London, londonweb@ rps.org

Himmelstrasse by Brian Griffin HonFRPS – artist’s talk and book signing Saturday 3 September / 15:00-16:30

`` The Magic Gallery, Charing Cross Underground Arcade, Strand, London WC2N 4HZ `` London Events, londonevents@rps.org

LRPS one-to-one Distinctions review Saturday 10 September / 10:00-16:30

`` The assessors for the day will be Marie-Ange FRPS and Roger Force FRPS `` The Nikon Centre for Excellence, 63-64 Margaret Street, London W1W 8SW `` London Distinctions, londondist@rps.org

Portfolio reviews Tuesday 13 September / 11:00-19:00

`` £80/£75 Society members `` The Magic Gallery, Charing Cross Underground Arcade, Strand, London WC2N 4HZ `` London Events, londonevents@rps.org

Regular meeting of the SW London Group Tuesday 13 September / 19:00-21:00

`` Free `` Please note the date, details

to follow `` The Prince of Wales, 138 Upper Richmond Road, Putney, London SW7 2RL `` London Web, Londonweb@rps.org

Nikon digital darkroom – Photoshop

London Naturally walk Sunday 25 September

`` Free `` A regular meeting of the

London Naturally group: details to be confirmed `` London-naturally@rps.org

The Magic Gallery is proud to present Himmelstrasse by Brian Griffin HonFRPS

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

London Region street walk

greenlondon@rps.org

London Naturally walk Sunday 30 October

`` Free `` A regular meeting of the

London Naturally group: details to be confirmed `` London-naturally@rps.org

The art of product photography at the Nikon School

Until Friday 30 September / 16:00-17:00

Tuesday 8 November / 10:30-16:30

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

Cross Underground Arcade, Strand, London WC2N 4HZ `` London Events, londonevents@rps.org

Regular meeting of the SW London Group Tuesday 11 October

`` Free `` Please note the date: details to follow

`` The Prince of Wales, 138

Upper Richmond Road, Putney, London SW15 2SP `` London Web, londonweb@rps.org

Beyond the surface Friday 14 – Sunday 16 Oct / 18:00-17:00

`` £300/£275 Society members

`` Intensive weekend workshop with leading British photographer Peter Fraser HonFRPS `` Regents University London, Inner Circle, Regents Park, London NW1 4NS `` London Events, londonevents@rps.org

London Region street walk Saturday 15 October

`` Free `` A regular meeting of the

London Region street group: details to be confirmed `` Londoncave@rps.org

RPS Open International Photobook Exhibition 2016 Tue 18 – Sun 23 October / 13:00-19:00

`` Espacio Gallery,

159 Bethnal Green Road, London E2 7DG

The Bookworm Club

Saturday 17 September

Wednesday 19 October / 18:30-21:00

`` Free `` A regular meeting of the

`` The Crusting Pipe, 27 The

London Region street group: details to be confirmed `` Londoncave@rps.org

Sunday 23 October / 11:00-13:00

`` £25/£20 Society members `` London, TBC `` Breathing London Team,

`` The Magic Gallery, Charing

Thursday 15 September / 10:30-16:30

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

An outdoor workshop with Robert Canis to capture autumn colour

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

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

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

`` The Prince of Wales, 138

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

London Region street walk

Robert Canis will lead an outdoor workshop for the London Group Image by Robert Canis, Kew 2015

Festejar Spanish festival Sunday 4 September / 10:30-17:00

`` Meet at Starbucks, 9-11 St

Ann’s Square, The Royal Exchange, Manchester M2 7EF `` Robert Helliwell ARPS, 01904 500231, bobhelliwell@clara.co.uk

Distinctions advisory day

Saturday 12 November / 9:45-13:00

Sunday 25 September / 10:30-16:30

`` London - to be confirmed `` London Cave, londoncave@

`` £10 spectators `` Fully booked but observers

rps.org

The Bookworm Club Wednesday 16 November / 18:30-21:00

`` The Crusting Pipe, 27 The

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

can still register

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

Liverpool and Crosby field trip (only two places left) Saturday 15 October / 10:00-18:30

London, Naturally – walk Sunday 27 November / 10:30-13:00

`` London – to be confirmed `` London Naturally, london-naturally@rps.org NORTH WALES MARTIN BROWN LRPS, 01691 773316 NORTHWALES(RPS.ORG

Tour of the archives of the National Library of Wales Friday 30 September / 12:00-16:30

`` £5/free for Society members `` The National Library of Wales, Penglais Road, Aberystwyth SY23 3BU `` Janine Freeston, janinefreeston@aol.com NORTH WEST DR AFZAL ANSARY ASIS FRPS, 07970 403672 AFZALANSARY(AOL.COM

`` £5 non-members `` Lime Street Station, Liverpool L1 1JD

`` Mark Reeves, 07968 616551, markreeves59@gmail.com

Capture the Lake District in autumnal colours Saturday 22 October / 10:00-16:00

`` National Trust car park NY

328047, Elterwater car park, Great Langdale street, Elterwater LA22 9HP `` Robert Metcalf, 01524 761297, r.metcalf534@btinternet.com

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

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

`` Hough End Centre,

Mauldeth Road West,

VOL 156 / SEPTEMBER 2016 / THE RPS JOURNAL / 707

708 | GUIDE |

WORKSHOPS

Photographing landscape, whatever the weather, with Tony Worobiec FRPS Sat 3 September / 10:30-16:30

`` £45/£33 Society members `` Bath HQ

Movement photography Sunday 4 September / 10:00-16:30

`` £95/£71 Society members `` Bath HQ

Macro and art photography Wed 7 September / 10:00-16:30

`` £55/£41 Society

Hear from the experts and hone your skills

Creative dance photography lighting Sat 17 September / 10:00-17:00

`` Fully booked `` £120/£95 Society

`` £190/£165 Society

`` Surrey

`` Bath HQ

Introduction to your digital camera

A beginners’ guide to product photography

members

Thu 29 September / 10:00-16:30

`` £95/£71 Society

`` Bath HQ

`` Amersham,

members

Two-day wedding workshop Sat 17 – Sun 18 Sep / 10:00-17:00

`` £165/£140 Society members

Wedding photography

Art nude photography

members `` Nottinghamshire

Creative techniques in Photoshop Friday 9 September / 10:00-16:30

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

Sat 10 September / 10:00-16:30

`` £95/£71 Society

Sun 18 September / 10:00-17:00

`` £95/£71 Society members `` Bath HQ

Sat 24 September / 10:00-17:00

`` £120/£95 Society members `` Lacock, Wiltshire

Art figure painting with light Sat 24 September / 10:00-17:00

`` £115/£90 Society members `` Surrey

Wildlife photography `` £45/£33 Society members `` Bath HQ

members

How to photograph children and babies

Printing with Lightroom

`` £120/£95 Society

`` Bath HQ

members

Buckinghamshire

Introduction to mindfulness, meditation and how these link to photography

Sun 11 September / 10:00-16:00

`` £95/£71 Society

members `` Amersham, Buckinghamshire

Better digital printing Sat 8 Oct– Sun 9 Oct / 10:00-16:30

`` £175/£150 Society members

`` Are you frustrated by

inconsistent print quality?

This course will show you a simple and effective way to get the results you want `` Bath HQ

Shooting for stock

Night shoot Sat 12 November / 18:00-22:00

`` £35/26 Society members

`` Explore the wonders of nighttime photography during this hands-on evening workshop `` Bath Abbey

Introduction to Lightroom Sat 19 November / 10:00-16:30

`` £95/£71 Society members

`` Bath HQ Two-day wedding workshop

Monday 10 October / 10:30-16:30

Sat 19 – Sun 20 Nov / 10:00-17:00

`` £165/£140 Society

`` £95/£71 Society

`` Bath HQ

`` This introductory

`` Procedures and

Product photography

members

techniques that can be used to help every photographer connect more fully with the present moment, the goal being to help restore peace and balance in our bodies and minds `` Amersham, Buckinghamshire

Two-day Photoshop workshop Sat 1 – Sun 2 October / 10:00-17:00

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

Architectural and travel photography in and around Exeter

members

Friday 21 October / 10:00-17:00

`` £155/£130 Society members

`` Colerne

Coastal landscapes – Lyme Regis

members

`` Exeter

members

workshop is for all those wanting to learn more about how to take great wedding photographs and the basics of starting a business `` Lacock, Wiltshire

Digital photobooks

Saturday 22 October / 10:00-17:00

Sun 20 November / 10:00–16:30

`` £95/£71 Society

`` £95/71 Society

`` Lyme Regis,

`` This course will teach you

members

Dorset

Studio portraiture Sat 22 – Sun 23 Oct/ 10:00-17:00

`` £165/£140 Society members

`` Take great images in a studio environment

members

about page layout, captions and cover design, as well as how to sequence your images, different paper qualities, book formats and costs `` Bath HQ

`` Lacock,

Introduction to your digital camera

Architecture photography – Holme Pierrepont Hall

`` £85/£63 Society

Wiltshire

Saturday 1 October / 12:00-19:00

`` £95/£71 Society

Sun 25 September / 10:00-17:00

members `` Lacock, Wiltshire

Friday 7 October / 10:00-17:00

`` £95/£71 Society

`` £65/£48 Society

Fri 30 September / 10:00-16:30

Introduction to Photoshop

Sun 25 September / 10:00-16:30

Introduction to Lightroom

members

Sat 17 September / 10:00-17:00

`` Lacock, Wiltshire

`` £145/£120 Society

Mon 26 – Tue 27 Sep / 10:00-16:00

`` £85/£63 Society

members `` For anyone who is looking for new directions for their photography and to enhance their technical and creative skills `` Amersham, Buckinghamshire

Wed 7 September / 10:00-17:00

Run your own photographic business

Sat 26 November / 10:00-17:00

members

`` Bath HQ

Monday 31 October / 10:00-16:30

Portrait photography and getting the most from your subject

`` £99/£75 Society members `` Nottingham

Wedding photography

members

`` Bath HQ

Wed 9 November / 10:00–17:00

`` £145/£120 Society

Shooting modern architecture

members

`` This concentrates on

the photographic elements that would appeal to both experienced wedding pros and beginners `` Nottinghamshire

Mon 12 September / 10:00-16:30

`` £99/£75 Society members

`` Nottingham Introduction to your digital camera

Wildlife photography

Art nude photography Sat 26 November / 10:00–17:00

`` £120/£95 Society members

`` Lacock, Wiltshire Introduction to Photoshop Sun 27 November / 10:00–17:00

`` £95/£71 Society members

`` Bath HQ How to photograph children and babies

Sat 17 September / 10:00-17:00

Sat 12 November / 10:00–16:30

Sun 27 November / 10:00–17:00

`` £85/£63 Society

`` £45/33 Society

`` £120/£95 Society

`` Bath HQ

`` Lacock, Wiltshire

members

`` Bath HQ

Learn to photograph wildlife on 25 September

708 / THE RPS JOURNAL / SEPTEMBER 2016 / VOL 156

members

members

| GUIDE | 709 Manchester M21 7SX

`` Afzal Ansary FRPS, as above Lake District day – Ullswater, Aira Force, Borrowdale

Keir Street, Bridge of Allan FK9 4NW `` Doug Berndt ARPS, digscotland@rps.org

`` Lake District, Aira Force car

Scottish Region members’ print exhibition 2016/17 – Stow

`` Ken Rennie,

`` The Cloud House, 3 Townfoot,

Thursday 17 November / 9:00-18:00

park, Ullswater CA11 0JY

km.rennie61@gmail.com NORTHERN GERRY ADCOCK ARPS, 01661 830882

Fri 7 – Wed 26 October / 10:30-16:00

Stow TD1 2NQ

`` Ian Oliver LRPS,

ian@ianoliverphoto.co.uk

GERRY(GERRYADCOCK.CO.UK

Photo Forum Dingwall

The Idle Rich: Sliding into Digital

`` £10/£8 Society members `` Dingwall Camera Club, Eagle

Sunday 30 October / 10:30-16:00

Thursday 8 September / 19:30-21:30

`` A talk by Leo Rich ARPS `` St Oswalds Church Institute, Church St, Durham DH1 3DQ

House, Dingwall IV15 9RY

`` James Frost FRPS, as above Photo Forum Edinburgh Sunday 6 November / 10:30-16:00

Advisory day Sunday 9 October / 10:00-17:00

`` £10/£8 Society members `` Edinburgh PS, 68 Gt King

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

Street, Edinburgh EH3 6QU

Pembrokeshire weekend

Backworth NE27 0AH `` Sandra Taylor, 0191 488 6900, staylorr@hotmail.com

Scottish Region members’ print exhibition 2016/17 – Shambellie House

`` An autumn weekend on the

Lake District weekend

`` Shambellie House, 40 Main

`` £20/£15/£10 observers `` Booking is now open for our next advisory day

`` Backworth Hall,

`` James Frost FRPS, as above

Sat 29 – Sun 30 October / 9:30-16:00

Wed 16 – Wed 30 Nov/ 10:30-16:00 Fri 11 – Sun 13 November, 18:00-13:00

`` Single room £250, shared

room £230 `` Burnside Hotel, Bowness, Windermere LA23 3HH `` Gerry Adcote, as above, or Sandra Taylor, 0191 488 6900, staylorr@hotmail.com NORTHERN IRELAND RICHARD CORBETT 07805 381429 RICHARD(RICHARDCORBETTPHOTOGRAPHY.COM SCOTLAND JAMES FROST FRPS 01578 730466/07881 856294 JAMES.FROST11(BTINTERNET.COM

Scotland Region members’ print exhibition 2016/17 – Glasgow Sat 3 – Fri 30 September / 10:00-20:00

`` Hillhead Library,

348 Byres Road, Glasgow G12 8AP `` Ian Robertson LRPS, j.robertson15@ntlworld.com

Street, New Abbey DG2 8HQ `` Laura Hudson Mackay LRPS, info@hudsonmackay.com

South West Region is hosting ‘A day with Jeremy Walker’, on 23 October Image by Jeremy Walker

Pembrokeshire coast with plenty of falling tides allowing for beach photography `` Haverfordwest, TBA `` Peter Douglas-Jones, 07776 141409, peter@douglas-jones.biz

TERRY MCGHIE, 01323 492584 SOUTHEAST(RPS.ORG

LRPS advisory day in the South East (fully booked, spectators only) Sunday 4 September / 10:30-17:00

`` £20/£15/£10 spectators `` Cobham Village Hall, Lushington Drive, Cobham, Surrey KT11 2LU `` David Powell, as above

Heritage Open Days

Bovey Tracey, Devon TQ13 9NG

`` Linda Wevill FRPS,

linda.wevill@btinternet.com

West Cornwall Group meeting Chacewater, Truro TR4 8PZ

`` Vivien Howse ARPS, 01326 221939, vivien939@ btinternet.com

Sunday 11 September / 6:45-16:00

`` £20/£15 Society members `` South Devon Railway, The

A day with Jeremy Walker

Railway Station, Buckfastleigh TQ11 0DZ `` Mick Medley, as above

Sunday 23 October / 10:30-16:00

`` £15/£10 Society members `` Two lectures by landscape

Cornwall – Botallack to Kenidjack (and back again) – easier option Saturday 17 September / 8:00-19:00

Joint visit to WWT Arundel Wetland Centre Southern and South East Regions

`` The Village Hall, Church Hill,

Day out at South Devon Railway

`` A walk involving some of

rps.org

Tuesday 18 October / 19:30-21:30

MICHAEL.MEDLEY(BTINTERNET.COM

Thursday 8 – Sunday 11 September

photographer Jeremy Walker

`` The Dolphin Hotel, Station

Road, Bovey Tracey TQ13 9NG

`` Mick Medley, as above

Cornwall’s most iconic locations and landmarks `` Kenidjack Valley, Cornwall TR19 7QQ `` Constance Morris, constancemorris@hotmail.co.uk

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

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

Road, Bovey Tracey TQ13 9AL

`` Di Wilkins LRPS, 01392

Sunday 2 October / 14:00-20:00

Distinctions advisory day Saturday 3 September / 10:30-16:00

`` £20/£15/£10 spectators `` Fully booked, available to

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

DIG Scotland Centre – September meeting Sunday 18 September / 13:30-16:15

`` £5 `` Bridge of Allan Parish Church,

`` £15/£10/£7.50 students `` WWT Arundel, Arundel, West Sussex BN18 9PB

`` David Powell, as above Introduction to Distinctions in Eastbourne Saturday 12 November / 10:30-17:00

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

Edison Road, East Sussex BN23 6PT `` David Powell, 07721 312533, southeast@rps.org

Cornwall – Botallack to Kenidjack (and back again) – harder option

469149, dianawilkins15@ hotmail.com

Saturday 24 September / 8:00-19:00

SOUTHERN

`` A walk involving some of

Cornwall’s most iconic locations and landmarks `` Botallack car park, Cornwall TR19 7QQ `` Constance Morris, constancemorris@hotmail.co.uk

South West Region Contemporary Group meeting

South West Visual Art Group members’ day Saturday 8 October / 10:30-16:00

MICK MEDLEY, 01626 824865/07980 073808

`` Chelin Miller, heritageweb@

42 Hunters Moon, Dartington TQ9 6JT `` Rod Fry ARPS, 01803 844721, rod@rodfry.eclipse.co.uk

`` £8/£5/£3 `` Dolphin Hotel, Station Road,

SOUTH WEST SOUTH EAST

Sunday 2 October / 10:30-16:00

`` Carol and Graham’s house,

PAUL GILMOUR LRPS, 07899 042372 SOUTHERN(RPS.ORG

Visit to Silchester Roman site town

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

Thursday 1 September / 10:30-16:30

`` Silchester Roman city and

amphitheatre, Silchester, Reading RG7 2HP `` Walter Brooks, 01684 891159, grange.hill@tiscali.co.uk

VOL 156 / SEPTEMBER 2016 / THE RPS JOURNAL / 709

710 | GUIDE |

COUNCIL REPORT ! JUNE 2016 MINUTES OF COUNCIL

`` The minutes of 17 May 2016 were approved.

MATTERS ARISING

`` The Society’s strategy.

It was proposed that the advisory board be circulated with the draft and be asked to comment on its content. This was agreed and Del Barrett agreed to collate feedback.

SOCIETY FINANCE

`` Geoff Blackwell reported

that the Society’s audit was complete. As expected there was an overall deficit of £14,000. The 2017 budget would aim to break even. The Society had been notified of changes to the direct debit regulations and the Society was taking measures to ensure that it was compliant by the September deadline.

SOCIETY PREMISES

`` The director-general

reported on a visit he and Geoff Blackwell had made to a university, following up on a meeting Walter Benzie and Robert Albright had held. A detailed discussion had taken place over the Society’s requirements, its concerns and the financial aspects of any partnership. The university would be considering these and would report back. `` Geoff Blackwell had held an exploratory meeting with the Arts Council. This had been positive. The Society would need to bring a specific project to it once a building had been identified. `` Further opportunities had been identified which the director-general would investigate.

MEMBERSHIP `` Membership stood at: 11,642. `` Simon Bibb, membership manager, joined the meeting and a discussion was held regarding the lapsed and new member surveys. Del Barrett asked how the results were reviewed and actions taken.

Simon Bibb noted that the most commonly cited reason for lapsing membership was the subscription cost.

Different views were expressed on whether the Society should focus on

An update on the collections held at the V&A Museum has been scheduled. Image by David Ilif, license: CC-BY-SA 3.0

recruiting new members or retaining existing members.

A number of actions were set for the department. `` Vanessa Slawson reported that council had been asked to consider introducing an armed forces/veterans membership rate. Council decided that no change to the current categories would be made. `` Council would review the recent all-member survey to identify actions.

The director-general was asked to circulate the full survey results. (A summary of the results was produced, and appeared in the August Journal).

GROUPS/REGIONS/ OVERSEAS CHAPTERS `` Council approved the appointed of Richard Corbett as Northern Ireland regional organiser and noted the offer of assistance from Gerry Coe. `` Geoff Blackwell proposed that regional treasurers should add a description of regional property and where it was held to the annual accounts. He would draft a communication to be circulated. `` Richard Tucker introduced a short paper reviewing the funding of chapters and their relationship to the Society.

710 / THE RPS JOURNAL / SEPTEMBER 2016 / VOL 156

The discussion broadened to take in an event held by the Benelux Chapter which recruited members for the Society. Council noted that it had previously agreed a mechanism to support one-off chapter projects. `` Del Barrett advised that she would be stepping down as London Region organiser and had two replacements who would take over as co-organisers, which council supported.

DOCUMENTATION `` Richard Tucker had circulated a draft chapter procedure MP005.

Vanessa Slawson asked that the risk register be circulated for consideration by council at its next meeting.

STAFF AND HEADQUARTERS MANAGEMENT `` The director-general would circulate a draft annual report 2015 for approval.

DISTINCTIONS AND QUALIFICATIONS `` Council noted the recent Distinctions advisory board review of the OU course participants. The DAB would be asked to review the quality of work at future course presentations. Robert

Albright reported on the DAB discussion around the Society’s multimedia assessments. It had agreed that film and other elements, except for AV, would come in to the Society’s new film category. An observer would be attending the next PAGB AV assessment to look at the process and standards. `` Robert Albright reported that the Distinctions review analysis had been completed and the report writing was about to commence. He hoped to submit the report to the July council meeting. `` David Cooke had asked for clarification from Andy Moore about the St George’s exemption to ensure it met the Society’s criteria. After confirmation that it did council approved the exemption.

EXHIBITIONS

`` Lesley Goode was

thanked for her report.

Entries to the International Print Exhibition entries had shown a strong increase.

EDUCATION

`` Geoff Blackwell reported

that he had met with Grimsby Institute. The staff had agreed to join the Society’s affiliation scheme and it was now awaiting

management approval.

`` David Cooke provided an

update on the Open University/Society course.

There had been no success in recruiting a staff member to act as moderator on the course and a more proactive approach was needed.

The number of complaints about the course had reduced significantly.

RPS JOURNAL

`` Vanessa Slawson/

Robert Albright asked if there were opportunities for contra arrangements or advertising with other Think Publishing titles.

RPS COLLECTION

`` Robert Gates reported that

the Society volunteers were still meeting at the Media Museum. The directorgeneral advised that he would be meeting with the V&A on 4 July for a collection update and would report back to council.

ADVISORY BOARD, COUNCIL AND GOVERNANCE `` Del Barrett reported on a proposal from Liz Rhodes and Jay Charnock from the advisory board. Council asked that it be passed to the governance review group.

| GUIDE | 711 Distinctions advisory day (LRPS/ARPS) Saturday 10 September / 10:00-16:00

`` £20/£15/£10 spectators `` For LRPS and ARPS in

the category of Conceptual and Contemporary `` King’s Community Church, Hedge End, Upper Northam Rd, Southampton SO30 4BZ `` Martin Silman, 07703 598303, southernevents@rps.org

What makes great photography?

Saturday 10 September / 10:15-17:00

`` £60/£55/£50 group

members `` An excursion through the gamut of photography genres `` Winchester Discovery Centre, Jewry Street, Winchester SO23 8SB `` Mo Connelly, doc@rps.org

Photograph a blacksmith at work Thursday 15 September / 10:00-12:00

`` £15/£10 Society members `` Fully booked `` Little Duck Forge, Eastney

Beam Engine House, Henderson Road, Portsmouth PO4 9JF `` Martin Silman, 07703 598303, southernevents@rps.org

DIG Southern Centre: ‘Portraiture as art’ lecture by Vicki-Lea Boulter ARPS Sunday 25 September / 10:30-16:00

`` £10/£7 group members `` Including a Photoshop

demonstration of how the images are created `` Greyfriars Community Centre, 44 Christchurch Road, Ringwood BH24 1DW `` Barry Senior HonFRPS, 01425 471489, digsouthern@rps.org

Joint visit to WWT Arundel Wetland Centre Southern and South East Regions Sunday 2 October / 14:00-20:00

`` £15/£10/£7.50 students `` WWT Arundel, Arundel, West Sussex BN18 9PB `` David Powell, as above

Talk and demonstration with Lee Filters Sunday 16 October / 11:00-15:00

`` £25/£15 Society members `` Crosfield Hall, Broadwater Road, Romsey SO51 8GL `` Paul Gilmour LRPS, as above

On my doorstep Saturday 22 October / 9:00-16:30

`` £35 group members

`` See travel guide listing

Amersham HP6 5AH

for details `` Chichester Cathedral, The Royal Chantry, Cathedral Cloisters, Chichester, West Sussex PO19 1PX `` Tony RS Ashford, 020 8767 1911, tonyashford@live.co.uk

`` Mark Buckley-Sharp,

Southern Region AGM

`` £12/£8 group members `` We are looking for attendees

as above

DIG Thames Valley: attendee presentations plus Millennium Cup competition for prints

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

digitally projected competition for audiovisual sequences. `` 1914 Centenary Hall, Dean Close Preparatory School, Lansdown Road, Cheltenham GL51 6QS `` Edgar Gibbs, 029 2056 4850, edgar.gibbs@ntlworld.com

Sunday 16 October / 10:00-15:30 Sunday 13 November, 10:30-11:00

`` Millennium Memorial Hall,

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

Meet and share your photography Sunday 13 November / 11:15-15:00

`` Millennium Memorial Hall,

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

Western Region members’ meeting

who are prepared to make a five to 20-minute presentation on an imaging subject that they would like to share the group `` Woosehill Community Hall, Emmview Close, Wokingham, Berkshire RG41 3DA `` Laurie Pate, digthamesvalley@rps.org

Sunday 9 October / 10:00-12:30

`` We hope to arrange a glamour model photoshoot. Details TBA

`` David Norfolk, 07771 515273, western@rps.org

Western Region LRPS and ARPS advisory day Sunday 16 October / 10:00-16:30

`` £20/£15/£10 spectators.

Distinctions and the Society

Fully booked

`` Fenton House, 122 Wells Road, Bath BA2 3AH

Thursday 27 October / 20:00-22:00

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

`` £20 Society members `` An exclusive behind-the-

scenes tour of Lee Filters’ factory and headquarters in Andover, Hampshire `` Lee Filters HQ, Walworth Business Park, Central Way, Andover SP10 5AN `` Paul Gilmour LRPS, as above THAMES VALLEY MARK BUCKLEY,SHARP ARPS, 020 8907 5874 MARK.BUCKLEY,SHARP(TISCALI.CO.UK

DIG Thames Valley.

Andy Beel FRPS and Prof Bob Ryan ARPS – ‘Me and my eye’ and ‘Rewiring the photographers’ brain’ Sunday 18 September / 10:00-15:30

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

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

Wallingford wanderings Fri 7 – Sun 9 October / 17:00-18:00

`` £25/£15/£5 spectators `` Wallingford Town Hall, Market Place, Wallingford OX10 0EG `` Andrew Barrow, arb@andys-scribblings.co.uk

Members’ print exhibition Sunday 9 October / 10:00-16:00

`` Drake Hall, Chiltern Avenue, Amersham HP6 5AH

`` Kathy Chantler,

01296 483469, kathychantler@gmail.com

AGM

`` Park Street Camera Club,

`` Michelle Whitmore, michelle@

St Stephen Parish Centre, Station Road, Bricket Wood, St Albans AL2 3PJ `` johnwoodworth@mac.com

michellewhitmore.co.uk

FRPS advisory day Saturday 22 October / 11:00-16:00

`` £25 Society members `` Society HQ, Fenton House,

Distinctions and the RPS

122 Wells Road, Bath BA2 3AH

Thursday 10 November / 19:45-21:45

`` Watford Camera Club,

`` Michelle Whitmore, michelle@

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

michellewhitmore.co.uk

Alan Bastin and Di Wilkins – Lightroom, On1 and textures Sunday 30 October / 10:00-16:00

DIG Thames Valley: Paul Gallagher ARPS and Mike Jones ARPS – ‘The colour-managed workflow and printing’

`` £8/£7/£5 group members `` Lightroom and On1 techniques plus some texture work

`` Merryfield Village Hall, Ilton, Nr Taunton TA19 9HG

`` Paula Fernley,

Sunday 20 November / 10:00-15:30

`` £25/£20 group members `` Wokingham, Berkshire,

Woosehill Community Hall, Emmview Close, Wokingham RG41 3DA `` Laurie Pate, digthamesvalley@rps.org WESTERN DAVID NORFOLK, WESTERN(RPS.ORG

Swindon: old railway quarter photowalk Wednesday 7 September / 17:30-19:30

`` Note: this is an experimental alternative to our usual Sunday meeting `` Swindon old railway quarter, Swindon Great Western Hotel, 73 Station Road, Swindon SN1 1DH `` David Norfolk, 07771 515273, western@rps.org

The 22nd Royal Photographic Society International Audio Visual Festival 2016

Sunday 9 October / 16:00-16:30

Sat 24 Sep – Sun 25 Sep / 9:45-17:00

`` No booking is required. `` Drake Hall, Chiltern Avenue,

`` The International AV Festival

is held every two years, and is a

paula.fernley@iCloud.com

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

Your events

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

`` Western Region members’ successful LRPS, ARPS and FRPS panels at Society HQ `` Fenton House, 122 Wells Road, Bath BA2 3AH

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

`` Martin Addison FRPS

talks about the Society and awards `` Parish Rooms in Community Centre, Newent Road, Highnam GL2 8DG `` Bob Train LRPS, 07825 325799, photography@ bothtrains.co.uk

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

`` £5 `` A show-and-tell from the August field trip

`` Merryfield Village Hall, Ilton, Somerset TA199HG

`` Mick Humphreys, mick@ somersite.co.uk

VOL 156 / SEPTEMBER 2016 / THE RPS JOURNAL / 711

ROCHUSSEN 188 | INSIGHT | NICKY

Digital Photography: Creating and Sharing Better Images The Royal Photographic Society and the Open University have developed an online course that will help you improve your photography Available worldwide for ÂŁ200 Suitable for beginners and those who want to achieve better results, the course is designed to give you the skills to tackle the LRPS Distinction The next presentation starts on 15 October 2016 â&#x20AC;&#x201C; registration closes 30 September For full details see rps.org/online-courses Society members who pass the course will get a Royal Photographic Society Certificate in Photography* and access to a free Distinctions Advisory Day 188 / THE RPS JOURNAL / MARCH 2016 / VOL 156

*The certificate is also available to non-members for a small fee

| GUIDE | 713 YORKSHIRE MARY CROWTHER ARPS, 07921 237962 PHOTOBOX50(GMAIL.COM

The Contemporary Group North East – Wakefield

Stonegate, York YO1 8AW

Surrey KT22 8AH

`` Robert Helliwell ARPS,

`` Mike Sasse, 01892 531179,

RPS Open International Photobook Exhibition

HOWARD BAGSHAW ARPS, 01889 881503

01904 500231, bobhelliwell@clara.co.uk

mike.sasse@btinternet.com AUDIO VISUAL HOWARD.BAGSHAW(NTLWORLD.COM

Saturday 17 September / 14:00-17:00

Saturday 12 November / 10:30-16:30

`` Central Buildings, 13 Bull

`` Impressions Gallery Bradford,

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

Police dog training day Wednesday 5 October / 8:00-15:00

`` £7/£5 Society members `` To be confirmed when

booking. Wakefield WF1 2QN `` Robert Helliwell ARPS, 01904 500231, bobhelliwell@clara.co.uk

Self-help group Saturday 15 October / 10:30-12:30

`` £7/£3 Society members `` Informal social gatherings; a great way of meeting likeminded photographers `` VJs Art Bar, Finkle Street, York YO1 8RW `` Robert Helliwell, 01904 500231, bobhelliwell@clara.co.uk

Distinctions advisory day

SPECIAL INTEREST GROUPS

Sat 24 Sep – Sun 25 Sep / 9:45-17:00

`` 1914 Centenary Hall, Dean

Close Preparatory School, Lansdown Road, Cheltenham GL51 6QS `` Edgar Gibbs, 029 2056 4850, edgar.gibbs@ntlworld.com CONTEMPORARY

Explore more aspects of photography and digital imaging

PETER ELLIS LRPS, 07770 837977

RICHARD BRADFORD ARPS

The Contemporary Group North East – Wakefield

ANALOGUE(RPS.ORG

Saturday 17 September / 14:00-17:00

ANALOGUE

`` Contemporary Group North

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

Heritage Open Days Thu 8 Sep – Sun 11 Sep

`` We’ve teamed up with

Distinctions, plus Associate Distinctions in Creative/Pictorial `` New Brookhouse Club, 221 Barnsley Road, Wakefield WF1 5NU `` Robert Helliwell, 01904 500231, bobhelliwell@clara.co.uk

A photography journey along the Yangtze

A&H members’ showcase

Saturday 29 October / 18:30-20:30

Saturday 8 October / 10:00-17:00

`` £10/£7 Society members `` York Medical Society, 23

`` Leatherhead Institute, 67

`` £20/£15/£10 spectators `` Advice for Licentiate

High Street, Leatherhead,

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

Grindweg 4361, Westkapelle

`` CANADA John Bradford, jb.rps@cogeco.ca

East will meet in Wakefield `` Central Buildings, 13 Bull Ring, Third Floor, Suite 4, Wakefield WF1 1HB `` Patricia A. Ruddle ARPS, 07572 124290, patriciaruddle@btinternet.com

ARCHAEOLOGY AND HERITAGE

South West Region Contemporary Group meeting Sunday 2 October / 10:30-16:00

`` Carol and Graham’s house,

42 Hunters Moon, Dartington TQ9 6JT `` Rod Fry ARPS, 01803 844721, rod@rodfry.eclipse.co.uk

GO TO

RPS.ORG/EVENTS FOR THE LATEST UPDATES

Green Road, London E2 7DG

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

`` Winners and shortlisted

entries for the RPS Open International Photobook Exhibition 2016. Books can be browsed by visitors `` Impressions Gallery Bradford, Impressions Gallery, Centenary Square, Bradford BD1 1SD CREATIVE BARRY COLLIN LRPS CREATIVECHAIR(RPS.ORG

RPS Creative Group meeting Sunday 13 November / 10:30-16:30

WORDSNPICSLTD(GMAIL.COM

Heritage Open Days: England’s biggest heritage festival involving 40,000 volunteers. It celebrates our history, culture and architecture; offering the chance to see hidden places and try out new experiences for free `` Various locations around England `` Chelin Miller, 01892 670056, heritageweb@rps.org

Saturday 22 October / 10:30-16:30

The 22nd Royal Photographic Society International Audio Visual Festival

Centenary Square, Bradford BD1 1SD

browsed by visitors

`` Espacio Gallery, 159 Bethnal

RPS Open International Photobook Exhibition Tue 18 – Sun 23 October / 13:00-19:00

`` Winners and shortlisted

entries for the 2016 open exhibition, plus an associated print exhibition. Books can be

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

`` Ian Wilson ARPS,

ian@greenmen.org.uk DIGITAL IMAGING JANET HAINES DIGCHAIR(RPS.ORG

Andy Beel FRPS and Prof Bob Ryan ARPS – Me and my eye and Rewiring the photographers’ brain Sunday 18 September / 10:00-15:30

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

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

DIG Scotland Centre – September meeting Sunday 18 September / 13:30-16:15

`` £5 `` Bridge of Allan Parish Church, Keir Street, Bridge of Allan FK9 4NW `` Doug Berndt ARPS, digscotland@rps.org

Royal Photographic Society members around the world

`` CHINA BEIJING Yan Li, yanli88@yahoo.com `` CHINA CHONGQING `` CHINA WESTERN Wei Han (Richard), oolongcha@hotmail.com `` CHINA SHANGTUF Guo Jing, shangtuf@yahoo.com.cn `` CHINA QUANZHOU Xiaoling Wang, hgudsh@163.com `` DUBAI Mohammed Arfan Asif ARPS, dubai@rps.org

`` GERMANY Chris Renk, germany@rps.org `` HONG KONG Shan Sang Wan FRPS, shansangwan@ yahoo.com.hk `` INDIA Rajen Nandwana, rajennandwana@gmail.com `` INDONESIA Agatha Bunanta ARPS, agathabunanta@gmail.com `` ITALY Olivio Argenti FRPS, info@rps-italy.org

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

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

VOL 156 / SEPTEMBER 2016 / THE RPS JOURNAL / 713

9.6 out of 10

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

www.point101.com

020 7241 1113

Photo © Yiannis Roussakis

Your images, printed.

| GUIDE | 715 DIG Southern Centre: ‘Portraiture as art’ lecture by Vicki-Lea Boulter ARPS Sunday 25 September / 10:30-16:00

`` £10/£7 group members `` A different style of creative

portraiture will be illustrated and discussed with a Photoshop demonstration of how the images are created `` Greyfriars Community Centre, 44 Christchurch Road, Ringwood BH24 1DW `` Barry Senior HonFRPS, 01425 471489, digsouthern@rps.org.

The Digital Imaging Group is hosting a talk on 30 October

by Alan Bastin and Di Wilkins: Lightroom, On1 and textures

Regional sponsored lecture – Susan Brown FRPS Sunday 2 October / 11:00-16:30

`` Free `` By the well-known

landscape photographer Susan Brown FRPS `` Foxton Village Hall, Hardman Road, Foxton CB22 6RN `` Ian Wilson ARPS, ian@ greenmen.org.uk

Lake District day – Ullswater, Aira Force, Borrowdale

`` Botallack Car Park, Cornwall

HISTORICAL JENNIFER FORD ARPS, 01234 881459 JENNYFORD2000(YAHOO.CO.UK

Thursday 17 November / 9:00-18:00

DIG East: ‘The law of averages says ...’ a lecture

by Roger Hance FRPS Sunday 9 October / 10:30–15:30

`` Foxton Village Hall and Sports Pavilion, Hardman Road, Cambridge CB22 6RN `` Mark Gillett, 07984 518959, mark_gillett@icloud.com

DIG Thames Valley: attendee presentations plus Millennium Cup competition for prints Sunday 16 October / 10:00-15:30

`` £12/£8 group members `` We are looking for attendees

who are prepared to make a five to 20-minute presentation on an imaging subject that they would like to share the group `` Woosehill Community Hall, Emmview Close, Wokingham, Berkshire RG41 3DA `` Laurie Pate, digthamesvalley@rps.org

Pembrokeshire weekend Saturday 29 October / 9:30-16:00

`` Haverfordwest. TBA `` Peter Douglas-Jones,

07776 141409, peter@douglas-jones.biz

Alan Bastin and Di Wilkins – Lightroom, On1 and textures Sunday 30 October / 10:00-16:00

`` £8/£7/£5 group members `` Lightroom & On1 techniques plus some texture work

`` Merryfield Village Hall, Ilton, Nr Taunton TA19 9HG

`` Paula Fernley,

paula.fernley@iCloud.com

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

`` Ken Rennie, km.rennie61@ gmail.com

DIG Thames Valley: Paul Gallagher ARPS and Mike Jones ARPS – the colour-managed workflow and printing

Tour of the archives of the National Library of Wales

Woosehill Community Hall, Emmview Close, Wokingham RG41 3DA `` Laurie Pate, digthamesvalley@rps.org DOCUMENTARY MO CONNELLY LRPS, 01590 641849 DVJ(RPS.ORG

Liverpool and Crosby field trip

Friday 30 September / 12:00-16:30

Saturday 15 October / 10:00-18:30

`` £5 non-Society members `` Lime Street Station,

Penglais Road, Aberystwyth SY23 3BU `` Janine Freeston, janinefreeston@aol.com

Research day at Bromley House Library Wednesday 16 November / 10:30-15:30

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

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

Liverpool L1 1JD

`` Mark Reeves, 07968 616551, markreeves59@gmail.com

Capture the Lake District in autumnal colours Saturday 22 October / 10:00-16:00

`` National Trust car park NY

328047, Elterwater Car Park, Great Langdale Street, Elterwater LA22 9HP `` Robert Metcalf, 01524 761297, r.metcalf534@btinternet.com MEDICAL

What makes great photography?

KEN MACLENNAN,BROWN

Saturday 10 September / 10:15-17:00

KEN.MACLENNAN(BTINTERNET.COM

`` £60/£55/£50 group

constancemorris@hotmail.co.uk

`` £5 non-Society members `` The National Library of Wales,

Sunday 20 November / 10:00-15:30

`` Wokingham, Berkshire,

TR19 7QQ

`` Constance Morris,

IMAGING SCIENCE

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

members `` An excursion through the gamut of photography genres `` Winchester Discovery Centre, Jewry Street, Winchester SO23 8SB `` Mo Connelly, doc@rps.org

Cornwall – Botallack to Kenidjack (and back again) – easier option Saturday 17 September / 8:00-19:00

Sunday 4 September / 10:00-16:00

Beyond the surface

`` A day’s walk around some of

`` £10 Society members `` Stewart Wall, 07955 124000,

Fri 14– Sun 16 October / 18:00-17:00

`` £300/£275 Society members `` Intensive weekend workshop with leading British photographer Peter Fraser HonFRPS `` Regents University London, Inner Circle, Regents Park, London NW1 4NS `` London Events, londonevents@rps.org

LANDSCAPE

RICHARD REVELS FRPS, 01767 313065

TIM PARISH LRPS

RICHARD.REVELS(TALKTALK.NET

LANDSCAPE(RPS.ORG

Cornwall’s most iconic locations and landmarks `` Kenidjack Valley, Cornwall TR19 7QQ `` Constance Morris, constancemorris@hotmail.co.uk

Natural history workshop at the University of Nottingham (fully booked)

stewartwall@icloud.com

Macro workshop with Alex Hyde (fully booked – waiting list taken) Saturday 8 October / 10:00-16:30

Cornwall – Botallack to Kenidjack (and back again) – harder option Saturday 24 September / 8:00-19:00

`` £115/£85 Society members `` Whatton Jubilee Hall, Church Street, Whatton in the Vale NG13 9EL

VOL 156 / SEPTEMBER 2016 / THE RPS JOURNAL / 715

716 | GUIDE | 1st Epic Photo Salon Closing date: 1 September `` `` hollandcircuit.nl/ `` RPS 2016/07 1st China Shangbang International Photography Award 2016 Closing date: 1 September `` `` shangbangsalon.com `` RPS 2016/61 The 4th Danubius International Photo Art Salon “Best of CF” Closing date: 5 September `` `` photoclub.voltin.ro `` RPS 2016/59 `` Ralph Bennett, 07752 870422, ralph.emrps@gmail.com

Visual Art Group autumn weekend meeting 2016

Nature Group 40thanniversary meeting

`` £190 double or twin `` Best Western Brome Grange

Friday 7 October – Monday 10 October

Sunday 16 October / 9:30-16:00

`` £10 (cheque made payable to

RPS Nature Group, plus an SAE)

`` Full details on the Nature Group’s website

`` Smethwick Photographic

Society Clubrooms, The Old Schoolhouse, Churchbridge, Oldbury B69 2AS `` Tickets available from Richard Revels FRPS, 73 London Road, Biggleswade, Beds SG18 8EE `` Richard Revels FRPS, as above TRAVEL KEITH POINTON LRPS, 01588 640592 BAGPOINT(AOL.COM

Travel Group tour to Soria and Old Castile Tue 27 September – Mon 3 October

`` £1,875 group members `` Hotel Las Nieves, Salduero del Duero, Soria

`` Colin Howard,

colin.howard@mac.com

Wallingford wanderings Fri 7 – Sun 9 October/ 17:00-18:00

`` £25/£15/£5 spectators `` Wallingford Town Hall, Market Place, Wallingford OX10 0EG

`` Andrew Barrow,

arb@andys-scribblings.co.uk

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

`` £950 group members `` Highlights include Phnom

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

Hotel, Brome IP23 8AP

`` David Wood ARPS, 020 3105

The Visual Arts Group’s autumn weekend in Brome may include an excursion to the historic town of Bury St Edmunds

0548, wood.david.j@virgin.net

South West Visual Art Group members’ day Saturday 8 October / 10:30-16:00

`` £8/£5/£3 group members `` Dolphin Hotel, Station Road,

Bovey Tracey, Devon TQ13 9NG

`` Linda Wevill FRPS,

linda.wevill@btinternet.com.

EXHIBITIONS

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

PATRONAGE

The following salons/ exhibitions have Societyapproved patronage:

8th Rainbow Challenge Rijen Closing date: 1 September `` `` hollandcircuit.nl/ `` RPS 2016/03 6th Tribute to Colour Closing date: 1 September `` `` hollandcircuit.nl/ `` RPS 2016/04 10th Image Contest Wageningen Closing date: 1 September `` `` hollandcircuit.nl/ `` RPS 2016/05 10th Image Salon Delft Closing date: 1 September `` `` hollandcircuit.nl/ `` RPS 2016/06

| FIND OUT MORE INFORMATION | RPS EVENTS | 716 / THE RPS JOURNAL / SEPTEMBER 2016 / VOL 156

The 49th E.A. International Salon of Photography Closing date: 7 September `` `` psea-photo.org.hk `` RPS 2016/54

`` RPS 2016/48 5° Salon Inter. de Legé – 11° French Digital Tour Closing date: 9 October `` `` frenchdigitaltour.fr `` RPS 2016/49 10° Salon Inter. de St. Aignan de C. - 11° French Digital Tour Closing date: 9 October `` `` frenchdigitaltour.fr `` RPS 2016/50 3° Salon Inter. de St. Martin de C. - 11° French Digital Tour Closing date: 9 October `` `` frenchdigitaltour.fr `` RPS 2016/51 PAC International Salon Closing date: 16 October `` `` photoassochin.org `` RPS 2016/55

The 13th Shanghai International Photographic Art Exhibition Closing date: 9 September `` `` www.shphoto.com.cn `` RPS 2016/63

PSSL 61st Annual International Competition and Exhibition Closing date: 18 October `` `` pssl.lk `` RPS 2016/71

3rd International Salon Shadow 2016 Closing date: 14 September `` `` srbijafoto.rs `` RPS 2016/56

The 71st Hong Kong Int’l Salon of Photography 2016 Closing date: 24 October `` `` pshk-photo.org.hk `` RPS 2016/64

15th PSI International Salon 2016 Closing date: 17 September `` `` photographicsocietyofindia. com

`` RPS 2016/58 Grace Salon 2016 Closing date: 17 September `` `` gpcsalon.com `` RPS 2016/69 3rd PhotoVivo International Photography Award 2016 Closing date: 1 October `` `` pipa.sg `` RPS 2016/62 1st International Salon Brezovica Closing date: 1 October `` `` simonidaphoto.com `` RPS 2016/67 19° Salon Inter. de Bagnols M. – 11 French Digital Tour Closing date: 9 October `` `` frenchdigitaltour.fr

4th International Ozone Zone Photo Salon Closing date: 31 October `` `` internationalphoto competition.com

`` RPS2016/65

The Wrekin Salon 2016 Closing date: 9 November `` `` wrekinartspc.com `` RPS 2016/57 42nd Smethwick International Closing date: 10 November `` `` smethwickinternational.com `` RPS 2016/66 1st Photovivo Singapura Photo Cup Closing date: 14 November `` `` singapuraphotocup.com `` RPS 2016/70 9th PSA China International Exhibition of Photography Closing date: 25 November `` `` salon.psachina.org/ `` RPS 2016/73

For further details about events, or to find out how to book, go to rps.org/events

Carl Zeiss Otus Lenses We stock the full Zeiss Otus range to hire for Canon and Nikon cameras.

Experience the sharpest imaging available for full frame DSLR bodies.

28mm f1.4 55mm f1.4 85mm f1.4

0207-582-3294

fixationuk.com/rental

rpsJune16.indd 1

24/08/2016 16:59

A unique capture system that triggers your camera using motion, sound or light The TriggerSmart is designed to easily capture images using Sound, Light Intensity Increase, Infra Red Beam Breaking and Movement.

A great variety of stills and video cameras can be used, digital as well as film based. It can also trigger flash units and other devices.

TWIN OAKS PHOTOGRAPHIC WEEKENDS

IR Beam Breaking Mode

Come and enjoy a '2 DAY PHOTOGRAPHIC COURSE' in the New Forest and National Park Sound Mode

The TriggerSmart Kit: the control unit MCT-1, IR/LIS receiver, IR transmitter and sound sensor, two mini tripods, one 2° baffle, two sensor connection cables and one camera connection cable.

(Some cameras will require a specific adapter cable. See website.)

Light Intensity Mode

ONLY £238.00 incl. VAT.

Full information visit: www.flaghead.co.uk

• Two Tutors per session.

• 3 Delegates maximum per Tutor.

• Tuition pitched at your own personal level.

• Discounts for Partners.

• Transport to all locations provided.

• 4 star accommodation – meals included.

• Unique Forest & Coastal Scenery.

T: 02380 812305 www.photography-courses-uk.co.uk

Tel:

01803 852400 info@mifsuds.com Email -

www.mifsuds.com

U.K. Stock Only

Mifsuds Photographic Limited 27-29, Bolton Street, Brixham. Devon. TQ5 9BZ.

PHONE LINES OPEN

MON -FRI 8am - 5pm, SAT 9am - 4pm, SUN 10am - 1pm.

SHOP OPEN

MON -FRI 9am - 5pm, SAT 9am - 4pm. SUN 10am - 1pm.

PART-EXCHANGE WELCOME WE PART EXCHANGE, BUY FOR CASH OR COMMISSION SALE

FAIR PRICES OFFERED ~ QUOTED QUICKLY ~ COLLECTION CAN BE ARRANGED For speediest response please email your equipment details to... info@mifsuds.com

NEW FROM CANON

Canon EOS 1DX MKII Full Frame

Full Frame

£1099

£198

£115

APS-C

£578 £758

Body only £2449

Body only £1699

Nikon D500

Nikon D7200

Plus 24-120 f4 VR

Nikon D5500

Body only price

£489

£599

MBD-16 Grip

£2299 £249

Plus 18-105 VR MBD-15 Grip

200-500 F5.6 AFS E ED VR ....................................................................£1147

£1099 £229

Nikon 24-70mm

f2.8 AFS G ED VR £679 £849

Nikon 70-300mm

Plus 18-55mm AF-P VR

Nikon Pro Lenses @ Mifsuds

APS-C Body only £899 £399

APS-C Body only £579 Plus 18-55 VRII Plus 18-140 VR

500 F4 IS L USM II (shown above) .......................................................£6666 600 F4 IS L USM II ...................................................................................£8894

£348

Full Frame

Full Frame

MBD-17 Grip

APS-C

Plus 18-55 IS II

Nikon D750

Nikon D810

£1897

Nikon D3400

BG-E18 Grip £115

Canon EOS 1300D

APS-C Body only

£5198

400 F2.8 IS L USM II................................................................................£7666

£548

MBD-12 Grip (D810/800/E) £329

Body only price

More Sigma on website

APS-C

Body only

Plus 18-55 STM Plus 18-135 STM

Nikon D5

105 F2.8 EX DG OS HSM . £329 150-600 F5/6.3 OS Contemporary . . . . . . . £739 150-600 F5/6.3 OS Sport£1199

APS-C Body only

APS-C Body only £528

£1077 £1298

£129

Canon EOS 760D

Canon EOS 750D

NEW FROM NIKON

50-100 F1.8 DC HSM Art . £829

£215 BG-E13 Grip

Canon EOS 7D MKII

BG-E18 Grip

200-400 F4 IS L USM (shown above) ..................................................£8597 300 F2.8 IS L USM II................................................................................£4797

Full Frame Body only

£1248

BG-E16 Grip

Body only price

Canon Pro Lenses @ Mifsuds

Plus 24-105 f3.5/5.6 IS £1578

BG-E11 Grip

APS-C

Canon EOS 5Ds

Full Frame

Body only £2599 Canon EOS 6D

£2298

Canon EOS 80D

10-20 F3.5 EX DC HSM . . . £329 18-35 F1.8 DC HSM Art . . £549 20 F1.4 DG HSM Art . . . . . £629 24 F1.4 DG HSM Art . . . . . £599 24-35 F2 DG HSM Art . . . . £699 35 F1.4 DG HSM Art . . . . . £598 50 F1.4 EX DG HSM Art . . £569

Body only £2799 Canon EOS 5D MKIII Body only

£5198

Plus 18-55mm Plus 18-135mm

Full Frame

Full Frame

Body only price

£948

Canon EOS 5Ds R

£1747 Nikon 70-300mm

f4.5/6.3 G ED AF-P DX non VR

f4.5/6.3 G ED AF-P DX VR

£369

£429

NEW X-T2 X-T2 blk + 18-55mm ....£1649 X-T2 body Black .............£1399 Above items pre-order X-Pro 2 body ...................£1348 X-Pro 2 X-T1 blk + 18-135mm ..£1079 X-T1 blk + 18-55mm ....£1049 X-T1 body Black ................£799 X-T10 + 18-55mm ............£715 X-E2S X-T10 body Blk/silv..........£449 X-E2S + 18-55mm ............£729 X-E2S body .........................£548 10-24mm F4 XF ................£768 100-400 f4/5.6 14mm F2.8 XF R ..............£668

16mm F1.4 XF ...................£768 16-55mm F2.8 ...................£848 18mm F2 XF.......................£379 18-55mm F2.8/4 OIS ......£468 18-135mm F3.5/5.6 XF...£618 23mm F1.4 XF ...................£688 27mm F2.8 XF ...................£278 35mm F1.4 XF ...................£428 35mm F2 R WR..................£299 50-140mm F2.8 R OIS ..£1158 50-230 F4.5/6.7 OIS .........£219 55-200mm F3.5/4.8 OIS XF...................................£528

56mm F1.2 R APD .........£1078 56mm F1.2 XF ...................£768 60mm F2.4 XF ...................£459 90 F2 R LM WR ..................£688 100-400 F4/5.6 OIS WR ..£1448 1.4x XF TC WR ....................£328 2x XF TC WR .......................£349 11mm Ext tube ................... £64 16mm Ext tube ................... £64 EF-20 flash ............................ £98 EF-X20 flash .......................£168 EF-42 flash ..........................£168 EF-X500 flash .....................£449

400 F2.8 G E FL ED VR......................................................................... £10398

500 F4 AFS FL ED VR ..............................................................................£8499

16-300 f3.5/6.3 Di II VC PZD £398 150-600 f5/6.3 SP VC USD £737 18-200 f3.5/6.3 Di II VC......... £189 Kenko Converters 1.4x Pro 300 converter ......... £149 2x Pro 300 converter ............ £149 Auto ext tube set ..................... .£99

An excellent range of new books dealing with all aspects of equipment and photography are available either in-store or via our website

Family Run Pro Dealership With Friendly, Knowledgeable Staff. Open 7 Days Per Week. Prices Inc VAT - Correct 19/08/2016. P&P Extra. E&OE. FREE COURIER DELIVERY FOR NEW ITEMS ORDERED ON-LINE (U.K. Mainland only)

Although we are the best stocked dealer in the West Country, we cannot always have every item listed in stock at all times, so we are happy to reserve new & used items for customers planning to visit. Prices correct 19/08/2016 but subject to change without notice. See website for up to date prices. E&OE.

Website altered daily inc. manufacturers cashback & promotions

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

Used Canon 500mm f4 LI IS USM - £4499

n Excellent++ condition. n Supplied with box and case.

This is a very serious pro quality lens. It has Canon’s acclaimed image stabilisation system on board and incorporates Canon’s Ultrasonic Motor (USM). This was the world’s first lens based motor to harness ultrasonic oscillation energy. Electronic vibrations created by a piezoelectric element power the mechanical action of the lens. This technology makes focusing precise, virtually noiseless and incredibly quick.

Used Canon

EOS 1DX body box

£3399

Used Canon

1D MKIV body box

£1699

Used Canon EOS 5D MKIII body

£1699

Used Canon EOS 7D MKII body

£899

Used Canon

11-24mm f4 L U M- box

£2299

Used Canon 16-35 f2.8 USM LII

£849

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

£899

Used Canon

300mm f2.8 L IS USM

£2799

Used Canon 300mm f4 L IS USM box

£649

Used Canon 400mm f4 DO

£2199

BRONICA ETRS 645 USED ETRSi + 75 F2.8 PE + RFH £399 40 F4 MC ..............................£149 50 F2.8 E...............................£149 105 F3.5..................................£99 135 F4 PE M- box ..............£249 150 F3.5 E ..............................£99 150 F3.5 PE M- Box...........£149 200 F4.5 PE..........................£199 E14 ext tube .........................£49 120 RFH ..................................£69 Polaroid Back .......................£39 Plain prism ............................£59 Rotary prism .........................£99 Angle viewfinder E...........£129 Winder early .........................£79 Speed Grip E.........................£39 Tripod adapter E .................£39 Winder early .........................£49 Metz SCA 386 .......................£49 BRONICA SQ 6x6 USED SQA + 80 + back + prism .£249 SQB complete ....................£399 40 F4 S ..................................£299 50 F3.5 PS ............................£299 50 F3.5 S...............................£149 110 F4.5 PS macro ............£399 135 F4 PS M-.......................£229 150 F3.5 S ..............................£79 150 F4 PS ................... £149/199 180 F4.5 PS..........................£399 200 F4.5 PS M- box ..........£199 2x PS converter M- ...........£179 S36 ext tube .........................£79 135N back ...........................£119 SQA Polaroid back..............£59 SQAi 120 RFH .......................£79 SQA 120 RFH ........................£49 SQAi prism late ..................£299 45° Prism box .....................£129 Plain Prism S Boxed ...........£69 AE Prism Early ......................£79 ME Prism Finder ..................£69 Metz SCA 386 .......................£49 Pro shade S ...........................£59 Lens Hood 65-80.................£20 SQAi Motorwinder ...........£149 Speed grip S .........................£69 CANON DIGITAL AF USED 1DX body box .................£3399 1D MKIV body box ........£1699 1D MKIII body box............£499 1Ds MKIII body box.......£1199 7D MKII body .....................£899 7D body ...............................£399 6D body ...............................£899 5D MKIII b/o box ............£1699 5D MKII body ..............£599/899 5D MKI body box ......£399/499 700D body M- box..............£349 550D body .............................£199 450D body box ....................£149 400D body ...............................£99 350D body ...............................£99 300D body ...............................£79 70D body box .......................£549 60D body ................................£399 50D body ................................£299 40D body ................................£169 BG-E2...........£39 BG-ED3 .....£39 BG-E4 box..£79 BG-E6 ........£89 BG-E7 ..........................................£89 BG-E8 ..........................................£69 BG-E9 box .................................£79 BG-E13 .....................................£139 BG-E16 .....................................£159 G10 compact box ...............£149 G9 compact ...........................£119 EOS M + 22 F2 + 18-55 .....£199 CANON AF USED EOS 650 body ......................£39 EOS 600 body ......................£39 EOS 50E/300V body each £29 EOS 500N/1000 b/o each £29 10-18 F4.5/5.6 IS STM......£169 10-22 F3.5/4.5 U ................£299 11-24 F4 L USM M- box£2299 16-35 F2.8 USM LII............£849 17-40 F4 L ............................£399 17-55 F2.8 EFS IS USM ....£399 17-85 F4/5.6........................£179 18-55 F3.5/5.6 IS EFS .........£89 18-55 F3.5/5.6 IS STM............ £99 18-55 F3.5/5.6 EFS .................. £59 18-135 F3.5/5.6 IS..................£219 20-35 F3.5/4.5 USM..............£179 24 F2.8 IS USM........................£369 24 F3.5 TSE box ...................£1199 24-70 F2.8 L USM box .........£549 24-85 F3.5/4.5 USM..............£149 24-105 F4 L...............................£549 28 F1.8 USM box ...............£259 28-90 F3.5/5.6 ......................£79 28-135 F3.5/5.6 IS USM ..£229 28-200 F3.5/5.6 USM .......£169 35 F1.4 L USM ....................£799 50 F1.4 USM........................£219 50 F1.8 MKII ..........................£49 70-200 F2.8 IS USM LI......£899

70-200 F4 IS U L ................£599 70-200 F4 U L .....................£299 70-300 F4/5.6 L IS USM...£799 70-300 F4.5/5.6 IS USM ..£279 75-300 F4/5.6 MKII .............£99 85 F1.8 M-............................£199 100 F2.8 USM box.............£319 100-400 F4.5/5.6 L IS U ... £799 135 F2 M- box ....................£549 300 F2.8 LI IS U..................£2799 300 F4 L IS USM box ......... £649 400 F4 DO ...........................£2199 400 F5.6 L box ..................... £699 500 F4 LI IS USM...............£4499 2x extender MKII ................ £199 2x extender MKI ................£169 Teleplus 2x DG conv ..........£89 Kenko ext tube set DG ......... £89 LC-4 wireless kit ..................£89 PB-E2 drive fits EOS1/3 ...£149 SIGMA CAF USED 10-20 F4/5.6 HSM box .£219 12-24 F4.5/5.6 EX DG ..........£399 17-70 F2.8/4 DC OS..............£179 17-70 F2.8/4 DC .....................£129 18-125 F3.8/5.6 OS DC .....£149 18-200 F3.5/6.3 HSM OS..£199 24-35 F2 DG Art M- box...£599 24-70 F2.8 HSM....................£469 50 F1.4 EX DC........................£249 50 F2.8 EX macro ............... £149 70-200 F2.8 EX DG mac....£349 70-300 F4/5.6 DG................£79 120-400 F4/5.6 DG ...........£399 150 F2.8 EX DG HSM mao .£399 150-500 F5/6.3 HSM ..........£499 180 F3.5 EX DG HSM mac.£349 1.4x EX conv .............................. £99 2x EX conv .................................. £99 Kenko Pro 300 1.4x conv..... £99 OTHER CAF USED TAM 28-75 F2.8 XR Di ......£199 TAM 28-300 F3.5/6.3 Di VC PZD .......................................£399 TAM 28-300 box ................£149 TAM 45 F1.8 Di VC...............£379 TAM 70-300 F4/5.6 ............... £99 TAM 90 F2.8 ...........................£179 CANON FLASH USED CP-E3 batt pack ...................£49 ST-E2 transmitter ................£79 430EXII..................................£169 430EZ non digital ...............£39 580EX box ...........................£179 600EX RT box .....................£279 CANON FD USED A-1 body ................................£99 28 F2.8 ....................................£49 35-70 F3.5/4.5 ......................£49 35-105 F3.5 .........................£129 50 F1.4 ...................................£99 70-200 F4 ...............................£79 100-300 F5.6 .........................£79 135 F2 ...................................£399 2x extender B .......................£49 299T flash ..............................£25 300TL flash ............................£25 CONTAX 645 AF USED 45 F2.8 ..................................£799 CONTAX AF USED 45 F2......................................£399 90 F2.8 ..................................£299 CONTAX MF USED 28-70 F3.5/4.5 MM ...........£199 40-80 F3.5 AE .....................£149 FUJI DIGITAL USED S5 Pro body box................£229 X-T1 body graphite box .£699 X-T1 body black.................£599 X-M1 body blk box...........£149 14 F2.8 R XF box..................£529 16-55 F2.8 XF R WR ..........£699 18 F2 R ..................................£199 18-135 F3.5/5.6 R ..............£449 23 F1.4 R box ......................£529 27 F2.8 XF box ...................£199 50-140 F2.8 XF ...................£949 56 F1.2 XF ............................£599 60 F2.4 macro ....................£369 1.4x converter ....................£269 Samyang 8 F2.8 fisheye..£179 Samyang 12 F2 ..................£199 Samyang 21 F1.4 ..............£199 X100 silver box ..................£349 X-T1 vertical grip...............£129 EF-42 flash ...........................£119 FUJI MED FORMAT USED GSW690 III ...........................£599 HASSELBLAD XPAN USED Centre filter 49mm.................£129 HASSELBLAD 6x6 USED 503CW chr + 80 F2.8 CF +A12 ...................................£1699 PM5 prism 45°....................£149 PME prism box...................£149 45° Prism late .....................£149 45° Prism early .....................£69 NC1 prism..............................£69 WLF late ...............................£110

WLF chrome late.................£99 WLF early ...............................£49 Sports viewfinder ...............£69 Chimney.................................£89 A12 chrome latest ............£299 A12 late blk/chr .................£129 Polaroid back .......................£79 Winder Cw...........................£229 50 F4 CF FLE .......................£849 50 F4 CF ...............................£599 80 F2.8 CF ............................£479 100 F3.5 CF .........................£549 100 F3.5 Black T* ...............£399 140-280 F5.6 CF.................£799 150 F4 chrome...................£199 250 F5.6 CF .........................£399 Ext tube 21, 55 each ..........£39 Vivitar 2x conv .....................£49 Pro shade 6093....................£99 Lens hoods various ..... £20/50 LEICA M COMPACT USED IIIg body chrome ..............£849 5cm F3.5 ..............................£299 50 F1.4 6 bit .....................£1199 CF flash ...................................£49 LEICA SLR USED R7 body black ....................£399 R5 body black ....................£199 LEICA BINOCULARS USED Trinovid 10x42 ...................£799 Ultravid 8x32 HD ..............£999 LIGHTMETERS USED Minolta Flashmeter V ......£199 Minolta Spotmeter M......£199 MAMIYA 645 MF USED Plain prism (645 Super) ....£39 Polariod Back HP401 .........£29 Polaroid back .......................£29 120 Insert...............................£20 HA401 120 RFH Box...........£49 120 Back.................................£39 Winder ....................................£79 50 F4 shift ............................£299 55-110 F4.5 box.................£299 120 F4 macro .....................£269 150 F2.8 A............................£199 150 F3.5 N .............................£79 210 F4 N M- ..........................£79 Ext Tube 1, 2, 3S each .......£29 Teleplus 2x converter ........£49 Vivitar 2x converter............£39 MAMIYA TLR 6x6 USED C330 F Body + WLF ..........£149 55 F4.5 ..................................£199 65 F3.5 box late .................£199 65 F3.5 serviced.................£149 80 F2.8 late serviced ........£139 180 F4.5 ................................£149 250 f4.5 late serviced.......£249 250 f4.5 early serviced .£179 Prism .......................................£99 Paramender ..........................£49 Porrofinder ............................£59 MAMIYA 7 RF 6x7 USED 50 F4.5 L + VF .....................£699 80 F4.5 L M- box................£699 150 F4.5 M- .........................£399 Panoramic kit .......................£49 MAMIYA RB 6x7 USED Pro S + 90 + RFH + WLF .£449 Pro SD comp M- ................£649 Pro S body ...........................£149 Pro S body scruffy ..............£99 WLF ..........................................£79 Chimney...............................£179 120 645V back .....................£99 90 F3.5 KL ............................£249 127 F3.5 KL..........................£299 Ext tube 2.................................... £49 MAMIYA RZ 6x7 USED RZ ProII + 90 + WLF + 120 RFH ............................£499 RZ Pro body ........................£149 120 RFH Pro II.......................£99 120 RFH Pro I ........................£49 WLF ..........................................£79 Winder II.................................£69 50 F4.5 W .............................£199 65 F4 box M- ......................£399 90 F3.5 W M- box ..............£299 127 F3.5 box .......................£299 180 F4.5 W box ..................£199 Pro shade...............................£49 MINOLTA/SONY DIGITAL USED Sony A77 II body................ £799 Sony A77 body ................... £399 Sony A350 body................. £149 Sony VGB30AM .....................£79 Sony VG-C2EM .................... £179 Sony VGC70AM .................. £139 Sony HV56AM ..................... £169 Sony F42AM......................... £129 SONY NEX USED A6000 body .............................£329 NEX 5 body ..............................£129 FE 16-50 F3.5/5.6 EZ ............£149 FE 50 F1.8 OSS E ....................£169 FE 55-210 F4.5/6.3 ................£159 Samyang 100 F2.8 macro .£229

Used Nikon 200-400mm f4 AFS VRII - £3499

n Mint- condition, minimal signs of use. n In full working order. n Supplied with lens soft case, hood, tripod mount, front lens cover, rear lens cap. n Sold with a 3 month warranty.

This lens covers a very popular range of focal lengths so saving space and weight for photographers on the move. It has a fast f4 maximum aperture which will be particularly useful for action, sports, wildlife photographers etc.

MINOLTA/SONY AF USED Dynax 9 body box ............£299 800Si body ............................£69 7xi body .................................£49 7000i body ............................£39 300Si body ............................£19 20 F2.8 ..................................£199 20-35 F3.5/4.5 M- box .....£249 24-50 F4 .................................£99 28 F2......................................£299 28 F2.8 ....................................£99 28-80 F4/5.6..........................£39 28-85 F3.5/4.5 ......................£99 28-100 F3.5/5.6 D ...............£49 35 F1.4 ..................................£399 35-70 F4 .................................£39 35-70 F3.5/4.5 ........................... £25 35-80 f4/5.6 ................................ £25 35-105 F3.5/4.5 ........................ £99 50 F1.4 AF .................................£169 50 F2.8 macro .........................£149 75-300 F4.5/5.6 ........................ £99 85 F1.4 ........................................£549 100-300 F4.5/5.6 APO .........£149 500 F8 mirror...........................£349 VC700 grip.................................. £39 RC1000S/L cord ....................... £15 AW90............................................. £49 MD90 + BP90-M ...................... £79 Angle finder VN........................ £79 SONY LENSES USED 16-50 F2.8 DT SSM................£279 16-80 F3.5/4.5 ZA DT...........£449 18-55 F3.5/5.6 SAM ................ £59 18-200 F3.5/6.3 DT ...............£199 55-200 F4/5.6 DT SSM .......... £69 70-300 F4.5/5.6 G SSMII box £549 85 F1.4 ZA .................................£699 SIGMA MIN/SONY AF USED 28-135 F3.8/5.6 ......................£79 28-300 F3.5/6.3 macro..... £149 50 F1.4 .................................... £149 50 F2.8 EX DG macro ....... £169 55-200 F4/5.6 .........................£69 70-300 F4/5.6 DG OS ......£169 70-300 F4/5.6 APO DG ......£99 150-500 F5./6.3 DG ..........£499 170-500 F5/6.3...................£299 1.4x EX conv .........................£99 TAM 10-24 F3.5/4.5 DiII ..£239 TAM 18-200 F3.5/6.3..........£99 TAM 70-300 F4.5/5.6 Di box......................................£79 TAM 90 F2.8 .............. £179/249 Teleplus 1.4x conv ..............£69 Teleplus 2x conv .................£79 Kenko 1.4x Pro 300DG ....£149 Min 5200i...............................£29 Min 3600HSD .......................£39 Min 5400HS ..........................£39 Min 5600HSD M-.................£99 NIKON DIGITAL AF USED D4s body box ..................£2999 D4 body box....................£2499 D3 body box....................£1199 D810 body box...............£1799 D800 body .......................£1199 D700 body box..................£599 D610 body box..................£899 D300 body box..................£299 D200 body box..................£149 D7200 body box ...............£699 D7000 body .............. £299/349 D5100 body ........................£249 D5000 body ........................£169 D3200 body black box ...£199 D80 body .............................£149 MBD-15 grip .......................£149 MBD-12 grip .......................£229 MBD-10 grip M- box ........£149 MBD-10 grip .........................£89 MBD-200 box .......................£69 MBD-100 ................................£39 NIKON AF USED F4 body ................................£349 F4E body ..............................£299 F801 body ...................... £29/59 F100 body + MB-15 .........£199 F601 body .............................£29 F55 body ................................£25 10.5 F2.8 AFS DX ...............£419 10-24 F3.5/4.5 AFS DX ....£529 12-24 F4 DX ........................£399 14-24 F2.8 AFS M- box ..£1099 14-24 F2.8 AFS ................£999 16-85 F3.5/5.6 AFS VR ...£299 17-55 F2.8 AFS ......................£499 18-35 F3.5/4.5 AFS ..............£449 18-55 F3.5/5.6 VRII..................£99 18-70 F3.5/4.5 AFS ..............£119 18-135 F3.5/5.6 DX..............£149 18-140 F3.5/5.6 VR DX M- £229 18-200 F3.5/5.6 AFS VRI ....£199 20 F2.8 AF................................£279 24 F2.8 AFD ............................£299 24-70 F2.8 AFS box .............£849 24-85 F3.5/4.5 AFS VR .........£329 24-120 f4 AFS VR ...................£699 28 F1.8 AFS G ..........................£479

28 F2.8 AFD..............................£129 28-100 F3.5/5.6 AF G ............. £69 28-300 F3.5/5.6 AFS VR ......£649 35 F1.8 AFS DX box.............£129 35-70 F3.3/4.5 AF .................... £59 40 F2.8 AFS DX M- box.......£149 50 F1.8 AFD...........................£99 50 F1.8 AF ..............................£79 55-200 F4/5.6 AFS VR ........£99 55-200 F4/5.6 AFS ..............£79 55-300 F4.5/5.6 AFS VR...£199 60 F2.8 AFD.........................£249 60 F2.8 AF ............................£199 70-200 F2.8 AFS VRII .....£1299 70-300 F4/5.6 AFD ...........£129 70-300 F4 G...........................£79 80-200 F2.8 AFD................£299 85 F1.4 AFD.........................£499 85 F1.8 AFS .........................£349 85 F1.8 AFD.........................£249 85 F3.5 DX M- box ............£269 105 F2.8 AFS VR.................£549 105 F2.8 AFD ......................£369 180 F2.8 AFD M- box .......£449 200-400 F4 AFS VRII ......£3499 300 F2.8 AFS VRII M- .....£3199 300 F2.8 AFS VRI ............£2699 300 F2.8 AFS ....................£1699 300 F4 AFS M- box ...........£699 300 F4 AFS box..................£599 400 F2.8 AFS VR..............£5499 500 F4 AFS VR .................£4499 600 F4 AFS VR .................£4999 600 F4 AFS II non VR.....£3499 TC14EII box .........................£269 TC17EII ..................................£249 TC20EIII M- box .................£249 TC20EII ..................................£199 TC20E ....................................£149 SIGMA NAF USED 12-24 F4.5/5.6 EX DG ..........£379 18-50 F2.8 EX DC Mac.........£199 18-200 F3.5/6.3 DC OS ......£199 28-300 F3.5/6.3 early..........£129 30 F1.4 EX DC ........................£199 50 F1.4 Art M- box...............£499 50 F1.4 DG Mint ......... £199/239 50-500 F4/6.3 DG..............£399 70-300 F4/5.6 APO DG......£99 120-400 F4/5.6 DG ...........£399 150-500 F5/6.3 DG OS ........£499 150-600 F5/6.3 OS Sport ...£999 500 F4 EX DG .......................£1999 1.4x EX DG M- .........................£119 2x EX DG box ..........................£149 TAMRON NAF USED 10-24 F3.5/4.5 DiII .................£239 11-18 F4.5/5.6 .........................£219 16-300 F3.5/6.3 VC PZD .....£319 18-250 F3.5/6.3 ......................£149 70-300 F4/5.6 ............................ £79 OTHER NAF USED SAMYANG 14 F2.8 ............£199 TOK 10-17 F3.5/4.5 ATX ..£249 TOK 11-18 F2.8 ATX Pro..£329 TOK 12-24 F4 ATX pro .....£299 TOK 12-28 F4 ATX DX ......£399 FLASH / ACCESSORIES USED SB-24..........£49 SB-25.............£49 SB-28 ............................................. £69 SB-80DX....................................... £79 SB-500 box ...............................£149 SB-700 box ...............................£199 SB-900.........................................£269 SB-910 box ...............................£289 SD-8 batt pack.......................... £49 SU-800 ........................................£179 DR-5 angle finder box.........£149 DR-3 angle finder.................... £59 GP-1A box.................................£149 MB-10 (fits F90) ........................ £29 MB-23 (fits F4)........................... £69 MC-30 remote .......................... £39 MF-23 (date back F4) ............ £79 Coolscan LS-50 box .............£349 NIKON MF USED F3 body ................................£199 FM2n body chr box..........£349 FM2n body chr ..................£249 15 F3.5 AIS...........................£799 28 F3.5 AIS.............................£99 28 F2.8 E box ........................£69 28-85 F3.5/4.5 AIS.............£199 35-70 F3.3/4.5 AIS.............£129 35-70 F3.5 AIS ......................£99 35-105 F3.5/4.5 AIS ............£79 50 F1.8 AIS pancake.........£139 50 F1.8 E.................................£59 105 F2.8 AIS macro ..........£249 180 F2.8 AIS ED scruffy ...£179 200 F4 AI ..............................£149 500 F4 AIS.........................£1499 500 F8 early ........................£279 TC200 ......................................£49 TC301 ....................................£149 SC-17 TTL lead .....................£25 DW-3 WLF find fit F3 .........£99 DW-4 6x mag find fit F3 ...£99 DW-21 fits F4 ......................£149

Nikon bellows II box ..........£89 OLYMPUS DIGITAL USED 11-22 F2.8/3.5 M-..............£379 12-60 F2.8/4 SWD .............£379 14-42 F3.5/5.6 ......................£49 14-45 F3.5/5.6 ......................£79 14-50 F3.8/5.6 ....................£199 14-54 F2.8/3.5 ....................£149 35 F3.5 ....................................£99 35-100 F2 box .................£1099 40-150 F4/5.6 .......................£49 50 F2 macro ........................£279 25mm ext tube....................£79 OLYMPUS PEN USED Stylus 1S compact ............£299 OMD-EM1 body M- box .£499 OMD E-M5 MKII body .....£599 OMD E-M5 body box.......£299 OMD-EM10 MKII body ....£369 OMD-EM10 body ..............£299 Pen E-PM1 + 14-42 M- ....£129 Pen E-PM1 body..................£99 7-14 F2.8 Pro ......................£699 12-40 F2.8 Pro ....................£599 12-50 F3.5/6.3 ....................£149 40-150 F2.8 Pro .................£999 40-150 F4/5.6 .....................£119 1.4x converter ....................£249 Samyang 7.5 fisheye........£149 HLD-7 grip box ..................£119 VF-2 viewfinder .................£199 OLYMPUS OM USED OM-4Ti body ......................£249 OM-1n body chr................£169 OM-2SP body .....................£149 OM-2n body .......................£149 OM-1n body .......................£149 24 F2.8 ..................................£169 28 F3.5 ....................................£49 35-70 F3.5/4.5 ......................£79 35-105 F3.5/4.5....................£79 50 F3.5 macro ......................£79 200 F4 .....................................£79 300 F4 ...................................£169 PANASONIC DIGITAL USED G6 body black....................£199 G3 body box .......................£129 G1 body box .........................£99 GX1 body box ....................£149 GF7 body box ....................£199 GF3 body black ...................£99 GF1 body ................................. £79 12-32 F3.5/5.6 ....................£149 14 F2.5 ..................................£199 14-42 F3.5/5.6 ......................£79 14-45 F3.5/5.6 ....................£149 25 F1.4 ..................................£329 LVF2 box ..............................£149 BG-GH3 grip .........................£99 PENTAX DIGITAL USED K5 body box .......................£299 PENTAX 35mm AF USED MZ5N body ...........................£69 10-17 F3.5/4.5 ED .............£239 16-45 F4 ...............................£199 17-70 F4 SDM M- box .....£299 18-55 F3.5/5.6 ......................£29 28-80 F3.5/5.6 ......................£49 50-135 F2.8 SDM...............£379 50-200 F4/5.6 .......................£99 55 F1.4 SDM M- .................£469 55-300 F4/5.8 ED box......£229 70 F2.8 Limited ..................£349 70-300 F4/5.6 .......................£79 100-300 F4.5/5.6 .................£89 SIGMA PKAF USED 10-20 F4/5.6........................£229 18-250 F3.5/6.3..................£199 24-70 F2.8 EX DG mac ....£249 PENTAX 645AF USED 645N body ..........................£399 45 F2.8 FA ............................£399 AF500FTZ flash ....................£99 PENTAX 645MF USED 645 + 75 F2.8 ......................£249 645 body + insert .............£199 55 F2.8 ..................................£249 150 F3.5 EX++ ....................£149 200 F4 ..................................£149 120 Insert M- box................£49 PENTAX 67 USED 135 F4 macro late .............£249 200 F4 latest .......................£169 200 F4 early .............................£99 300 F4 early scruffy ............. £99 Pentax rear conv 1.4x ........ £249 2x rear converter...............£179 Auto ext tubes .....................£49 Vivitar 2x conv .....................£49 SAMSUNG USED 50-200 F4/5.6 III M- box ....£99 TAMRON ADII USED 90 F2.5 SP ............................£149 500 F8 ...................................£169 VOIGTLANDER USED 15 F4.5 + VF M- box .........£269 ZEISS USED Victory Diascope 85 T* FL + 20x60 box .....................£1799

Used Nikon D4s body

£2999

Used Nikon D4 body box

£2499

Used Nikon D3 body box

£1199

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

£1099

Used Nikon

300mm f2.8 AFS VRII M-

£3199

Used Nikon

300mm f2.8 AFS VRI

£2699

Used Nikon 300mm f2.8 AFS

£1699

Used Nikon 400mm f2.8 AFS VR

£4499

Used Nikon 500mm f4 AFS VR

£4499

Used Nikon

600mm f4 AFSII non VR

£3499

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

720 | TIMES PAST | FROM THE RPS COLLECTION

Venetian Franciscan friar

An image by photogravure exemplar J Craig Annan HonFRPS

T

his image of a Venetian Franciscan friar is a delicate and subtle photogravure taken

by J Craig Annan HonFRPS (1864-1946) in 1894. A prolific photographer, Annan had a profound and lasting impact on the development of the

technology (particularly the photogravure) and the art of photography – his election to the Linked Ring Brotherhood, for example.

Born in 1864, in the appropriately named Talbot Cottage in Hamilton, Scotland, he grew up surrounded by photography

720 / THE RPS JOURNAL / SEPTEMBER 2016 / VOL 156

– his father, Thomas Annan, was one of Scotland’s leading photographers at that time.

Annan senior had a wide circle of friends in the Scottish art scene, including the renowned Glasgow School and Hill and Adamson.

Leaving school at 13, after

studying art, natural philosophy and chemistry, Annan junior joined his father’s thriving photographic business, which specialised in portraiture and the production of photographic reproductions of fine art paintings. It was this latter aspect that led to him becoming one of the foremost exponents of photogravure of his age.

Although the photogravure technique was invented in the 1850s by Henry Fox Talbot, who filed two patents, naming his technique ‘photoglyphic engraving’, it was refined and developed by the Czech artist, photographer and illustrator Karel Klíč. The process is still referred to by some as the Talbot-Klíč dust-grain photogravure.

In 1883 Annan junior accompanied his father to Vienna to learn from Klíč.

Clearly the instruction was well learned as the Annans became the UK’s foremost photogravure printers.

Among their products were reproductions of Hill and Adamson’s negatives.

Craig Annan became internationally known and respected for his sensitive and nuanced prints, and was held up as an exemplar of what fine art photography should achieve. Friend and printer to Alfred Stieglitz, he was frequently featured in Camera Work (the January 1914 edition was devoted solely to his work).

Annan junior was a tireless advocate for a strong aesthetic sense in the photographer: in his words ‘the aim of a picture is not to demonstrate any theory or fact, but to excite a certain sensory pleasure’.

PETER HARVEY ARPS

ROYAL PHOTOGRAPHIC SOCIETY COLLECTION / NATIONAL MEDIA MUSEUM

‘ANNAN BECAME KNOWN AND RESPECTED INTERNATIONALLY FOR HIS NUANCED PRINTS’

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