“I Like People As I Find Them. I Never Want to Impose My Personality On

Cover h Journal of The Royal Photographic Society The VERSION REPRO OP uy / August 2020 Vol 160 No 7 rps.org July SUBS ART PRODUCTION CLIENT rps.org

Vol 160 / No 7

July / August 2020 July

AI BAILEY HonFRPS DAVID “I like people as I ﬁnd them. I never want to impose my personality on them”

The Journal of The Royal Photographic Society The David Bailey HonFRPS

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KEEP IN TOUCH WITH THE RPS

REPRO OP Opening shotContact the editor with your views [email protected]

At times, pulling together this issue of JOIN US ON the RPS Journal has felt like stepping into

SUBS a whole new universe. The team here at Think have been eating, sleeping and A VISUAL dreaming fonts, formats and photographs for weeks as your new-look magazine JOURNEY has taken shape. In consultation with staff, trustees and the Representatives’ Committee, on behalf of the membership, the bimonthly ART Journal has evolved. It has new dimensions, 40 more pages, and a design that puts photography firmly at its heart. We have had a thrilling journey creating it for you, and we sincerely hope you enjoy the results. Besides a fresh new look, this issue showcases striking examples of contemporary photography from around the world.

PRODUCTION On page 482 you can find trailblazing science images that affect our lives in the most profound ways – including the work of Pankaj Chandak, a pioneering surgeon volunteering his spare time to make PPE for NHS colleagues using 3D printing. Turn to page 458 for a selection of work from the winners of the 2020 Sony World Photography Awards, including the 2018 RPS Postgraduate Bursary recipient Ioanna Sakellaraki. On page CLIENT 508 we highlight innovative images from some of the graduates emerging from the UK’s top photography courses in this most insecure of times. From documentary to microscopy, art to wildlife and 3D visualisation to aviation, we hope these images from across the genres will inspire you to make your own work. Please take time to find out about something you’re unfamiliar with – as we have done while creating this edition. If opening this issue of the Journal feels a little like entering another world, you are in good company.

KATHLEEN MORGAN Editor

An image from Expanding Universe: Photographs From The Hubble Space Telescope, published by Taschen.

NASA / ESA THE HUBBLE HERITAGE TEAM STSCI AURA¡ A NOTA ESA STSCI¡ WESTERLUND SCIENCE NASA Turn to page 490

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REPRO OP Contents Inside SUBS 452 482 502 524 HOW I DID THIS WEIRD SCIENCE BURSARY FLIGHT PLAN If you’ve ever Science images Henri Kisielewski goes Two RPS Distinctions wondered what’s the have always been to the heart of Lisbon’s recipients – Malcolm secret to making an a key focus of the RPS. fado music scene English ARPS and

ART appetising food image, Here we discover some with the help of a Martin Searle LRPS – Beata Lubas reveals cutting-edge new Joan Wakelin Bursary, take us on a tour of five easy steps work in fields including run by the RPS in the super soaraway to photographing forensics, microscopy, partnership with world of aviation the perfect pavlova art and medicine The Guardian photography PRODUCTION CLIENT

446 458 494 508 HEAD TURNERS AWARD WINNERS GREAT DEPRESSION THE GRADUATES David Hurn HonFRPS, Celebrating some of Dorothea Lange’s A selection of striking Shoair Mavlian, the winning entries for portrait of a “hungry contemporary Laura Page, this year’s Sony World and desperate mother” photography from Carolyn Mendelsohn, Photography Awards, has become a Rehab Eldalil, Arguiñe Escandón including work by photographic icon – Nico Froehlich, and Yann Gross RPS Postgraduate but, writes Dr Sally Chloe Alexandra, light up the world Bursary recipient Stein, the story behind Clár Tillekens and

of photography Ioanna Sakellaraki it is a complicated one IBRAHIM HENRI KISIELEWSKI PHOEBE SOMERFIELD MALCOLM ENGLISH ARPS DAVID BAILEY HonFRPS Phoebe Somerfield AZAB BEATA LUBAS IOANNA SAKELLARAKI IGOR SIWANOWICZ THE DOROTHEA LANGE COLLECTION / OAKLAND MUSEUM OF CALIFORNIA

RPS JOURNAL JULY / AUGUST

BLACK YELLOW MAGENTA CYAN Contents Contents

482 502 524 WEIRD SCIENCE BURSARY FLIGHT PLAN Science images Henri Kisielewski goes Two RPS Distinctions have always been to the heart of Lisbon’s recipients – Malcolm a key focus of the RPS. fado music scene English ARPS and Here we discover some with the help of a Martin Searle LRPS – cutting-edge new Joan Wakelin Bursary, take us on a tour of work in fields including run by the RPS in the super soaraway forensics, microscopy, partnership with world of aviation art and medicine The Guardian photography

Cover story PORTRAIT OF THE ARTIST David Bailey HonFRPS reflects on a lifetime’s work, from the glamour of his 1960s celebrity portraits to his grittier street photography, including our cover image, taken during a fashion shoot in Peru 470

458 494 508 AWARD WINNERS GREAT DEPRESSION THE GRADUATES Celebrating some of Dorothea Lange’s A selection of striking the winning entries for portrait of a “hungry contemporary this year’s Sony World and desperate mother” photography from Photography Awards, has become a Rehab Eldalil, including work by photographic icon – Nico Froehlich, RPS Postgraduate but, writes Dr Sally Chloe Alexandra, Bursary recipient Stein, the story behind Clár Tillekens and

Ioanna Sakellaraki it is a complicated one IBRAHIM AZAB LUBAS BEATA IOANNA SAKELLARAKI IGOR SIWANOWICZ THE DOROTHEA LANGE COLLECTION / THE OAKLAND MUSEUM OF CALIFORNIA HonFRPS BAILEY HENRI KISIELEWSKI ENGLISH ARPS PHOEBE DAVID SOMERFIELD MALCOLM Phoebe Somerfield

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REPRO OP THE ROYAL PHOTOGRAPHIC SOCIETY RPS House, 337 Paintworks, Arnos Vale, Bristol BS4 3AR, UK rps.org [email protected] +44 (0)117 316 4450 Incorporated by Royal Charter SUBS

Patron Editor The Duchess of Cambridge Kathleen Morgan President [email protected] ART 0141 375 0509 Dr Alan Hodgson ASIS FRPS Contributing editor President Elect Rachel Segal Hamilton Simon Hill FRPS Design Treasurer John Pender John Miskelly FCA FRPS Sub-editor PRODUCTION Chief Operating Officer Andrew Littlefield Mike Taylor MSc FRSA CG (Affiliated) DChA Editorial assistant Director of Education Jennifer Constable and Public Affairs Advertising sales Dr Michael Pritchard FRPS Elizabeth Courtney Published on behalf of [email protected]

CLIENT The Royal Photographic Society 0203 771 7208 by Think Group account director Red Tree Business Suites John Innes 33 Dalmarnock Road, Circulation Glasgow G40 4LA 10,963 (Jan-Dec 2019) ABC thinkpublishing.co.uk ISSN: 1468-8670

The Journal of The Royal Photographic Society July / August 2020 Vol 160 / No 7

© 2020 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 publication. However, if you believe a copyright work has been included without your permission, please contact the publisher. Views of contributors and advertisers do not necessarily reflect the policies of The Royal Photographic Society or those of the publisher. All material correct at time of going to press.

CONTRIBUTORS

Teddy Jamieson (page 470) Rachel Segal Hamilton (page 482) Dr Sally Stein (page 494) An award-winning feature writer, A photography and visual arts Based in Los Angeles, Stein is an Jamieson was born in Germany, writer, Segal Hamilton is a independent scholar who researches raised in Northern Ireland and lives in contributing editor to the Journal and writes about 20th-century Scotland. He is the author of Whose who has also worked for such titles as photography in the US and its relation

Side Are You On? (Yellow Jersey) The British Journal of Photography. to broader questions of culture. RACHEL JAMIESON§ INGE STEINER

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“In the days prior to lockdown I was ultra-busy planning a shoot with a large team of people including assistants, stylists, a hair and make-up team, and set designers. Then suddenly everything stopped. “I felt numb but knew I couldn’t do nothing. I chose to capture people in their lockdown isolation, effectively imprisoned behind the windows of their homes looking out on to a different, desolate world. I advertised my idea via social media and the press in my home area of west London. The response was enormous. “The project, titled Looking Out From Within, helped keep me sane in these exceptional times.”

juliafullerton-batten.com

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NEWS, VIEWS AND EXHIBITIONS REPRO OP

InMY PLACE WITH focusTHE SECRETS BEHIND FIVE QUESTIONS FOR 448 ANTHONY LAMB 452 A FOOD PHOTOGRAPH 454 HILARY ROBERTS SUBS ART PRODUCTION CLIENT

The new bimonthly Journal provides “content and inspirational insight that are simply not available anywhere else” NEW LOOK FOR JOURNAL Fresh design heralds era of stronger communication for RPS

When you unwrapped this issue The Journal – the oldest continuously The print magazine will be of the RPS Journal you will have noticed published photographic periodical in the complemented by two new monthly a few changes. world – is now bimonthly, allowing the email newsletters with content produced With a fresh new design and format, RPS to spend less on postage, helping by the editorial team of the Journal. and 40 extra pages, the magazine has it continue to offer a range of events, Simon Hill FRPS, President Elect of more space to showcase excellence in exhibitions and services for members. the RPS, explains, “The new design has photography across the genres, from This issue features a cover image by been developed by our publisher, Think, science to wildlife and documentary to the acclaimed portrait photographer in collaboration with a team comprising art. The focus is firmly on pictures, and David Bailey HonFRPS, who leads an RPS trustees and staff. It is an incredibly there is more scope for exploring in impressive line-up of established and brave design – bold and contemporary. depth how images affect our lives. rising talent from across the globe. It forges its own path, and is a completely

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Evolution of the Journal. Left to right: January 1945, June 1983, September 1991 and April 2020

ART new direction for the journal of a e-newsletters will help the RPS The decision to redesign the Journal membership organisation like the RPS.” communicate effectively and quickly and launch the new e-newsletters was The new-look Journal, together with its worldwide membership.” made in consultation with staff, trustees with the email newsletters, will “enhance Asked how the Journal reflects the and the Representatives’ Committee, the benefits of RPS membership by ethos of the RPS, Hill says, “If someone on behalf of the membership. A recent providing content and inspirational asked me to describe the ‘voice’ of survey of members showed that while

PRODUCTION insight simply not available anywhere the RPS, I would use words like creative, nine out of 10 read every issue of else”, says Hill, adding, “The Journal is, respect, knowledge, achievement, the Journal, most would prefer a and has always been, the central pillar of contemporary and relevant; and for magazine produced less frequently our communication strategy. The world is our ‘tone’ of voice I would use and with more pages. changing fast, as are the expectations of positive, clear, consistent, encouraging, our stakeholders. We need to make sure personal and friendly. The contemporary To tell us what you think of all of our communication channels are design and diverse content of the new- the new-look RPS Journal email CLIENT fit for purpose. The Journal and look Journal reflect this voice and tone.’ [email protected]

“It is an incredibly brave design – bold and contemporary”

The new-look Journal is a platform for photographic excellence A E LOCKINGTON VIAL FRPS TONY CRADDOCK SIMON HILL HIRO / HAMILTONS GALLERY DAVID BAILEY HonFRPS A

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Plan In the bag/Plan ahead ahead REPRO OP ROYAL SOCIETY OF BIOLOGY PHOTOGRAPHY COMPETITION Our Changing World is the theme for this

SUBS 1 year’s contest, which has two categories: Photographer of the Year (18 and over), with a £1,000 top prize, and Young Photographer of the Year (under 18), with ART a £500 top prize. Closes on 24 July. rsb.org.uk

From my kitbag Canon 5D Mark III with Canon EF 100-400mm f/4.5-5.6L IS II USM, Canon 5D Mark III TRAVEL PHOTOGRAPHER with Canon EF 24-70mm f/2.8L II USM, Canon LP-E6 batteries and Canon LP-E10 batteries (for the students’ OF THE YEAR cameras), JJC memory card case, SanDisk SD and CF memory cards, SanDisk 2TB extreme portable SSD PRODUCTION Travel might be drive, Manfrotto Befree tripod, Manfrotto tripod base plate, Inmarsat satellite phone, bags of peanuts (for the students), sunglasses, sunscreen, Ledlenser torch, green talisman limited for now, but 2 this competition is calling on photographers to discover images in their archives and submit to categories including CLIENT IN THE BAG portfolio and single shot Mike Kendrick is founder of Wild Shots Outreach in South Africa awards. Entries close on 2 November. You teach young people from Tell us about your most recent shoot tpoty.com disadvantaged communities A charity called Rhino Revolution took about wildlife through photography. our group of eight students to find five How does this this gear help do that? rewilded white rhinos. If we can expose It’s compact and flexible. On the game young people to their wildlife heritage and drive I spend a lot of time taking photos of to the benefits of wildlife protection and the student group so my 24-70mm is perfect. tourism, we can win the conservation battle. If we do encounter something special I can go to the 100-400mm to What advice do you always give the ‘Pilgrimage route in Gannan, photograph the wildlife. young people you teach? China’ by 2018 TPOTY winner He Jian The students love the 1300D Put the camera down for a minute. cameras. A DSLR makes a Look at these amazing animals with BRITISH PHOTOGRAPHY superb tool for learning. your own eyes and feel proud of your AWARDS ASSIGNMENT The rear screen gives wildlife heritage. Despite living so An annual immediate feedback about close to Kruger National Park, these assignment open whether they’ve mastered young people have never been into 3 to all BPA website topics such as shutter speeds the park or neighbouring reserves. account holders and or depth of field. Photography has proved the most free to enter. The best amazing learning tool. Working with submissions will be Anything in there besides Canon’s Young People Programme we’ve promoted across BPA’s photography kit? scaled up, reaching more than 600 young channels and to the I carry bags of peanuts for my young people. Some of my students have gone on media. This year’s theme students as game drives can be up to four to internships and employment through is Covid-19. Deadline hours long. I have a small green talisman Wild Shots Outreach. is 31 January 2021. given to me by a wise elder. It’s supposed britishphotography

MIKE KENDRICK¤ HARRY CONSTANTINE MIKE to keep me and my gear safe. wildshotsoutreach.org awards.org

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SUBS SIGHTS OF WONDER PHOTOGRAPHS FROM THE ROYAL TOUR Barber Institute A stunning visual record of the first royal tour to be ART documented in photographs. These images, shot by the Victorian photographer Francis Bedford while accompanying Albert

PRODUCTION Edward, Prince of Wales around the Middle East, are here presented as an interactive digital exhibition. barber.org.uk ‘The Sphinx, the Great Pyramid and two lesser Pyramids, Ghizeh [Giza], Egypt’, 1862, by Francis Bedford CLIENT

SAMUEL LAURENCE CUNNANE Kerlin Gallery Cinematic and mysterious, this new body of work by the Irish photographer is about the idea of FUTUREPROOF ‘outskirts’ – the edges of places, the borders Street Level Photoworks between possible This annual OPEN EYE STORIES meanings. Also in the celebration of Open Eye Gallery viewing room is an the best emerging This new, open- e-book of Cunnane’s photography talent access online work Ambiguities, in Scotland returns space, which allows with an essay by as a digital show. people to share writer Brian Dillon. Exhibitors have been and discover new kerlingallery-viewing room. selected from Source photography, was exhibit-e.art magazine’s Graduate set up by Open Eye Photography Online Gallery in Liverpool THOMAS HOEPKER ICONS showcase, as well as during lockdown. Bildhalle Gallery directly from Scottish Portraits of punks sit Some of the Magnum photographer’s most institutions. One of alongside studies of striking shots appear here, including the photographers motherhood, offering a portraits of Muhammed Ali and Andy Warhol. will be awarded diverse array of current There’s a particular focus on New York, with the Futureproof image-making trends. images of Times Square and Central Park Zoo. 2020 prize.

FRANCIS openeyestories.org.uk bildhalle.ch streetlevelphotoworks.org BEDFORD / HER MAJESTY QUEEN ELIZABETH II SAMUEL LAURENCE CUNNANE THOMAS HOEPKER CIARAN FREDERICK

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‘Roy, a traveller’ by Laura Page ART PRODUCTION

FIVE HEAD

CLIENT TURNERS

TO WATCH ‘Mass exercise in the early morning due to heat during the day’, Arizona, USA, 1980, by David Hurn HonFRPS From Money on My Oyster by Nina Manandhar; ‘Alas’ by Arguiñe Escandón and Yann Gross

David Hurn Shoair Arguiñe Escandón Laura Carolyn HonFRPS Mavlian and Yann Gross Page Mendelsohn PHOTOGRAPHER PHOTOGRAPHY CURATOR PHOTOGRAPHERS PHOTOGRAPHER PHOTOGRAPHER The renowned Magnum The director of Photoworks The pair have earned a As winner of the fourth The IPE Gold Medal recipient photographer is the winner will relaunch Brighton Prix Élysée nomination Rebecca Vassie Memorial is behind Through Our Lens, of this year’s Achievement Photo Biennial as for Travesía, a portrait of Award, the photojournalist a photography project in Documentary category Photoworks Festival this Amazonia that draws on plans to photograph helping young people in in the prestigious Lucie autumn. The programme archives, collaboration with extraordinary Britons Bradford document their Awards, to be presented comprises both online and indigenous communities aged over 80. Titled lives during the pandemic. in New York in October. outdoor exhibitions and and the photosensitive The Hidden Depths, Next up is a crowdfunder Previous recipients include events, as well as a DIY properties of plants. the portrait series will for a book of her series Honorary Fellows Henri ‘festival in a box’ to be Other nominees include showcase the daily Being Inbetween. Cartier-Bresson sent out to participating Alys Tomlinson, Moises lives of a diverse patreon.com/throughourlens and Martin Parr. organisations. Saman and Kurt Tong. range of people. and instagram.com/

lucies.org photoworks.org.uk prixelysee.ch laurapage.co.uk HURN HonFRPS / MAGNUM PHOTOS DAVID being.inbetween ‘Untitled’ by Harry Berry, age 16

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‘Roy, a traveller’ by Laura Page

‘Mass exercise in the early morning due to heat during the day’, Arizona, USA, 1980, by David Hurn HonFRPS From Money on My Oyster by Nina Manandhar; ‘Alas’ by Arguiñe Escandón and Yann Gross

Arguiñe Escandón Laura Carolyn and Yann Gross Page Mendelsohn PHOTOGRAPHERS PHOTOGRAPHER PHOTOGRAPHER The director of Photoworks The pair have earned a As winner of the fourth The IPE Gold Medal recipient Prix Élysée nomination Rebecca Vassie Memorial is behind Through Our Lens, for Travesía, a portrait of Award, the photojournalist a photography project Amazonia that draws on plans to photograph helping young people in autumn. The programme archives, collaboration with extraordinary Britons Bradford document their comprises both online and indigenous communities aged over 80. Titled lives during the pandemic. and the photosensitive The Hidden Depths, Next up is a crowdfunder properties of plants. the portrait series will for a book of her series Other nominees include showcase the daily Being Inbetween. Alys Tomlinson, Moises lives of a diverse patreon.com/throughourlens Saman and Kurt Tong. range of people. and instagram.com/

prixelysee.ch laurapage.co.uk DAVID HURN HonFRPS / MAGNUM PHOTOS being.inbetween ‘Untitled’ by Harry Berry, age 16

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My place United Arab By Anthony Lamb Emirates REPRO OP SUBS ART PRODUCTION CLIENT

An award-winning fine-art photographer explains why he feels passionate about his adopted homeland

“I've always been drawn to the blistering heat or be buried by the the outdoors. When I moved to the encroaching sand. I started to document United Arab Emirates (UAE) in 2011, I the life of these trees, returning to knew I wanted to photograph the desert. the same locations and in harsh Initially I found the landscape chaotic weather conditions in order to convey and difficult to shoot. But the more the brutal environment. I explored the dunes, the more I began “Some of the trees I’ve photographed to understand their construction and have not survived this onslaught, which form, which allowed me to take a is sad for me to witness, but others minimalist approach to composition. continue to somehow survive. These “Over the years of photographing the Desert Portraits offer a glimpse in desert I started to notice that many of time of plant species fighting for the trees and shrubs that stood among their survival in one of the world’s the dunes would have to adapt to the harshest environments.” ever-changing windswept landscape. Top Above Some would have their roots exposed to anthonylambphotography.com ‘Sand blasted’ ‘Captivation’

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Short Story 2/Short cuts, 1 cuts REPRO OP SUBS

‘Rob this England’ by Heather Agyepong

GRANT SPLIT NINE WAYS DUE TO PANDEMIC ART ‘Inspire sisterhood’, 2017, by Hannah Starkey HonFRPS Normally awarded to one female photographer, this year’s Firecracker Photographic Grant was split into nine £500 pots, THE BREAKFAST CLUB which went to Heather PRODUCTION Inspiration offered to photographers coping with the new normal Agyepong, Monica Alcazar-Duarte, Parisa Aminolahi, Madeline In the week leading up to the UK-wide aimed at supporting photographers Bishop, Yufan Lu, Spandita lockdown on 23 March, many photographers through this uncertain time and beyond. Malik, Cheryl Mukherji, saw their commissions disappear overnight. The talks, conceived by Carol Allen-Storey, Laura Pannack and Restrictions on travel and events, and the a photojournalist and AOP board member, Charzette Torrence. CLIENT commercial impact of the lockdown on run weekly via Zoom every Tuesday from businesses that would normally employ 9-10am until 18 August. ANNUAL SHOW MOVES photographers, have meant that many Speakers include Honorary Fellows Tim ONLINE FOR traditional funding streams have simply Flach, Hannah Starkey and Simon Roberts, The Photography Show dried up. and Vic Odden Award recipient Chloe Dewe & Video Show is to “The financial impact on everyone has Mathews. Agents, auctioneers, curators, move online this year been, and continues to be, huge and exposes festival organisers, publishers and other in light of the Covid-19 just how vulnerable many are who work in figures from across the photography world pandemic. A virtual the sector,” says Seamus McGibbon, executive will share their perspectives on the state photography and video director of the Association of Photographers of the industry in light of the pandemic, festival will be hosted on (AOP). “If one is lucky enough to have and offer advice on adapting to the 20 and 21 September. The savings there’s been a buffer there, but new normal through, for example, event will return to the these can disappear alarmingly quickly.” online exhibitions. Participating NEC, Birmingham from That’s why, among other initiatives, the organisations include Photo London, 18 to 21 September 2021. AOP has launched the Breakfast Club, Sotheby’s, The Photographers’ Gallery a series of inspirational talks and discussions and Magnum Photos. PHOTOGRAPHER CREATES “We hope people will understand there is VIRTUAL YEARBOOKS less that separates us than binds us together, US high school seniors and that all photographers, whether ‘names’ whose graduations have or not, can help each other through the been cancelled due to the sharing of experiences,” adds McGibbon. Covid-19 pandemic are to “The climb out of lockdown will be slow be showcased in virtual and the fallout, financially and emotionally, yearbooks assembled will take time to fade. But if one can take by JR, the French something positive from this, it may be an photographer behind appreciation of having time to reflect on major participatory public the important things in life.” art project Inside Out. graduatetogetheryearbook.

HANNAH ‘Cockatoo’ by Tim Flach HonFRPS the-aop.org com STARKEY HonFRPS¡ TIM FLACH HEATHER AGYEPONG

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REPRO OP I CAN MAKE YOU FEEL GOOD

Tyler Mitchell ‘black utopia’ might look

SUBS Prestel (£45) like. “People say utopia is never achievable but I love In 2018 Tyler Mitchell became photography’s possibility of the first black photographer allowing me to dream and to shoot a Vogue front cover make that dream become in the magazine’s 126-year very real,” Mitchell writes history. Gracing the in the book’s introduction. ART September issue, his portrait Born in Atlanta, Georgia, of Beyoncé against a simple Mitchell got into photography white backdrop, wearing a as a teenager, initially headdress of flowers, through skateboarding. encapsulates what the Over time the camera 25-year-old Brooklyn-based became more than a tool to

PRODUCTION photographer describes as his record his friends doing “new aesthetic of blackness”. stunts. He was inspired by Mitchell’s star has been image makers such as Larry in the ascendant ever since, Clark and Ryan McGinley ‘Untitled (Toni)’, 2019, by Tyler Mitchell with solo shows at Foam but felt something was and tender as they lounge in Amsterdam and the missing in their portrayals together on picnic rugs or International Center of of youthhood – a reflection frolic in nature. Just being. CLIENT Photography in New York, and of his own experience. And that in itself seems commissions for Calvin Klein, Whether staged or candid, radical. As photographer, Apple and Prada. Mitchell’s pictures present curator and historian Bringing together young, black people at leisure Deborah Willis puts it in commissioned and personal in an intimate, multifaceted her essay in the book, work, I Can Make You Feel way that’s rarely seen in the Mitchell offers us “a Good takes this aesthetic mainstream media. His unifying visual text of further, imagining what a subjects are carefree, playful hope, love and justice”.

UNDERGROUND ABSOLUTELY EARLY SUNDAY PORTRAITS AUGMENTED REALITY MORNING Wolfgang Strassl Kuzma Vostrikov Peter Mitchell Kerber Verlag and Ajuan Song RRB Photobooks (£19) Scheidegger-Spiess (£42) (£50)

German photographer Wolfgang “Photo-existentialists practising Peter Mitchell was the first British Strassl’s shots of travellers in the anthropological symbolism” is photographer to exhibit colour close proximity of London tube how this New York-based artist images at a British photographic carriages take on a new resonance duo describe themselves. Blending gallery, Impressions, in 1979. He in a world of social distancing. painting, photography and experienced something of a career Their faces hidden, clues about performance, the pair’s surrealist resurgence aged 70 with the his subjects come instead from approach pays homage to art publication of Strangely Familiar in their clothes and their posture. history with visual references to 2013. Here he takes us back to Leeds Above all the book celebrates Picasso, Warhol and Magritte, in the 1970s and 1980s, a time the diversity of the English but comes with a freshness and of transition for the northern city, capital as witnessed in some of humour that feels very much with Victorian terraces torn down its most idiosyncratic locations. of the moment. and modern flats erected.

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OVERLAPPING “I’ve overlapped elements in the frame to add a 1 sense of depth. Placing items one behind another at different planes within the composition makes the scene look more natural, balanced and easy on the eye.” REPRO OP SUBS

ART A TASTE FOR PRODUCTION SUCCESS Food photographer Beata Lubas reveals how she creates a

CLIENT mouth-watering image

Food engages every single one of your senses, so how can you possibly hope to convey that in an image? That is the challenge for award-winning food photographer and blogger Beata Lubas. “In photography, there is no sound, smell, touch or taste to support our message, so we need to get to our viewer’s tastebuds through their eyes,” she says. “The food photographer’s job is to capture important visual details that will help to wake up the viewer's imagination.” Here Lubas shares an insight into the process behind this shot of a delicious-looking pavlova. SHALLOW DEPTH OF FIELD STRAIGHT ON VIEW “Making the main subject sharp and blurring the “This is a great choice of perspective How to Photograph Food 5 other elements in the frame creates an arresting 4 if you’re photographing a dish that is published by Octopus contrast. Shallow depth of field is a powerful tool to has a lot of layers. It not only helps show Publishing Group. generate a 3D effect in an image – it helps separate the the viewer exactly what the dish is made of beatalubas.com subject from the background and make it stand out.” but emphasises the height of this pavlova.”

RPS JOURNAL JULY / AUGUST

BLACK YELLOW MAGENTA CYAN HOW I DID THIS / IN FOCUS How I did this, 1 OVERLAPPING DRAW THE EYE TO THE MAIN SUBJECT “I’ve overlapped elements in the frame to add a “Supporting elements help tell a richer story sense of depth. Placing items one behind another 2 but be careful they don't distract from the main at different planes within the composition makes the subject. By choosing items smaller in size, in neutral scene look more natural, balanced and easy on the eye.” colour and by blurring them out we can draw attention to the main character of our food story.”

COLOUR CHOICES “Citrus and caramel 3 are the key flavours of this dessert. Making sure they are the most prominent elements of the photograph helps tease our viewer’s senses. Orange is an eye-grabbing colour. I’ve paired it with a neutral background and props to make it pop even more.”

SHALLOW DEPTH OF FIELD STRAIGHT ON VIEW “Making the main subject sharp and blurring the “This is a great choice of perspective 5 other elements in the frame creates an arresting 4 if you’re photographing a dish that contrast. Shallow depth of field is a powerful tool to has a lot of layers. It not only helps show generate a 3D effect in an image – it helps separate the the viewer exactly what the dish is made of subject from the background and make it stand out.” but emphasises the height of this pavlova.”

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91RPSAUG20119.pgs 02.07.2020 17:38 IN FOCUS / FIVE QUESTIONS VERSION Five questions Five questions, 1 REPRO OP Hilary Roberts, research curator of photography, Imperial War Museums SUBS ART PRODUCTION CLIENT

‘Turkish woman mourning the death of her husband, Cyprus’, 1964, by Don McCullin HonFRPS

What makes you get (2010); Cecil Beaton: and integrity are all up in the morning? Theatre of War vital to the genre, Curiosity (and (2012); Lee Miller: but cannot be caffeine). A Woman’s War achieved without (2015); Edmund proper support and Looking back, Clark: War of Terror public engagement. which project (2016) and Sergey makes you proudest? Ponomarev: A Lens Tell us about an I have worked on so on Syria (2017). image or images many wonderful Another personal you would like to projects over the highlight was acquiring be working with years it is almost the archive of the late right now? impossible to choose. Tim Hetherington for I would like to explore I am particularly IWM’s permanent the photography proud of the collection in 2018. of conflict in exhibitions and 20th-century Lee Miller: A Woman’s War, the Imperial War Museum, 2015 associated books What’s been the Ireland in more I have curated ¢ toughest challenge What now for war photographers work depth. It would be for Imperial War in your career? photography? unsupported in a a challenging but Museums (IWM) Convincing freelance War photography, freelance capacity, very worthwhile since 2010, including photographers not like war itself, with all the associated project with potential Don McCullin: to go to war zones continues to evolve. risks. Diversity, for new insights

Shaped by War without training. Today, most courage, authority and understanding. McCULLIN HonFRPS / HAMILTONS GALLERY, LONDON¨ IMPERIAL WAR MUSEUMS DON

RPS JOURNAL JULY / AUGUST

BLACK YELLOW MAGENTA CYAN 91RPSAUG20120.pgs 02.07.2020 17:37 VERSION House ad - Positive View, 1 REPRO OP SUBS ART PRODUCTION CLIENT

BLACK YELLOW MAGENTA CYAN 91RPSAUG20121.pgs 02.07.2020 21:05 VERSION REPRO OP

SUBS Features

ART 458 494 SONY WORLD PHOTOGRAPHY AWARDS MIGRANT MOTHER Our turbulent planet seen Cultural historian Dr Sally Stein through the lens of six invites us to reconsider the award-winning practitioners iconic image by Dorothea Lange

PRODUCTION 470 502 BEST SHOTS JOAN WAKELIN BURSARY SUCCESS Veteran photographer David Bailey Identity, memory and shared HonFRPS reflects on lockdown in history are explored by documentary London and a life in portraiture photographer Henri Kisielewski CLIENT 482 508 TRAILBLAZING SCIENCE IMAGES CLASS OF Discover what happens when science We celebrate some of the top talent and photography collide in the fields graduating from the UK’s photography

DAVID BAILEY HonFRPS DAVID of forensics, medicine, art and more courses during the Covid-19 pandemic

“I love coming from the East End. It made me much stronger, much tougher DAVID BAILEY HonFRPS 470

BLACK YELLOW MAGENTA CYAN Features header spread, 1

Features

458 494 SONY WORLD PHOTOGRAPHY AWARDS MIGRANT MOTHER Our turbulent planet seen Cultural historian Dr Sally Stein through the lens of six invites us to reconsider the award-winning practitioners iconic image by Dorothea Lange 470 502 BEST SHOTS JOAN WAKELIN BURSARY SUCCESS Veteran photographer David Bailey Identity, memory and shared HonFRPS reflects on lockdown in history are explored by documentary London and a life in portraiture photographer Henri Kisielewski 482 508 TRAILBLAZING SCIENCE IMAGES CLASS OF Discover what happens when science We celebrate some of the top talent and photography collide in the fields graduating from the UK’s photography

DAVID BAILEY HonFRPS BAILEY DAVID of forensics, medicine, art and more courses during the Covid-19 pandemic

“I love coming from the East End. It made me much stronger, much tougher” DAVID BAILEY HonFRPS 470

91RPSAUG20122.pgs 02.07.2020 17:46 VERSION REPRO OP NEW SUBS HORIZONS Discover a wealth of talent

ART from across the globe in this year's Sony World Photography Awards PRODUCTION CLIENT

Seeds of resistance PABLO ALBARENGA URUGUAY Photographer of the Year

Facing page and above In 2017 at least 207 leaders and environmentalists were killed while protecting their communities from mining, agribusiness and other projects threatening their territories.

RPS JOURNAL JULY / AUGUST

BLACK YELLOW MAGENTA CYAN SONY WORLD PHOTOGRAPHY AWARDS Sony, 1

NEW HORIZONS Discover a wealth of talent from across the globe in this year's Sony World Photography Awards

Seeds of resistance PABLO ALBARENGA URUGUAY Photographer of the Year

Facing page and above In 2017 at least 207 leaders According to a 2018 report by and environmentalists were Global Witness most of these killed while protecting their cases occurred in Brazil, with communities from mining, 57 assassinations recorded, agribusiness and other projects of which 80% were against threatening their territories. people defending the Amazon.

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91RPSAUG20123.pgs 02.07.2020 17:32 VERSION REPRO OP SUBS ART PRODUCTION Black Francis TOM OLDHAM UK Open Photographer of the Year Interview By Jennifer Constable CLIENT

Facing page questions, so our time tends “One of the brilliant things to get squeezed right down. about shooting for a “Myself and the assistant publication like Mojo magazine who was helping with the is the freedom of the brief they lighting were in the room for the honour you with. This was interview – quite an advantage photographed in a hotel in because you get a sense of the west London and you walk mood and shape he’s in. He’s a into this space and think, professional guy and he’s ‘Right, how am I going to been in the business for a long create a portrait here?’ I’ve time. I wanted to honour his come unstuck many times exasperation at having been in the past thinking that I'll photographed for 20 or 30 find something. years, and to reflect that in “I took lots of black drape the image. to enable the shot to focus “The very moment I said purely on Black Francis ‘exasperation’ and asked if [from the rock group The he could express that was a Pixies]. He is known to nod to my professionalism, many, so really his face and to his. It acknowledged was enough. My brief was that he probably didn’t a full page in black and want to do this. He made white, which is perfect for this lovely picture for me, me. We had two hours I captured it, and everything for the interview and that came after everyone photographs, and knew was just a waste of time. inevitably the journalist “We did a few more but will have a great many they’ll never really see the

RPS JOURNAL JULY / AUGUST

BLACK YELLOW MAGENTA CYAN SONY WORLD PHOTOGRAPHY AWARDS Sony, 2

Black Francis TOM OLDHAM UK Open Photographer of the Year Interview By Jennifer Constable

Facing page questions, so our time tends light of day because we got “One of the brilliant things to get squeezed right down. what we were looking for, and about shooting for a “Myself and the assistant I’m really grateful for that. publication like Mojo magazine who was helping with the “I’ve photographed so many is the freedom of the brief they lighting were in the room for the blank canvasses that don’t honour you with. This was interview – quite an advantage really want to produce an photographed in a hotel in because you get a sense of the image, which can be costly west London and you walk mood and shape he’s in. He’s a at times. You don’t want to into this space and think, professional guy and he’s have to reject an image that ‘Right, how am I going to been in the business for a long doesn’t ring true. Guys like create a portrait here?’ I’ve time. I wanted to honour his Black Francis have been in come unstuck many times exasperation at having been the game for so long they in the past thinking that I'll photographed for 20 or 30 don’t have anything to find something. years, and to reflect that in prove. There’s quite a few “I took lots of black drape the image. stakeholders with a shoot like to enable the shot to focus “The very moment I said this, but the connection is purely on Black Francis ‘exasperation’ and asked if really between me and him [from the rock group The he could express that was a in that moment. Pixies]. He is known to nod to my professionalism, “It is becoming more many, so really his face and to his. It acknowledged difficult to access high-profile was enough. My brief was that he probably didn’t people – there are more a full page in black and want to do this. He made controls in place, and less white, which is perfect for this lovely picture for me, creativity and freedom. me. We had two hours I captured it, and everything It makes me try to be for the interview and that came after everyone bolder and braver with photographs, and knew was just a waste of time. the pictures I put out in inevitably the journalist “We did a few more but the hope that it resonates will have a great many they’ll never really see the with interesting artists.”

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91RPSAUG20124.pgs 02.07.2020 17:46 VERSION REPRO OP SUBS ART PRODUCTION CLIENT

Pangolins in crisis BRENT STIRTON SOUTH AFRICA Winner, Professional, Natural World and Wildlife

Facing page A Temminck’s pangolin learns to forage again after being rescued from traffickers on the Zimbabwe/South Africa border.

RPS JOURNAL JULY / AUGUST

BLACK YELLOW MAGENTA CYAN SONY WORLD PHOTOGRAPHY AWARDS Sony, 3

Pangolins in crisis BRENT STIRTON SOUTH AFRICA Winner, Professional, Natural World and Wildlife

Facing page Above A Temminck’s pangolin learns Pangolin caregivers at an anonymous farm to forage again after being looking after rescued illegally trafficked pangolins, rescued from traffickers on the helping them to find ants and termites to eat and Zimbabwe/South Africa border. keeping them safe from predators and poachers.

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91RPSAUG20125.pgs 02.07.2020 17:32 VERSION

REPRO OP Passengers CESAR DEZFULI SPAIN Winner, Professional, Portraiture

Below left Below right

SUBS Oumar photographed on Oumar photographed on 1 August 2016, on a rescue 19 January 2019 in Italy, vessel in the Mediterranean. where he now lives.

Facing page left Facing page right Malick photographed on Malick photographed 1 August 2016, on a rescue on 26 June 2019 in Italy, ART vessel in the Mediterranean. where he now lives. PRODUCTION CLIENT

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BLACK YELLOW MAGENTA CYAN SONY WORLD PHOTOGRAPHY AWARDS Sony, 4

Oumar photographed on

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91RPSAUG20126.pgs 02.07.2020 17:32 VERSION Aeiforia IOANNA SAKELLARAKI GREECE Student Photographer of the Year 2018 RPS Postgraduate Bursary recipient REPRO OP

SUBS Insular by their very nature, in Greece. these land masses usually “This tiny island in the depend on fossil fuels and Dodecanese archipelago is the imports for energy, despite first in the Mediterranean to run the high transportation costs. almost entirely on renewable Until a few years ago, the idea energy. Over the years it has ART PRODUCTION CLIENT

received energy from a diesel Chorió, home to just 70 people power plant on the neighbouring during the winter. At night island of Kos, via an undersea the passageways, rooftops cable, but during the tourist and yards are illuminated season this has proven by moonlight, presenting unreliable, leading to frequent plenty of opportunities for power cuts. Since 2015, photography. however, the supply on Tilos “The islanders use various has been reinforced with a solar panels and energy hybrid system exclusively devices, including some powered by renewable handmade versions. The aim sources including solar is to keep these running and wind power. for as long as possible to “These images were taken help sustain households in the island’s capital, Megálo throughout the winter.

RPS JOURNAL JULY / AUGUST

BLACK YELLOW MAGENTA CYAN SONY WORLD PHOTOGRAPHY AWARDS Sony, 5

Aeiforia IOANNA SAKELLARAKI GREECE Student Photographer of the Year 2018 RPS Postgraduate Bursary recipient

Below and facing page “In an era of climate change of an island being fully reliant and challenges around on clean energy was almost sustainability, islands are unthinkable, yet it is about particularly vulnerable. to become a reality on Tilos Insular by their very nature, in Greece. these land masses usually “This tiny island in the depend on fossil fuels and Dodecanese archipelago is the imports for energy, despite first in the Mediterranean to run the high transportation costs. almost entirely on renewable Until a few years ago, the idea energy. Over the years it has

received energy from a diesel Chorió, home to just 70 people My series looks at how power plant on the neighbouring during the winter. At night these strangely shaped island of Kos, via an undersea the passageways, rooftops devices and wires become cable, but during the tourist and yards are illuminated an organic part of the season this has proven by moonlight, presenting scenery at night. unreliable, leading to frequent plenty of opportunities for “As darkness falls, a power cuts. Since 2015, photography. harmonious symbiosis exists however, the supply on Tilos “The islanders use various between this technology has been reinforced with a solar panels and energy and the dry and mountainous hybrid system exclusively devices, including some landscape of Tilos. Aeiforia powered by renewable handmade versions. The aim is a Greek word for defining sources including solar is to keep these running progress based on the use and wind power. for as long as possible to of natural ecosystems and “These images were taken help sustain households energy sources to ensure in the island’s capital, Megálo throughout the winter. future resources.”

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91RPSAUG20127.pgs 02.07.2020 17:31 VERSION REPRO OP SUBS ART PRODUCTION CLIENT

Ice fishing huts, Lake Winnipeg SANDRA HERBER CANADA Winner, Professional, Architecture

Facing page and above “Winters in Manitoba, Canada, are long and often bitterly cold. When the temperature drops and thick ice forms, lakes and rivers play host to some amazing folk architecture

RPS JOURNAL JULY / AUGUST

BLACK YELLOW MAGENTA CYAN SONY WORLD PHOTOGRAPHY AWARDS Sony, 6

Ice fishing huts, Lake Winnipeg SANDRA HERBER CANADA Winner, Professional, Architecture

Facing page and above “Winters in Manitoba, in the form of ice fishing huts. Canada, are long and These permies, as they are often bitterly cold. When called in Manitoba, are the temperature drops and transportable, protect thick ice forms, lakes and occupants from the elements rivers play host to some and allow access to the ice amazing folk architecture below for fishing.”

JULY / AUGUST RPS JOURNAL

91RPSAUG20128.pgs 02.07.2020 17:32 VERSION REPRO OP SUBS

ART A LIFE LESS PRODUCTION ORDINARY David Bailey HonFRPS emerges from CLIENT lockdown to remember his journey from East End boy to celebrated photographer

WORDS: TEDDY JAMIESON PHOTOGRAPHS: DAVID BAILEY HonFRPS

Clockwise from left ‘The Rio Club’, 1968; ‘Kray twins at a safe house in east London’, 1965; ‘Michael Caine’, 1965; ‘Christ Church Spitalfields’, 1962

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BLACK YELLOW MAGENTA CYAN BEST SHOTS Best shots, 1

A LIFE LESS ORDINARY David Bailey HonFRPS emerges from lockdown to remember his journey from East End boy to celebrated photographer

WORDS: TEDDY JAMIESON PHOTOGRAPHS: DAVID BAILEY HonFRPS

Clockwise from left ‘The Rio Club’, 1968; ‘Kray twins at a safe house in east London’, 1965; ‘Michael Caine’, 1965; ‘Christ Church Spitalfields’, 1962

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91RPSAUG20129.pgs 02.07.2020 17:30 VERSION REPRO OP SUBS ART PRODUCTION CLIENT

‘Catherine Bailey’, 1991

The legend of David Bailey will no doubt outlive the man When I call he is social distancing in his London studio on TV – he has never stopped taking photographs, and the himself. There will always be a place for a story about the surrounded by thousands of books and photographs – breadth and depth of his archive has been reflected in book working-class photographer from London’s East End who “Bailey’s junk room,” he calls it – and with Al Jolson playing after book. And if he is best known for his photographs of ended up dating his models and reinventing the very idea of in the background. “One of my favourites,” he says. celebrities, over the years he has travelled the world taking fashion photography – helping to initiate the 1960s version To talk to him about his photographs is to talk to him pictures of maharajahs, tribesmen in the hills of Myanmar of Cool Britannia along the way. about people. Ask him about a particular image and (when he was in his seventies, it should be noted), and But credit where it’s due. David Bailey, the man, is doing he will almost always discuss the person in the frame. starving children in the Sudan for Live Aid. Most recently, in his best to make a contest of it. “People know my pictures, but I think they know them 2018, he published the book Bailey’s Peru, a collection of Now in his ninth decade, even in the middle of a pandemic by the person, not by me.” That seems like self-deprecation images made on location during a 1971 fashion shoot for Bailey is still taking photographs. “I did some still lifes the taken to extremes. Bailey’s name is itself a brand, one that “People know my pictures, Vogue and another in 1984 for Tatler. other day – you can’t go out much,” he points out. has been popular with magazine picture editors and art but I think they know them There is a temptation when it comes to Bailey to suggest he It is the end of March when we speak and Bailey, 82, is directors from the 1960s to the present day. is serious about his work but doesn’t want people to think he finding his own way through these strange times. “I find it He was one of the originators of the 1960s youthquake. by the person, not by me” takes it seriously. And yet to look at his photographs is to see interesting. I don’t get aggro from anybody, which is quite David Bailey’s Box of Pin-Ups, a loose portfolio of portraits a visual intelligence, elegance and directness at work. nice. It’s quite a relief in a way. I quite like it. My life started released in 1965, features the great and the good and the The photographer was born in London during the Second with a war and it’s ending with another kind of war.” villainous – everyone from Mick Jagger to the Krays. It is as World War and the streets and people of his native East End And then comes the laughter. With Bailey there is always potent an artefact of the 1960s as the cover of the Beatles have been a constant in his work. “I’ve just finished a book laughter – a high-pitched explosion that is hugely infectious. album Sgt Pepper’s Lonely Hearts Club Band, or Antonioni’s called Road to Barking, which is all about the East End,” The photographer is an entertaining if at times exasperating film Blow-up (1966), in which David Hemmings played a he says. “I’ve spent a lot of time in the last few years there. interviewee. He loves telling stories, but he’s not one for self- Baileyesque photographer in Swinging London. I have done many more pictures in the last 15 years than I’ve reflection. Then again, he says, he is 82 and his memory is not If Bailey’s high watermark was in the 1960s and 1970s – ever done before. I don’t know what you call them. Street what it was. when he was even advertising the Olympus Trip 35 camera photography or … whatever … bollocks.”

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‘Salvador Dali and David Bailey’, 1972

The legend of David Bailey will no doubt outlive the man When I call he is social distancing in his London studio on TV – he has never stopped taking photographs, and the surrounded by thousands of books and photographs – breadth and depth of his archive has been reflected in book “Bailey’s junk room,” he calls it – and with Al Jolson playing after book. And if he is best known for his photographs of ended up dating his models and reinventing the very idea of in the background. “One of my favourites,” he says. celebrities, over the years he has travelled the world taking fashion photography – helping to initiate the 1960s version To talk to him about his photographs is to talk to him pictures of maharajahs, tribesmen in the hills of Myanmar about people. Ask him about a particular image and (when he was in his seventies, it should be noted), and But credit where it’s due. David Bailey, the man, is doing he will almost always discuss the person in the frame. starving children in the Sudan for Live Aid. Most recently, in “People know my pictures, but I think they know them 2018, he published the book Bailey’s Peru, a collection of Now in his ninth decade, even in the middle of a pandemic by the person, not by me.” That seems like self-deprecation images made on location during a 1971 fashion shoot for taken to extremes. Bailey’s name is itself a brand, one that “People know my pictures, Vogue and another in 1984 for Tatler. has been popular with magazine picture editors and art but I think they know them There is a temptation when it comes to Bailey to suggest he directors from the 1960s to the present day. is serious about his work but doesn’t want people to think he He was one of the originators of the 1960s youthquake. by the person, not by me” takes it seriously. And yet to look at his photographs is to see David Bailey’s Box of Pin-Ups, a loose portfolio of portraits a visual intelligence, elegance and directness at work. nice. It’s quite a relief in a way. I quite like it. My life started released in 1965, features the great and the good and the The photographer was born in London during the Second villainous – everyone from Mick Jagger to the Krays. It is as World War and the streets and people of his native East End And then comes the laughter. With Bailey there is always potent an artefact of the 1960s as the cover of the Beatles have been a constant in his work. “I’ve just finished a book laughter – a high-pitched explosion that is hugely infectious. album Sgt Pepper’s Lonely Hearts Club Band, or Antonioni’s called Road to Barking, which is all about the East End,” The photographer is an entertaining if at times exasperating film Blow-up (1966), in which David Hemmings played a he says. “I’ve spent a lot of time in the last few years there. interviewee. He loves telling stories, but he’s not one for self- Baileyesque photographer in Swinging London. I have done many more pictures in the last 15 years than I’ve reflection. Then again, he says, he is 82 and his memory is not If Bailey’s high watermark was in the 1960s and 1970s – ever done before. I don’t know what you call them. Street when he was even advertising the Olympus Trip 35 camera photography or … whatever … bollocks.”

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91RPSAUG20130.pgs 02.07.2020 17:31 BEST SHOTS VERSION

‘Jean Shrimpton’, 1965 He remains proud of his roots. “I’ve always liked where I the famous and the powerful that become more than “That was 35mm – 35mm changed came from. Some people want to forget it, but I love coming just publicity shots. He can talk to everyone and anyone. everything really. When the motor from the East End. It made me much stronger, much tougher. And he does. The conversation is part of the process. drive came out I thought: ‘This is fantastic. I can do fashion pictures I look at it with affection. I go down there a lot, especially “That’s very important, yeah. You get to either like them of people moving and walking.’ to Barking because I’m friends with the head bloke there. or dislike them. Usually, I get to like them. Everybody you REPRO OP I first used the camera for a thing I will tell you his name in a minute. My brain, it doesn’t work. can find something good in, I guess.” in American Vogue about the I had a stroke and my brain went a bit dodgy. I can’t Between the 1960s and the present day Bailey has taken Paris collections. They were a bit remember names.” pictures of pretty much everyone who is or was anyone. blurred, some of them. I sent them The Sunday Times Magazine to [Vogue’s editorial director] Alex In 1968 published a set of A couple of people escaped him. He never got the chance Liberman. They wanted everything Bailey’s pictures of the Rio Club in the East End. It was owned to take a picture of Fidel Castro, though it was not for want in colour, studio perfect. He said … by the Krays at the time. “It was quite tense in a way,” of trying. And although he was offered the opportunity to What did he say? Something

SUBS he says of the atmosphere in the club back then. “Everyone photograph Picasso, he turned it down. funny. ‘It enhanced reality.’” was scared of Ron. Ron was the evil elf, I think. You had to “Twice French Vogue said: ‘Do you want to go and do him?’ be careful not to say anything derogatory about gays or And I said: ‘No, because he’s my hero. Suppose I walk into his anything like that or you’d be dead. So, it was a good studio and he farts? That’s the end of my hero.’ I didn’t see it motivation to be nice. With Ron you had to be really careful as a good idea.” about your words because you could say something by The Bailey legend started at the beginning of the 1960s accident, and it wouldn’t go down well. when – alongside Terence Donovan and Brian Duffy, the three ART “But Reg was all right. Reg was just one of the guys.” working-class photographers labelled the ‘Black Trinity’ That might not be a widely shared view, but it does go by Norman Parkinson – he brought a youthful, at times some way to explain his ability to take photographs of libidinous, energy to the fashion magazines of the day.

“If I have a style it’s completely fortuitous,

PRODUCTION it’s accidental. I just do things as they are” CLIENT

‘Collecting choclo, Peru’

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BLACK YELLOW MAGENTA CYAN BEST SHOTS Best shots, 3

He remains proud of his roots. “I’ve always liked where I the famous and the powerful that become more than came from. Some people want to forget it, but I love coming just publicity shots. He can talk to everyone and anyone. from the East End. It made me much stronger, much tougher. And he does. The conversation is part of the process. I look at it with affection. I go down there a lot, especially “That’s very important, yeah. You get to either like them to Barking because I’m friends with the head bloke there. or dislike them. Usually, I get to like them. Everybody you I will tell you his name in a minute. My brain, it doesn’t work. can find something good in, I guess.” I had a stroke and my brain went a bit dodgy. I can’t Between the 1960s and the present day Bailey has taken remember names.” pictures of pretty much everyone who is or was anyone. In 1968 The Sunday Times Magazine published a set of A couple of people escaped him. He never got the chance Bailey’s pictures of the Rio Club in the East End. It was owned to take a picture of Fidel Castro, though it was not for want by the Krays at the time. “It was quite tense in a way,” of trying. And although he was offered the opportunity to he says of the atmosphere in the club back then. “Everyone photograph Picasso, he turned it down. was scared of Ron. Ron was the evil elf, I think. You had to “Twice French Vogue said: ‘Do you want to go and do him?’ be careful not to say anything derogatory about gays or And I said: ‘No, because he’s my hero. Suppose I walk into his anything like that or you’d be dead. So, it was a good studio and he farts? That’s the end of my hero.’ I didn’t see it motivation to be nice. With Ron you had to be really careful as a good idea.” about your words because you could say something by The Bailey legend started at the beginning of the 1960s accident, and it wouldn’t go down well. when – alongside Terence Donovan and Brian Duffy, the three “But Reg was all right. Reg was just one of the guys.” working-class photographers labelled the ‘Black Trinity’ That might not be a widely shared view, but it does go by Norman Parkinson – he brought a youthful, at times some way to explain his ability to take photographs of libidinous, energy to the fashion magazines of the day.

“If I have a style it’s completely fortuitous, it’s accidental. I just do things as they are”

‘Collecting choclo, Peru’

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91RPSAUG20131.pgs 02.07.2020 20:53 VERSION

‘Andy Warhol and the gang’, 1965 “Salvador Dali and Andy Warhol [seen here with Edie Sedgwick, Gerard Malanga and Chuck Wein] were a bit alike in a funny sort of way. You tried to touch them, and your hand went through them. They weren’t there. You couldn’t put your finger on them, which was interesting. I knew Andy much better than I knew Dali. Andy loved getting his picture taken. He thought it was glamorous. He thought I was glamorous because I lived with Jean Shrimpton.” REPRO OP SUBS ART PRODUCTION CLIENT

‘Mick Jagger’, 1964 “Mick Jagger is one of the most photographed people in the world. I’m trying to think of someone who has been more photographed. I can’t think of anybody. I knew Mick. He used to stay with me a lot. He didn’t have anywhere to live at one point, so it was easy to do him because you’re photographing someone you live with. I think I said: ‘Put on my coat.’ It’s a Parka coat, I think It was a big house, 13 rooms. I remember when Penelope [the model Penelope Tree] lived with me, she said: ‘Who’s that geezer that’s staying here. How long’s he going to stay for?’ ‘Which kid?’ I said. ‘Your friend,’ she said. ‘He’s not my friend, he’s your friend.’ Neither of us knew who he was.”

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“Mick Jagger is one of the most photographed people in the world. I’m trying to think of someone who has been more photographed. I can’t think of anybody. I knew Mick. He used to stay with me a lot. He didn’t have anywhere to live at one point, so it was easy to do him because you’re photographing someone you live with. I think I said: ‘Put on my coat.’ It’s a Parka coat, I think It was a big house, 13 rooms. I remember when Penelope [the model Penelope Tree] lived with me, she said: ‘Who’s that geezer that’s staying here. How long’s he going to stay for?’ ‘Which kid?’ I said. ‘Your friend,’ she said. ‘He’s not my friend, he’s your friend.’ Neither of us knew who he was.”

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91RPSAUG20132.pgs 02.07.2020 17:46 VERSION

It was Bailey’s work with the model Jean Shrimpton that made his name and hers. Together, they took fashion photography on to the street and in doing so played their part in the birth of the new Britain; demotic, young and hip. REPRO OP The death of deference, you might say, started in the pages of Vogue. Via Bailey’s photographs, Shrimpton became the new face of fashion, an inspiration for models from Twiggy to Kate Moss – who followed in her wake. “Jean was easy,” Bailey says now. “I took one roll sometimes. You couldn’t do that with many people. She

SUBS just had a natural instinct about the camera. There’s not many people like that. Kate Moss has it in a way, but she doesn’t pose, whereas Jean posed. I think Kate doesn’t know anything about cameras, but Jean seemed to know where the light was.” The fact he and Shrimpton were a couple for a while added to the glamour. And soon, the idea of David Bailey ART the photographer and playboy was well established. In the following years he would be associated with some of the most beautiful women in the world. He has been married four times, first to Rosemary Bramble, and then to Catherine Deneuve, Marie Helvin and Catherine Bailey (née Dyer). “She was terrific and I’m And he was linked to so many more. At one point we look

PRODUCTION at a photograph he took of Deneuve and her sister Francoise not saying that because Dorléac. “Everyone thought I was having an affair with both she’s the Queen. I don’t really of them. I wish I was. Francoise had such a sense of humour. like queens but I liked her” So did Catherine come to that … which is quite rare in France.” The laughter bubbles out of him once more. Is there a difference between taking photographs of men and women? “Yeah, because sex is involved. I don’t want to sleep with CLIENT Daniel Craig, but I might like to sleep with Jean Shrimpton. I think your sexual preferences make a difference to the way you take pictures. I mean, Bruce [Weber] is very good at taking pictures of boys. It doesn’t mean to say either one’s right.” By the end of the 1960s Bailey was a public figure. In a way his work in the 1960s still defines him, although he embraced colour in the 1970s and his work has always evolved. Did the legend ever get in the way of the life? “No, it helped in a way because I could always get a table in a restaurant. Catherine used to say: ‘You can always get a restaurant in Paris with me and I can always get a restaurant in London with you.’ That’s about the best thing about being famous, you can always get a table at Caprice.” As may now be clear, it’s hard to get to the heart of Bailey’s work because he guards the gates so zealously. Is there a Bailey style? He says not. “If I have it’s completely fortuitous, it’s accidental. I just do things as they are.” That downplays the strength and punchiness of his PROFILE imagery, their very Baileyness. It should be noted, too, David Bailey CBE HonFRPS that he also doesn’t crop his photographs. He knows what he wants when he’s looking through the lens. A Bailey Born in 1938, David Bailey is one of the portrait always looks like a Bailey portrait. world’s leading portrait photographers. “I like people as I find them,” he says. “I never want to Although he is synonymous with 1960s impose my personality on them. I mean I suppose I do, London, his body of work includes but it’s an accident.” documentary and street photography. It’s possible that the person least interested in burnishing He received an Honorary Fellowship in 1999. the legend of David Bailey is the man himself.

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BLACK YELLOW MAGENTA CYAN BEST SHOTS Best shots, 5

It was Bailey’s work with the model Jean Shrimpton ‘Queen Elizabeth II’, 2014 that made his name and hers. Together, they took fashion “She is great. She’s just a nice photography on to the street and in doing so played their lady. She’s funny. She’s got a sense of humour, which I don’t part in the birth of the new Britain; demotic, young and hip. think people realise. I had a whole The death of deference, you might say, started in the pages morning with her. I said: ‘I wanted of Vogue. Via Bailey’s photographs, Shrimpton became the three changes.’ And she said: ‘You new face of fashion, an inspiration for models from Twiggy can only have two.’ I made her laugh straight away. I told her, to Kate Moss – who followed in her wake. ‘I want you to know I have truth “Jean was easy,” Bailey says now. “I took one roll Tourette’s, so forgive me if I say sometimes. You couldn’t do that with many people. She anything wrong.’ She is genuinely just had a natural instinct about the camera. There’s not very easy and very nice. It couldn’t many people like that. Kate Moss has it in a way, but she have been easier. She was terrific and I’m not saying that because doesn’t pose, whereas Jean posed. I think Kate doesn’t she’s the Queen. I don’t really like know anything about cameras, but Jean seemed to know queens but I liked her.” where the light was.” The fact he and Shrimpton were a couple for a while added to the glamour. And soon, the idea of David Bailey the photographer and playboy was well established. In the following years he would be associated with some of the most beautiful women in the world. He has been married four times, first to Rosemary Bramble, and then to Catherine Deneuve, Marie Helvin and Catherine Bailey (née Dyer). And he was linked to so many more. At one point we look at a photograph he took of Deneuve and her sister Francoise Dorléac. “Everyone thought I was having an affair with both of them. I wish I was. Francoise had such a sense of humour. So did Catherine come to that … which is quite rare in France.” The laughter bubbles out of him once more. Is there a difference between taking photographs of men and women? “Yeah, because sex is involved. I don’t want to sleep with Daniel Craig, but I might like to sleep with Jean Shrimpton. I think your sexual preferences make a difference to the way you take pictures. I mean, Bruce [Weber] is very good at taking pictures of boys. It doesn’t mean to say either one’s right.” By the end of the 1960s Bailey was a public figure. In a way his work in the 1960s still defines him, although he embraced colour in the 1970s and his work has always evolved. Did the legend ever get in the way of the life? “No, it helped in a way because I could always get a table in a restaurant. Catherine used to say: ‘You can always get a restaurant in Paris with me and I can always get a restaurant in London with you.’ That’s about the best thing about being famous, you can always get a table at Caprice.” As may now be clear, it’s hard to get to the heart of Bailey’s work because he guards the gates so zealously. Is there a Bailey style? He says not. “If I have it’s completely fortuitous, it’s accidental. I just do things as they are.” That downplays the strength and punchiness of his imagery, their very Baileyness. It should be noted, too, that he also doesn’t crop his photographs. He knows what he wants when he’s looking through the lens. A Bailey portrait always looks like a Bailey portrait. “I like people as I find them,” he says. “I never want to impose my personality on them. I mean I suppose I do, but it’s an accident.” It’s possible that the person least interested in burnishing the legend of David Bailey is the man himself.

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91RPSAUG20133.pgs 02.07.2020 17:30 VERSION

‘Daniel Craig’, 2015 “I thought I couldn’t have him as a hero, like James Bond or something like that. I thought it would be good to have him sitting in a chair, a different kind of arrogance, an arrogance that’s comfortable. Actors are always difficult because you don’t know if you’re photographing Lassie or Laurence Olivier because they are always playing a part. Am I getting Daniel Craig or James Bond? That’s why I did him sitting in a chair.” REPRO OP SUBS ART PRODUCTION CLIENT

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BLACK YELLOW MAGENTA CYAN BEST SHOTS Best shots, 6

“I thought I couldn’t have him as a hero, like James Bond or something like that. I thought it would be good to have him sitting in a chair, a different kind of arrogance, an arrogance that’s comfortable. Actors are always difficult because you don’t know if you’re photographing Lassie or Laurence Olivier because they are always playing a part. Am I getting Daniel Craig or James Bond? That’s why I did him sitting in a chair.”

‘Catherine and Paloma Bailey’, 1994 “If you photograph someone a lot you get to know little quirks about them. What to go after, what to leave out. But I think that’s natural. I think that would happen to anybody. If you photograph your daughter every day you get to know quirks about her or your wife even. Maybe you get to know too much. They’re a great set of pictures, those with the kids. They’re great props. Catherine and daughter together was a great opportunity for me. Can I see love in that picture? I don’t know. Maybe you can if you’re a romantic, but I just see a picture. I love them anyway, so it doesn’t matter. They were just great together. They turned out to be friends, which is great.”

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91RPSAUG20134.pgs 02.07.2020 20:56 VERSION ‘Front foot (tarsus) of a male diving beetle’ by Igor Siwanowicz REPRO OP SUBS

ART BRAVE

PRODUCTION NEW WORLD

CLIENT From microscopy to fine art, discover eight ways science images help us to understand our world

WORDS RACHEL SEGAL HAMILTON

Images and science have collided in the pursuit of photography have all enabled scientists to photograph knowledge since the earliest days of photography. Think everything from the microbe to the galaxy.” of Henry Fox Talbot’s 1839 studies of botanical structures Digital electronic imaging, he continues, has brought using low-magnification photomicrographs, Eadweard yet more examples to the service of science, from Muybridge’s images of animal locomotion in the 1870s, multispectral imaging in the detection of art forgeries or Wilhelm Röntgen’s discovery of X-rays in 1895. to fluorescent photography in forensic imaging. And so the collision of images and science continues, “Scientific imaging has allowed scientists to see helping us to understand our world, as Bob Tapper ASIS FRPS, the invisible, reveal the hidden, discover the unknown, head of the medical illustration department at Barts Health reconstruct the past and help shape the future – and in NHS Trust, explains. “Micro- and macro-photography, doing so has produced some of the most stunning and time-lapse and high-speed photography, thermography, beautiful images of the world and universe that surrounds us.”

IGOR SIWANOWICZ IGOR fundus fluorescein angiography, infrared and ultraviolet Here we bring you a selection of trailblazing science images.

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BRAVE NEW WORLD From microscopy to fine art, discover eight ways science images help us to understand our world

WORDS RACHEL SEGAL HAMILTON

IGOR SIWANOWICZ IGOR fundus fluorescein angiography, infrared and ultraviolet Here we bring you a selection of trailblazing science images.

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91RPSAUG20135.pgs 02.07.2020 21:04 VERSION REPRO OP SUBS

‘Three stentors’ by Igor Siwanowicz ART Microscopy

As with many forms of science imaging, microscopy allows us

PRODUCTION to transcend human vision, revealing a world unseen by the naked eye. The image on page 482 by Dr Igor Siwanowicz shows the front foot of a diving beetle. “I imaged the specimen CLIENT using confocal laser scanning microscopy,” says Siwanowicz. “I first stained the tarsus with two fluorescent dyes that bind to chitin, a material in an insect’s exoskeleton. The colours you see in the image represent the various ways that the insect’s exoskeleton binds to the dyes.” A composite image of stentors (above), single-cell freshwater organisms of just 0.5mm, earned Siwanowicz second prize in the 2019 Nikon Small World contest. Siwanowicz, a neurobiologist at the Howard Hughes Medical Institute’s Janelia Research Campus in Virginia, photographed the stentors using confocal microscopes, combining three depth colour-coded projections to create the final picture. The 2020 winners of Nikon Small World will be announced in the autumn.

IGOR SIWANOWICZ ESA / CC BYSA . IGO IGOR nikonsmallworld.com Northwest Greenland – contains modified Copernicus Sentinel-3 data, 2019, processed by ESA

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BLACK YELLOW MAGENTA CYAN SCIENCE Science, 2

Satellite imagery At any time day and night, satellites orbiting the Earth are watching over us. Copernicus, the European Space Agency’s Earth observation programme, uses six of them to gather data aimed at tackling the major challenges facing the world – from urbanisation to food security, rising sea levels, diminishing polar ice, natural disasters and climate change. Sentinel-1, for example, has radar imaging for land and ocean services, while Sentinel-2 uses a multispectral instrument to capture information about coastal boundaries, vegetation and landforms through light frequencies that cannot be detected with the human eye, such as ultraviolet and infrared. Besides the significance of the information they gather, the images themselves are breathtaking, perhaps helping us to better appreciate the wonder and beauty of the planet we call home.

Northwest Greenland – contains modified Copernicus Sentinel-3 data, 2019, processed by ESA

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91RPSAUG20136.pgs 02.07.2020 21:14 VERSION The Hubble Space Telescope

For the past three decades nebula NGC 2014 and its understanding of the cosmos, the Hubble Space Telescope, companion NGC 2020, part confirming the age of the REPRO OP one of the largest telescopes of a star-forming region in universe (13.8 billion years), in space, has beamed back the Large Magellanic Cloud, the existence of supermassive images illuminating the 163,000 light years away black holes and much more. enigmatic beauty of the things from earth. that lie beyond our planet. Since the Hubble was Expanding Universe: The latest picture, released launched, information Photographs from the

SUBS in April 2020 to mark Hubble’s recorded by its imagers and Hubble Space Telescope 30th anniversary, shows the spectographs has expanded is published by Taschen

On 24 April, the Hubble Space Telescope celebrated its 30th year in orbit with this previously unseen image of nebulas NGC 2020 and NGC 2014 ART

Asteroid 6478 Gault with two narrow, comet-like tails of debris PRODUCTION CLIENT

NASA / ESA K MEECH AND J KLEYNA UNIVERSITY OF HAWAII O HAINAUT EUROPEAN SOUTHERN OBSERVATORY NASA Astronauts Steve Smith and John Grunsfeld replace gyroscopes on the Hubble Space Telescope, 27 December, 1999

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BLACK YELLOW MAGENTA CYAN SCIENCE Science, 3

The Hubble Space Telescope nebula NGC 2014 and its understanding of the cosmos, companion NGC 2020, part confirming the age of the of a star-forming region in universe (13.8 billion years), the Large Magellanic Cloud, the existence of supermassive 163,000 light years away black holes and much more.

Since the Hubble was Expanding Universe: launched, information Photographs from the recorded by its imagers and Hubble Space Telescope spectographs has expanded is published by Taschen

On 24 April, the Hubble Space Telescope celebrated its 30th year in orbit with this previously unseen image of nebulas NGC 2020 and NGC 2014

Asteroid 6478 Gault with two narrow, comet-like tails of debris

Astronauts Steve Smith and John Grunsfeld replace gyroscopes on the Hubble Space Telescope, 27 December, 1999

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91RPSAUG20137.pgs 02.07.2020 17:46 VERSION REPRO OP SUBS ART PRODUCTION CLIENT

Surgeon Pankaj Chandak planned the first-ever paediatric kidney transplant operation with the aid of 3D printing 3D-printed 1:1 model of a right adult kidney, prior to a kidney transplant between a father and his two-year-old daughter

3D printing

On display in the Science Chandak had the idea to try moulds liquid plastic resin into Since Lucy’s transplant, used to doing complex cases Museum’s new Wellcome 3D printing in his field after an anatomical shape over about Chandak and his colleagues on a frequent basis. Medicine Galleries is a truly learning of its use it in children’s 12 hours, depending on the have been involved with around Chandak sees a bright remarkable set of objects. cardiac surgery. complexity of the structure.” 20 cases using 3D printing. In future for the technology’s These are models of the “To create the 3D printed The 3D models have many some, the models helped them use in surgery, along with adult-sized kidney of Chris models you extract the digital advantages over conventional realise operations were feasible. other cutting-edge forms of Boucher and the abdomen data you need from the CT or 2D imaging. Transplanting In others, they’ve prompted imaging such as virtual reality of his daughter Lucy, then MRI scans of the patient,” he adult kidneys into children them to delay a few months and augmented reality. aged two, used by pioneering explains. “We delineate the is particularly challenging until the child has grown in size. “The next step is to improve surgeon Pankaj Chandak structures on a scan and create because of the size discrepancy The models have other uses too the quality of the material to for the first-ever paediatric a computer-aided design – and because many of the – as communication tools to make it even more realistic, kidney transplant operation image segmentation – which is children are born with explain the process to the like human skin and tissue,” planned with the aid of used to fabricate the different structural abnormalities families, or as teaching tools Chandak says. “I’m also very

3D printing. parts of the model. UV light of their blood vessels. FRANCESCO for surgeons who may not be interested in 3D bioprinting for GUIDICINI RPS JOURNAL JULY / AUGUST

BLACK YELLOW MAGENTA CYAN SCIENCE Science, 4

Chandak had the idea to try moulds liquid plastic resin into Since Lucy’s transplant, used to doing complex cases organs. But the kidney is 3D printing in his field after an anatomical shape over about Chandak and his colleagues on a frequent basis. a complex organ with 30 learning of its use it in children’s 12 hours, depending on the have been involved with around Chandak sees a bright different cell types working in cardiac surgery. complexity of the structure.” 20 cases using 3D printing. In future for the technology’s physiological harmony, so we’re “To create the 3D printed The 3D models have many some, the models helped them use in surgery, along with some way off achieving that.” models you extract the digital advantages over conventional realise operations were feasible. other cutting-edge forms of At the moment Chandak data you need from the CT or 2D imaging. Transplanting In others, they’ve prompted imaging such as virtual reality is volunteering at a 3D- MRI scans of the patient,” he adult kidneys into children them to delay a few months and augmented reality. printing farm to help make explains. “We delineate the is particularly challenging until the child has grown in size. “The next step is to improve PPE visors for colleagues structures on a scan and create because of the size discrepancy The models have other uses too the quality of the material to treating coronavirus patients. a computer-aided design – and because many of the – as communication tools to make it even more realistic, “It’s great to see how this image segmentation – which is children are born with explain the process to the like human skin and tissue,” technology that I’m passionate used to fabricate the different structural abnormalities families, or as teaching tools Chandak says. “I’m also very about is being used for a

parts of the model. UV light of their blood vessels. GUIDICINI FRANCESCO for surgeons who may not be interested in 3D bioprinting for global crisis.”

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91RPSAUG20138.pgs 02.07.2020 17:46 VERSION Visualising shipwrecks

At the 3D Visualisation They have surveyed a Research Lab, University of range of historical shipwrecks, REPRO OP Dundee, Professor Chris from the World War II Rowland leads a pioneering battleship HMS Royal Oak, team with expertise in torpedoed by a German archaeology, aerial U-boat in 1939, to the Costa photography, software Concordia cruise ship, development and CGI. which sank just off the

SUBS The team are using multibeam coast of Tuscany in 2012. sonar data provided by These images can be viewed ADUS Deepocean Limited on a dedicated website, to create 3D visualisations WreckSight Online. and animations of underwater environments. seriousanimation.com ART

This image of a Consolidated B-24 Liberator shot down off the coast of Malta during World War II was used to help locate a missing US airman’s body PRODUCTION

Reconstructions of the Grenfell Tower fire (top) and the death of Harith Augustus

Architectural investigation CLIENT

On 14 July 2018, a 37-year- old man was shot dead by police in Chicago during what they later described as an “investigatory stop”. Harith Augustus was shot five times, his firearms licence in his hand and his gun still clipped in its holster. Protests erupted after the Chicago Police Department issued a statement describing the death as the result of “armed confrontation”. Forensic Architecture, an innovative research agency based at Goldsmiths, University of London, collaborated on an investigation into Augustus’s killing, raising fundamental questions about policing and race in the United States. Led by Professor Eyal Weizman, Forensic Architecture uses architectural evidence and tools to investigate war crimes, police brutality, human rights abuses and environmental

C ROWLAND / K HYTTINEN UNIVERSITY OF MALTA C destruction. Commissioned by

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BLACK YELLOW MAGENTA CYAN SCIENCE Science, 5

They have surveyed a range of historical shipwrecks, battleship HMS Royal Oak, torpedoed by a German U-boat in 1939, to the Costa Concordia cruise ship, which sank just off the coast of Tuscany in 2012. These images can be viewed on a dedicated website, seriousanimation.com

This image of a Consolidated B-24 Liberator shot down off the coast of Malta during World War II was used to help locate a missing US airman’s body

Reconstructions of the Grenfell Tower fire (top) and the death of Harith Augustus

Architectural investigation

On 14 July 2018, a 37-year- NGOs, media organisations or old man was shot dead by community groups, the team police in Chicago during what have presented their findings they later described as an at the UN, and in courts, “investigatory stop”. Harith parliaments and art spaces. Augustus was shot five times, his Recent investigations have firearms licence in his hand and focused on the Grenfell Tower his gun still clipped in its holster. fire in London that killed 72 in Protests erupted after the 2017, and the destruction of Chicago Police Department Yazidi cultural sites by ISIS from issued a statement describing 2014 to 2015. the death as the result of Imaging techniques including “armed confrontation”. digital 3D modelling, virtual Forensic Architecture, an reality and interactive innovative research agency cartography help Forensic based at Goldsmiths, University Architecture cross-reference of London, collaborated on an and communicate the investigation into Augustus’s evidence they uncover. killing, raising fundamental “We look at buildings as questions about policing and sensors of political events in race in the United States. the way they register anything Led by Professor Eyal from the impact of violence Weizman, Forensic Architecture to the slow transformations uses architectural evidence and in degradation as a tools to investigate war crimes, consequence of climate police brutality, human rights change,” explains Weizman. abuses and environmental

C ROWLAND / K HYTTINEN UNIVERSITY OF MALTA destruction. Commissioned by forensic-architecture.org

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91RPSAUG20139.pgs 02.07.2020 17:46 SCIENCE VERSION Expanded imaging

There are military bases in “I began looking into is somehow an ‘objective’ the United States so remote the equipment used for medium, but I’m always REPRO OP that they cannot be seen astrophotography, taking highlighting the ambiguities and unaided. Artist Trevor Paglen pictures of distant planets complexities of photography, began experimenting with and galaxies,” he says. and images in general.” expanded imaging when “That was the trick I needed.” To that end, over the last few he was photographing Paglen draws on techniques years his work has focused on these ‘black sites’ for from investigative journalism, how computer scientists are Limit SUBS his 2012 project geography and sculpture as using photography in artificial Telephotography and well as photography. “I’m intelligence systems. found that a telephoto interested in the long tradition lens just wasn’t cutting it. of imagining that photography paglen.com

ART ‘They watch the Moon’, 2010, by Trevor Paglen, depicts a classified ‘listening station’ deep in the forests of West Virginia PRODUCTION CLIENT ‘Batman’, 2016, by Nick Veasey

X-ray art

Artist Nick Veasey’s interest in science imaging began when he was asked to X-ray a cola can for the Channel 4 television show The Big Breakfast in 1998. It took him a little while to source an X-ray machine to use. Hospitals were reluctant, prioritising their patients over “pretty pictures”, Veasey recalls, but eventually he got access and it sparked a fascination with X-ray that has defined his career. “My early days in photography were all analogue and all very experimental and abstract, so I was open-minded about creating images without a camera,” he says. Since then he has X-rayed all manner of subjects, from human figures to

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BLACK YELLOW MAGENTA CYAN SCIENCE Science, 6

“I began looking into is somehow an ‘objective’ the equipment used for medium, but I’m always astrophotography, taking highlighting the ambiguities and pictures of distant planets complexities of photography, and galaxies,” he says. and images in general.” “That was the trick I needed.” To that end, over the last few Paglen draws on techniques years his work has focused on from investigative journalism, how computer scientists are geography and sculpture as using photography in artificial well as photography. “I’m intelligence systems. interested in the long tradition of imagining that photography paglen.com

‘They watch the Moon’, 2010, by Trevor Paglen, depicts a classified ‘listening station’ deep in the forests of West Virginia

‘Batman’, 2016, by Nick Veasey

X-ray art

Artist Nick Veasey’s interest flowers, and many of these in science imaging began when works are displayed at Process he was asked to X-ray a cola Gallery, Veasey’s contemporary can for the Channel 4 television art space in Kent. show The Big Breakfast in He is grateful for the support 1998. It took him a little while he has had from the scientific to source an X-ray machine to community, a collaboration that use. Hospitals were reluctant, can be challenging but, when it prioritising their patients over works, mutually beneficial. “pretty pictures”, Veasey recalls, “I’m now working on X-raying but eventually he got access some very nice classic cars,” and it sparked a fascination he says. “By X-raying iconic, with X-ray that has defined aspirational items it makes us his career. think about how they came “My early days in to exist. I like to strip away photography were all analogue the surface glamour and and all very experimental and concentrate on the intrinsic abstract, so I was open-minded qualities, as that is a strong about creating images without metaphor for what is important a camera,” he says. Since then in life.” he has X-rayed all manner of subjects, from human figures to nickveasey.com

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91RPSAUG20140.pgs 02.07.2020 17:47 VERSION

REPRO OP THE SUBS MAKING ART OF AN PRODUCTION ICON CLIENT The myths surrounding Dorothea Lange’s celebrated Depression-era photograph ‘Migrant Mother’ are interrogated by cultural historian Sally Stein

Celebrity attracts critics along with fans. No surprise, This modern version of the longstanding pictorial genre then, that ‘Migrant Mother’ by Dorothea Lange, this of mother and child, Kozol argued, served chiefly in supranational icon of maternal fortitude, has provoked the Great Depression to reassure the public that the numerous challenges to the picture’s legendary status. most fundamental social unit – the nuclear family – As the study of photography moved from an infancy of was beleaguered but still strong. jubilant celebration to a more reflective era, some scholars Subsequent scholarship extended this critique of the raised iconoclastic questions – or more moderately, initiated way ‘Migrant Mother’ both drew upon gender conventions their own investigations of the photographer’s process. Lange and in turn helped keep them in circulation, thereby scholar James Curtis wondered whether the presumed final perpetuating pictorial and social cliches. “Whatever picture was so absolutely documentary. In reconstructing the reality its subject first possessed,” literary historian sequence of March 1936 negatives she exposed in rural Paula Rabinowitz declared, “has been drained away Nipomo, California, he argued that Lange worked very and the image become icon.” Other scholars likewise selectively to achieve her portrait composition, in the process contended that more productive study of Depression sacrificing a sense of location and even one family member. culture would benefit from shifting attention to less Feminists have brought other concerns to the reexamination celebrated pictures, preferably those depicting women of this picture. Cultural historian Wendy Kozol treated engaged in wage work instead of being preoccupied ‘Migrant Mother’ as the quintessential example of the with domestic responsibilities. Resettlement Administration/Farm Security Administration’s Despite these critical admonitions, not all have heeded (RA/FSA) traffic in ‘Madonnas of the field’ imagery. [Lange the call to shelve this familiar photograph but instead have worked for the FSA, a 1930s New Deal agency formed to raise explored new avenues for comprehending the picture’s

public awareness of and provide aid to struggling farmers.] persistent power. One lacuna in earlier discussions of LIBRARY OF CONGRESS, FARM SECURITY ADMINISTRATION / OFFICE WAR INFORMATION

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BLACK YELLOW MAGENTA CYAN MIGRANT MOTHER Migrant mother, 1 ‘Migrant Mother’, 1936, by Dorothea Lange THE MAKING OF AN ICON The myths surrounding Dorothea Lange’s celebrated Depression-era photograph ‘Migrant Mother’ are interrogated by cultural historian Sally Stein

This modern version of the longstanding pictorial genre of mother and child, Kozol argued, served chiefly in the Great Depression to reassure the public that the most fundamental social unit – the nuclear family – was beleaguered but still strong. jubilant celebration to a more reflective era, some scholars Subsequent scholarship extended this critique of the raised iconoclastic questions – or more moderately, initiated way ‘Migrant Mother’ both drew upon gender conventions their own investigations of the photographer’s process. Lange and in turn helped keep them in circulation, thereby scholar James Curtis wondered whether the presumed final perpetuating pictorial and social cliches. “Whatever picture was so absolutely documentary. In reconstructing the reality its subject first possessed,” literary historian Paula Rabinowitz declared, “has been drained away and the image become icon.” Other scholars likewise selectively to achieve her portrait composition, in the process contended that more productive study of Depression sacrificing a sense of location and even one family member. culture would benefit from shifting attention to less Feminists have brought other concerns to the reexamination celebrated pictures, preferably those depicting women engaged in wage work instead of being preoccupied with domestic responsibilities. Resettlement Administration/Farm Security Administration’s Despite these critical admonitions, not all have heeded (RA/FSA) traffic in ‘Madonnas of the field’ imagery. [Lange the call to shelve this familiar photograph but instead have worked for the FSA, a 1930s New Deal agency formed to raise explored new avenues for comprehending the picture’s

public awareness of and provide aid to struggling farmers.] persistent power. One lacuna in earlier discussions of INFORMATION WAR OF OFFICE / SECURITY ADMINISTRATION FARM CONGRESS, OF LIBRARY

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91RPSAUG20144.pgs 02.07.2020 17:20 VERSION REPRO OP SUBS ART PRODUCTION CLIENT ‘Florence Thompson and her daughters Norma Rydlewski, Katherine McIntosh and Ruby Sprague, Modesto, California’, 1979, by Bill Ganzel

With the aid of a story in the Modesto (California) Bee, Ganzel located Florence Thompson and persuaded her and the same three children to pose for him in 1979 in the “Apparently wary of further national backyard of one daughter’s home. The book culminating exposure, the family offered only from his wide-ranging research was the first major publication to put a name to her face. In most other respects, the general remarks about the hard information supplied was sparse. Apparently wary of further times they had survived” national exposure, the family members offered only general remarks about the hard times they had survived. Ganzel’s photograph, however, offered a bit more specificity. For this unusual public portrait Florence ‘Migrant Mother’ was the lack of any detailed information Thompson displayed her own restrained style by donning about the nameless woman and her family. Lange spent so white slacks and a white sleeveless top adorned only by a little time making the photograph that conversation was southwest-style squash blossom necklace. In itself, there was minimal, without it seems the photographer even asking the nothing conclusive about this detail; one response to the woman’s name, other places she had travelled to before surge of Native American activism in the 1970s was the Nipomo, and how long she and her family had been trying to widespread fashion for silver-and-turquoise jewellery. survive by following the crops. But for Thompson it was a quiet statement of identity. By the time Lange died in 1965 she was firmly set in During the same period this long-obscure celebrity thinking of this woman only generically as ‘Migrant Mother’. began making a point of her Cherokee heritage in occasional But in the 1970s a younger generation of photographers interviews with news media. Thompson also began began to revisit places and people already rendered historic volunteering she always had resented Lange’s famous by earlier documentation. In that spirit of ‘rephotography’, picture and would never have allowed it being taken had she also known as Repeat Photography, Nebraska-based understood the way, and extent to which, it would be used, photographer Bill Ganzel spent years tracking down especially when she had gained nothing from its exposure.

‘A sign of the times – mended stockings, stenographer, San Francisco’, 1934, by Dorothea Lange DOROTHEA LANGE COLLECTION / THE OAKLAND MUSEUM OF CALIFORNIA THE GANZEL BILL people and locations photographed for the RA/FSA. (Lange had only benefited indirectly since the picture was

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BLACK YELLOW MAGENTA CYAN MIGRANT MOTHER Migrant mother, 2

‘Florence Thompson and her daughters Norma Rydlewski, Katherine McIntosh and Ruby Sprague, Modesto, California’, 1979, by Bill Ganzel

‘A sign of the times – mended stockings, stenographer, San Francisco’, 1934, by Dorothea Lange THE DOROTHEA LANGE COLLECTION / THE OAKLAND MUSEUM OF CALIFORNIA GANZEL BILL people and locations photographed for the RA/FSA. (Lange had only benefited indirectly since the picture was

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91RPSAUG20145.pgs 02.07.2020 17:21 VERSION

“Oklahoma bore little relation to the turn-of-the-

REPRO OP century locale depicted in the popular World War II-era musical” SUBS ART PRODUCTION CLIENT

‘Migrant Mother, Nipomo, California’, 1936, by Dorothea Lange

made for the federal government and thus was in the public domain, although the photographer’s name was burnished each time she was credited for this legendary image.) When Florence Owens Thompson became critically ill, her children finally decided to use the revered photo in a public ‘Oklahoma family on the road’, appeal for help paying for their mother’s nursing expenses. 1938, by Dorothea Lange The widespread response was gratifying in terms of the funds it generated along with the many heartfelt wishes of support. After Thompson died in the fall of 1983, the surviving relatives her actual situation and the minimal details Lange had Florence believed her mother’s second husband to be her seemed finally reconciled to the long-unwelcome connection recorded. If the overriding conclusion was the photograph’s biological father. Thus, while growing up in Native American to this public symbol of Depression hardship, choosing for her betrayal of its immediate subject, no less stunning were the territory she did not identify as ‘pure’ Cherokee. In 1921 at headstone the photograph’s finally secure title, ‘Migrant varied details of Thompson’s life Dunn had pieced together the age of 17 she married Cleo Owens, a farmer’s son from Mother,’ then elaborating “A legend of the strength of for this first biographic essay. Missouri, and over the next decade they had five children. American motherhood”. When Thompson and Lange had their brief encounter in Oklahoma bore little relation to the turn-of-the-century FIND OUT MORE Even after her widely reported death on 16 September 1983, March 1936, Florence Owens was 32 years old. Born Florence locale depicted in that most popular World War II-era musical. This is an edited extract from the book Migrant and the national circulation of Ganzel’s book Dust Bowl Leona Christie in September 1903, she grew up in the Native Rodgers and Hammerstein’s Oklahoma! simply eradicated the Mother, Migrant Gender by Dr Sally Stein, Descent in 1984, for more than a decade public information American Territory of the Cherokee Nation to which both her Native American presence and prior claims to the land while published in 2020 by MACK. Based in Los Angeles, about Florence Thompson consisted largely of a proper name. parents claimed blood rights. However, her biological father envisioning unlimited opportunities for newcomers. The Stein is an independent scholar who researches Then in the early 1990s Geoffrey Dunn, a freelance journalist left her mother before she was born, and her mother soon historical record is worthier of opera. Following the white land and writes about 20th-century photography in the and University of California doctoral student, resolved to married a man who did not think of himself as Native rush of the late 19th century precipitated by the forced US and its relation to broader questions of culture. reconstruct her life story. Extensive interviews with surviving American (although his children later came to think that he allotment system of the federally enacted Dawes Act of 1887,

mackbooks.co.uk members of the family left him shocked by the gulf between ABOVE may have been part-Choctaw). Throughout her youth, opportunities to homestead turned cut-throat: “Of the 30 AND OPPOSITE THE DOROTHEA LANGE COLLECTION / OAKLAND MUSEUM OF CALIFORNIA

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BLACK YELLOW MAGENTA CYAN MIGRANT MOTHER

“Oklahoma bore Migrant mother, 3 little relation to the turn-of-the- century locale depicted in the popular World War II-era musical”

made for the federal government and thus was in the public domain, although the photographer’s name was burnished each time she was credited for this legendary image.) When Florence Owens Thompson became critically ill, her children finally decided to use the revered photo in a public ‘Oklahoma family on the road’, appeal for help paying for their mother’s nursing expenses. 1938, by Dorothea Lange The widespread response was gratifying in terms of the funds it generated along with the many heartfelt wishes of support. After Thompson died in the fall of 1983, the surviving relatives her actual situation and the minimal details Lange had Florence believed her mother’s second husband to be her seemed finally reconciled to the long-unwelcome connection recorded. If the overriding conclusion was the photograph’s biological father. Thus, while growing up in Native American to this public symbol of Depression hardship, choosing for her betrayal of its immediate subject, no less stunning were the territory she did not identify as ‘pure’ Cherokee. In 1921 at headstone the photograph’s finally secure title, ‘Migrant varied details of Thompson’s life Dunn had pieced together the age of 17 she married Cleo Owens, a farmer’s son from Mother,’ then elaborating “A legend of the strength of for this first biographic essay. Missouri, and over the next decade they had five children. American motherhood”. When Thompson and Lange had their brief encounter in Oklahoma bore little relation to the turn-of-the-century Even after her widely reported death on 16 September 1983, March 1936, Florence Owens was 32 years old. Born Florence locale depicted in that most popular World War II-era musical. and the national circulation of Ganzel’s book Dust Bowl Leona Christie in September 1903, she grew up in the Native Rodgers and Hammerstein’s Oklahoma! simply eradicated the Descent in 1984, for more than a decade public information American Territory of the Cherokee Nation to which both her Native American presence and prior claims to the land while about Florence Thompson consisted largely of a proper name. parents claimed blood rights. However, her biological father envisioning unlimited opportunities for newcomers. The Then in the early 1990s Geoffrey Dunn, a freelance journalist left her mother before she was born, and her mother soon historical record is worthier of opera. Following the white land and University of California doctoral student, resolved to married a man who did not think of himself as Native rush of the late 19th century precipitated by the forced reconstruct her life story. Extensive interviews with surviving American (although his children later came to think that he allotment system of the federally enacted Dawes Act of 1887,

members of the family left him shocked by the gulf between ABOVE AND OPPOSITE THE DOROTHEA LANGE COLLECTION / THE OAKLAND MUSEUM OF CALIFORNIA may have been part-Choctaw). Throughout her youth, opportunities to homestead turned cut-throat: “Of the 30

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SUBS his grandmother’s family. In the rich text he left, Sprague logic as well as accuracy, since mobility was the key to noted that his grandmother as a young widow was fiercely even the poorest harvest worker’s survival. From Dunn’s independent but made the mistake of obtaining county aid, article, there’s no mention of when she married Thompson, which stipulated that any sexual relations with men outside her last name at the time of her death. But from Roger marriage would result in the removal of her children. When Sprague’s more extensive reconstruction of his family history this brief relationship resulted in another pregnancy, she I learned that it was a marriage following her separation immediately left for her home state, determined to avoid from Hill in the 1940s. In this later marriage she again ART any custody dispute. outlived her husband. But Oklahoma in the 1930s was devastated by drought, As Dunn made clear, Lange was rather careless with the offering even fewer opportunities than it had in the previous facts. However, this was hardly the first time a scholar noted decade. Florence quickly set out a second time for California. the liberties Lange took in her documentary practice, and

‘Wife of sharecropper in town PRODUCTION to sell their crop at the tobacco auction, Douglas, Georgia’, 1938, by Dorothea Lange CLIENT

“When 1930s mass media chose to focus on the poor they were most often white”

also in the facts of her own biography. Accordingly, Dunn’s in FDR’s words, “the forgotten man”, but equally if wholesale condemnation of the famous photographer as less vocally about the declining status of many whites. “manipulative”, “condescending”, “misleading”, “colonialistic” When 1930s mass media chose to focus on the plight and “disingenuous” moved me less than his revelation of of the poor they were most often white, even though Migrant Mother’s Native American heritage. minorities suffered much higher rates of poverty. On this count, I don’t think we can condemn Lange for Lange’s FSA boss Roy Stryker was supremely deliberately misrepresenting or burying the information. media-oriented. On one occasion he rejected Lange’s From all available evidence it does not seem that Lange proposal to focus on the situation of black people and ever realised she had cast a Native American for the Euro- the urban poor, reminding her of the dearth of demand American role of New Deal Madonna. Lange never questioned for such pictures. the stranger about her ethnic identity, although making such Since there was even less public concern about “Florence and an inquiry would have risked breaking whatever current of Native Americans in this period, Lange, while travelling Cleo Owens saw mutual acceptance she briefly sought to establish. for the FSA in the south-west, never proposed focusing The migrant woman who attracted Lange’s attention on their challenges. It is reasonable to assume that had no chance of displayed no obvious signs of Native American heritage, so Lange recognised her subject as Native American she farming on their Lange proceeded to place her in a distinctly Euro-American might not have bothered to take any photographs. Or own, so by the scenario of hallowed maternity. In turn, this iconographic if she had discovered from extended conversation that context led all to assume that the model was sui generis white. the woman she had photographed was Native American mid-1920s opted The blanket assumption of whiteness reflects the way and captioned the picture accordingly, the image’s

to move west” LIBRARY that New Deal culture was not only most concerned about, promotion and circulation would have been limited. OF CONGRESS, FARM SECURITY ADMINISTRATION / OFFICE WAR INFORMATION

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BLACK YELLOW MAGENTA CYAN MIGRANT MOTHER

million allotted acres more than 27 million passed from Indians After returning to California, Florence became involved ‘Child and her mother, Wapato, Yakima Valley, Washington’, 1939, by Dorothea Lange Migrant mother, 4 to whites by fraudulent deeds, embezzlement and murder.” with Jim Hill, an unemployed local man who had turned to Florence and Cleo Owens saw no chance of farming on their migrant work. She and Hill had a child in 1935, the nursing own, so by the mid-1920s opted to move west, finding work infant in ‘Migrant Mother’. Hill and one of her older sons had and temporary housing in the sawmill camps of California’s temporarily left the camp when Lange happened upon the pea pickers’ encampment and made her series of portraits. northern California when Cleo Owens died of tuberculosis. Hill was actually getting a punctured radiator repaired, According to Dunn, the widowed Florence supported her but Lange at times contexualised the famous portrait with family as a waitress and soon became involved with a local the detail that the family had been forced to sell the tyres businessman. Florence’s grandson Roger Sprague died before off their car, a detail often repeated even after Lange’s death. This factual embellishment offended the family’s sense of logic as well as accuracy, since mobility was the key to noted that his grandmother as a young widow was fiercely even the poorest harvest worker’s survival. From Dunn’s independent but made the mistake of obtaining county aid, article, there’s no mention of when she married Thompson, which stipulated that any sexual relations with men outside her last name at the time of her death. But from Roger marriage would result in the removal of her children. When Sprague’s more extensive reconstruction of his family history I learned that it was a marriage following her separation from Hill in the 1940s. In this later marriage she again outlived her husband. As Dunn made clear, Lange was rather careless with the offering even fewer opportunities than it had in the previous facts. However, this was hardly the first time a scholar noted decade. Florence quickly set out a second time for California. the liberties Lange took in her documentary practice, and

“When 1930s mass media chose to focus on the poor they were most often white”

also in the facts of her own biography. Accordingly, Dunn’s in FDR’s words, “the forgotten man”, but equally if wholesale condemnation of the famous photographer as less vocally about the declining status of many whites. “manipulative”, “condescending”, “misleading”, “colonialistic” When 1930s mass media chose to focus on the plight and “disingenuous” moved me less than his revelation of of the poor they were most often white, even though Migrant Mother’s Native American heritage. minorities suffered much higher rates of poverty. On this count, I don’t think we can condemn Lange for Lange’s FSA boss Roy Stryker was supremely deliberately misrepresenting or burying the information. media-oriented. On one occasion he rejected Lange’s From all available evidence it does not seem that Lange proposal to focus on the situation of black people and ever realised she had cast a Native American for the Euro- the urban poor, reminding her of the dearth of demand American role of New Deal Madonna. Lange never questioned for such pictures. the stranger about her ethnic identity, although making such Since there was even less public concern about an inquiry would have risked breaking whatever current of Native Americans in this period, Lange, while travelling mutual acceptance she briefly sought to establish. for the FSA in the south-west, never proposed focusing The migrant woman who attracted Lange’s attention on their challenges. It is reasonable to assume that had displayed no obvious signs of Native American heritage, so Lange recognised her subject as Native American she Lange proceeded to place her in a distinctly Euro-American might not have bothered to take any photographs. Or scenario of hallowed maternity. In turn, this iconographic if she had discovered from extended conversation that context led all to assume that the model was sui generis white. the woman she had photographed was Native American The blanket assumption of whiteness reflects the way and captioned the picture accordingly, the image’s

LIBRARY OF CONGRESS, FARM SECURITY ADMINISTRATION / OFFICE OF WAR INFORMATION WAR OF OFFICE / SECURITY ADMINISTRATION FARM CONGRESS, OF LIBRARY that New Deal culture was not only most concerned about, promotion and circulation would have been limited.

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91RPSAUG20147.pgs 02.07.2020 20:19 VERSION REPRO OP SUBS POSTCARD CITY Joan Wakelin Bursary recipient Henri Kisielewski uncovers ART tensions between tourism and urban folk traditions in Lisbon PRODUCTION

Fado is Lisbon’s urban folk music, CLIENT born in and around the brothels, alleyways and tascas (cheap cafes) of the city’s poorest neighbourhoods. Fado is to Lisbon what the blues are to the Delta. Written records trace fado back to the early 19th century, although some argue it is much older, connecting it to oral traditions imported from across the Portuguese empire. The fado singer, or fadista, takes centre stage, interpreting lyrics known as poems. The principal themes of these poems are despair, unrequited love, the dream-world and death. The fadista is accompanied by a set of stringed instruments, the main one being the guitarra portuguesa, a sort of pear-shaped lute with 12 strings. At the heart of fado is saudade. This elusive word – apparently untranslatable from the original Portuguese – broadly refers to a sense of sorrow, of yearning, and a resigned desire for what once was. Clockwise from top left An environmental protester dressed as a flamingo climbs a statue to protest against the construction of a new airport near This is the underlying emotion of all the Tagus Estuary Natural Reserve; an orange tree in one of Alfama’s many cobbled alleyways; Lisbon’s renowned yellow number 28 tram is so popular fado and perhaps of Lisbon itself. with tourists that elderly locals often have to wait to board it; tourists looking into a shop in Lisbon’s Graça neighbourhood

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POSTCARD CITY Joan Wakelin Bursary recipient Henri Kisielewski uncovers tensions between tourism and urban folk traditions in Lisbon

Fado is Lisbon’s urban folk music, born in and around the brothels, alleyways and tascas (cheap cafes) of the city’s poorest neighbourhoods. Fado is to Lisbon what the blues are to the Delta. Written records trace fado back to the early 19th century, although some argue it is much older, connecting it to oral traditions imported from across the Portuguese empire. The fado singer, or fadista, takes centre stage, interpreting lyrics known as poems. The principal themes of these poems are despair, unrequited love, the dream-world and death. The fadista is accompanied by a set of stringed instruments, the main one being the guitarra portuguesa, a sort of pear-shaped lute with 12 strings. At the heart of fado is saudade. This elusive word – apparently untranslatable from the original Portuguese – broadly refers to a sense of sorrow, of yearning, and a resigned desire for what once was. Clockwise from top left An environmental protester dressed as a flamingo climbs a statue to protest against the construction of a new airport near This is the underlying emotion of all the Tagus Estuary Natural Reserve; an orange tree in one of Alfama’s many cobbled alleyways; Lisbon’s renowned yellow number 28 tram is so popular fado and perhaps of Lisbon itself. with tourists that elderly locals often have to wait to board it; tourists looking into a shop in Lisbon’s Graça neighbourhood

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91RPSAUG20148.pgs 02.07.2020 17:19 VERSION

Alfama is Lisbon’s oldest surviving city. If things keep going the way they poems refer to both a real and neighbourhood. It is a maze of medieval are, one journalist wrote in 2016, Lisbon an imagined history, both a concrete and Moorish architecture arranged in a will soon have to hire extras to play remembrance and an imprecise, patchwork of steep cobbled alleyways Portuguese people in its streets. idealised version of the way things and red-clay roofs, rising up from the In 2019 I spent a month in Lisbon were. In fado, truth and fiction coexist, REPRO OP Tagus river. Once a close-knit fishing exploring the complicated relationship history and myth are tangled. community, Alfama is now the heart between fado and tourism. On one There is a parallel between this of Lisbon’s tourist industry. hand, fado is often upheld as the ambiguous relationship to the city, past A decade ago, struggling to recover essence of Lisbon, an incorruptible and present, and the experience of from a deep recession, Portugal’s mainstay in a rapidly changing city. modern tourism. In his novel Invisible government turned to tourism and On the other, it is the main attraction Cities, Italo Calvino describes travellers

SUBS opened the real estate market to for many of the city’s 4.5 million visitors visiting the fictional metropolis of foreign speculation. Today, more than and it is increasingly commodified to Maurilia. They are invited to accompany half of all accommodation in Alfama is meet this demand. their experience of the present with the destined for tourism and thousands of help of old postcards that depict how long-standing residents have been A recurring feature in many fados is Maurilia once was, the ‘postcard city’ priced out of the city centre. Lisbon itself, in particular what it used being key to appreciating the city as it One after another, the shops that to be. In its long history, many forces now stands. ART catered to the local community closed have played a hand in altering the city Travellers arrive at a location hoping to make way for tourist-facing and its social fabric, the devastating that it will live up to what they had businesses – many of which are ‘fado 1755 earthquake being a key example. imagined and are quicker to see the restaurants’ – and now Alfama feels Today’s aggressive touristification postcard city rather than the place more like a theme park than a living is another seismic event, the full impact itself. Over time, the place changes neighbourhood. This process, known as of which is yet to be fully understood. In to fit this imagined expectation.

PRODUCTION touristification, is affecting much of the many cases, the allusions within fado’s It’s paradoxical, wrote the mayor of

“Thousands of long-standing residents have been priced out of the city” CLIENT

Clockwise from top left Aandoned shoes in Alfama; the number 28 tram climbing one of Lisbon’s steep hills; tourists on the electric scooters that are found all over the city; a fadista gives master of ceremonies Manuelo a framed portrait of herself for the wall of the fado vadio house

Barcelona in 2014, but uncontrolled In an anonymous back street, far mass tourism ends up destroying the from the tourist gaze, there is one very things that made a city attractive establishment like no other: a small to visitors in the first place. fado house in a former Italian restaurant This is particularly obvious in Lisbon where fadistas have the habit of where the sheer speed of change and meeting once their tourist-facing lack of oversight have magnified the engagements are done with. This is problem. Once the locals have left, the home of fado vadio, where both once all the menus are in English, amateurs and professionals take and when one is more likely to see the turns interpreting the canon. It is not hulking mass of a docked cruise ship uncommon to see, on the same night, than the water of the Tagus river, a performance by a local taxi driver what remains is a longing for what has followed by a well-known fadista. been lost – whether real or imagined. One regular performer is a respected The fadista Marta Rosa Air conditioning units on the exterior of a hotel in downtown Lisbon What remains is saudade. professor of medieval bureaucracy.

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BLACK YELLOW MAGENTA CYAN BURSARY Bursary, 2 city. If things keep going the way they poems refer to both a real and are, one journalist wrote in 2016, Lisbon an imagined history, both a concrete will soon have to hire extras to play remembrance and an imprecise, Portuguese people in its streets. idealised version of the way things In 2019 I spent a month in Lisbon were. In fado, truth and fiction coexist, exploring the complicated relationship history and myth are tangled. between fado and tourism. On one There is a parallel between this hand, fado is often upheld as the ambiguous relationship to the city, past essence of Lisbon, an incorruptible and present, and the experience of mainstay in a rapidly changing city. modern tourism. In his novel Invisible On the other, it is the main attraction Cities, Italo Calvino describes travellers for many of the city’s 4.5 million visitors visiting the fictional metropolis of and it is increasingly commodified to Maurilia. They are invited to accompany meet this demand. their experience of the present with the help of old postcards that depict how A recurring feature in many fados is Maurilia once was, the ‘postcard city’ Lisbon itself, in particular what it used being key to appreciating the city as it to be. In its long history, many forces now stands. have played a hand in altering the city Travellers arrive at a location hoping and its social fabric, the devastating that it will live up to what they had 1755 earthquake being a key example. imagined and are quicker to see the Today’s aggressive touristification postcard city rather than the place is another seismic event, the full impact itself. Over time, the place changes of which is yet to be fully understood. In to fit this imagined expectation. many cases, the allusions within fado’s It’s paradoxical, wrote the mayor of

“Thousands of long-standing residents have been priced out of the city”

Barcelona in 2014, but uncontrolled In an anonymous back street, far Any mention of this place elicits mass tourism ends up destroying the from the tourist gaze, there is one amused disdain from the owners and very things that made a city attractive establishment like no other: a small staff of the more ‘respectable’ fado to visitors in the first place. fado house in a former Italian restaurant houses; fado vadio is not serious, they This is particularly obvious in Lisbon where fadistas have the habit of will say. But it is known to them all where the sheer speed of change and meeting once their tourist-facing and they too can be spotted here on lack of oversight have magnified the engagements are done with. This is occasion, drinking from the source. problem. Once the locals have left, the home of fado vadio, where both Manuelo is the master of ceremonies, once all the menus are in English, amateurs and professionals take a prickly and charismatic octogenarian and when one is more likely to see the turns interpreting the canon. It is not who made a name for himself in fado hulking mass of a docked cruise ship uncommon to see, on the same night, circles in the 1960s. Donna Lena, his than the water of the Tagus river, a performance by a local taxi driver Russian wife, is a striking blonde of what remains is a longing for what has followed by a well-known fadista. ferocious energy. She spends each been lost – whether real or imagined. One regular performer is a respected night serving drinks, making food and Air conditioning units on the exterior of a hotel in downtown Lisbon What remains is saudade. professor of medieval bureaucracy. tending to the guests’ every need.

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At 2am, the performances are about One Saturday at around 5am, tables that had, over the years, been to begin, and the air is thick with smoke Marta Rosa appeared at the door demoted from the main room. By Creative and anticipation. Beyond the laughter with her small entourage. We had been pivoting my chair I was now on the support and chatting, one can make out the introduced early on in my stay and fringes of this new circle that was gentle cacophony of string instruments she proved invaluable in helping me forming. I remember thinking it was a The Joan Wakelin Bursary offers REPRO OP being tuned. navigate the intricacies of Lisbon fado. fitting place for me: neither a fadista £2,000 for the production of During each set, the fadista Donna Lena was tallying up the night’s nor a guest, an interloper of sorts, a a photographic essay on an performs four or five pieces. Lulled damage for a customer with wine- tourist who looks down on other tourists. overseas social documentary by wine and the red-tinged darkness, stained lips. An old woman was There was a loud dissonant jumble, issue. It is jointly administered the audience is gradually swept up handing Manuelo a framed picture like a music lesson before the teacher by the RPS and The Guardian. by the music, taken on a hazy of herself for the wall. Aside from the arrives. Marta removed her coat and rps.org/wakelin

SUBS voyage that evokes homesick sailors, table of white-haired men arguing stood with her chin raised, her hands despairing lovers and death. Some over a card game, the fadistas now clasped tightly in front of her. Then rest their heads in their hands, others had the place to themselves. Marta someone played the opening melody stare wistfully into space as if shell joined the others in the back; an of Amália Rodrigues’s ‘Ai Mouraria’, shocked. There is always at least L-shaped section of the room that is and the cacophony fell silent. Donna one person who fails to resist the domain of the performers. Lena switched off the lights and temptation, closes their eyes and Five or six musicians and a handful of accompaniment soon came from ART falls into a deep sleep. singers were sitting around the wonky two sides as Marta began to sing.

“The roots of fado run deep in Lisbon and that doesn’t seem likely to change” PRODUCTION

Above left Seb Varela in his ‘outdoor living room’ on a street overlooking downtown Lisbon. His family is considered fado royalty because his great- CLIENT aunt was Amália Rodrigues, the central figure of 20th-century fado. Above right Passengers on the number 28 tram

Her voice had been soft to begin with. communion. When the instruments She’d floated through the high notes disappear to leave only music, he had with a plaintive vibrato, squeezing said, and the words disappear to leave emotion out of every cadence. Then only feeling, that is fado. her song grew more forceful. By the end, it filled the whole room as she During my stay, I saw fado in raised her chin ever higher, revealing cramped apartments and concert halls, the taught muscles in her neck. street corners, ballrooms and taverns Almost as soon as the piece was over, where tourists formed queues at the amid a few friendly heckles, a new one door. I visited evening classes in a took off on another table. Poems suburb of tower blocks where a new succeeded one another in this frenzy sense of community has formed around into the early morning with different fado. I attended a fundraising concert permutations, styles and rhythms, each for a girl with disabilities where fado singer owning the room in their own was the order of the day. way. Occasionally, during a song, The roots of fado run deep in Lisbon the words “O Fado” escaped from and that doesn’t seem likely to change. someone’s mouth like a libation, More than once I heard of the three Fs in a voice both hushed and loud. that make up the Portuguese spirit: This, I came to learn, was the signal fado, futebol, Fátima. Just as it survived that fado was happening. the censorship and co-opting of the Ricardo Ribeiro, one of the icons of Salazar regime in the past, fado’s modern fado, had explained it to me essence will probably survive the effects as a ‘manifestation’, a moment when of mass tourism today. In fact, it is Clockwise from above left Marta Rosa in a disused palace-cum-community centre in Mouraria, a neighbourhood historically linked to fado and undergoing touristification; a performance at Mesa de Frades in Alfama featuring Joel Piña, 90, considered a living legend in fado circles and credited everything comes together and all who precisely the act of singing a more with introducing the acoustic bass to the tradition; the fadista Adriano Pina are present share a sort of metaphysical predictable version to tourists that

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One Saturday at around 5am, tables that had, over the years, been Marta Rosa appeared at the door demoted from the main room. By Creative with her small entourage. We had been pivoting my chair I was now on the support introduced early on in my stay and fringes of this new circle that was she proved invaluable in helping me forming. I remember thinking it was a The Joan Wakelin Bursary offers navigate the intricacies of Lisbon fado. fitting place for me: neither a fadista £2,000 for the production of Donna Lena was tallying up the night’s nor a guest, an interloper of sorts, a a photographic essay on an damage for a customer with wine- tourist who looks down on other tourists. overseas social documentary stained lips. An old woman was There was a loud dissonant jumble, issue. It is jointly administered handing Manuelo a framed picture like a music lesson before the teacher by the RPS and The Guardian. of herself for the wall. Aside from the arrives. Marta removed her coat and rps.org/wakelin table of white-haired men arguing stood with her chin raised, her hands over a card game, the fadistas now clasped tightly in front of her. Then had the place to themselves. Marta someone played the opening melody joined the others in the back; an of Amália Rodrigues’s ‘Ai Mouraria’, L-shaped section of the room that is and the cacophony fell silent. Donna the domain of the performers. Lena switched off the lights and Five or six musicians and a handful of accompaniment soon came from singers were sitting around the wonky two sides as Marta began to sing.

“The roots of fado run deep in Lisbon and that doesn’t seem likely to change”

Above left Seb Varela in his ‘outdoor living room’ on a street overlooking downtown Lisbon. His family is considered fado royalty because his great- aunt was Amália Rodrigues, the central figure of 20th-century fado. Above right Passengers on the number 28 tram

Her voice had been soft to begin with. communion. When the instruments allows the majority of fadistas to live She’d floated through the high notes disappear to leave only music, he had off their craft and in turn, allows ‘real’ with a plaintive vibrato, squeezing said, and the words disappear to leave fado to survive. emotion out of every cadence. Then only feeling, that is fado. Trying to make sense of it all, I kept her song grew more forceful. By the coming back to what Ricardo Ribeiro end, it filled the whole room as she During my stay, I saw fado in had said. He wasn’t interested in the raised her chin ever higher, revealing cramped apartments and concert halls, distinction between ‘real’ fado or tourist the taught muscles in her neck. street corners, ballrooms and taverns fado, commodification or authenticity; Almost as soon as the piece was over, where tourists formed queues at the only that once in a while, wherever it amid a few friendly heckles, a new one door. I visited evening classes in a might be, fado happened. took off on another table. Poems suburb of tower blocks where a new On my last night in Lisbon I made succeeded one another in this frenzy sense of community has formed around my way towards the centre of Alfama. into the early morning with different fado. I attended a fundraising concert I passed a wall near a shuttered permutations, styles and rhythms, each for a girl with disabilities where fado restaurant where the words ‘Locals singer owning the room in their own was the order of the day. welcome’ had been thinly painted way. Occasionally, during a song, The roots of fado run deep in Lisbon over and a new graffiti had appeared: the words “O Fado” escaped from and that doesn’t seem likely to change. ‘Welcome locals’. someone’s mouth like a libation, More than once I heard of the three Fs Beside the church of Sao Miguel, in a voice both hushed and loud. that make up the Portuguese spirit: the terraces of three restaurants This, I came to learn, was the signal fado, futebol, Fátima. Just as it survived share a sloping square around an that fado was happening. the censorship and co-opting of the old palm tree. In a doorway, a large Ricardo Ribeiro, one of the icons of Salazar regime in the past, fado’s woman was singing an epic fado about modern fado, had explained it to me essence will probably survive the effects desire, loss and revenge, but her heart as a ‘manifestation’, a moment when of mass tourism today. In fact, it is wasn’t in it. Clockwise from above left Marta Rosa in a disused palace-cum-community centre in Mouraria, a neighbourhood historically linked to fado and undergoing touristification; a performance at Mesa de Frades in Alfama featuring Joel Piña, 90, considered a living legend in fado circles and credited everything comes together and all who precisely the act of singing a more with introducing the acoustic bass to the tradition; the fadista Adriano Pina are present share a sort of metaphysical predictable version to tourists that henrikisielewski.com

JULY / AUGUST RPS JOURNAL

91RPSAUG20150.pgs 02.07.2020 19:23 VERSION

‘Untitled’ from The Longing of the Stranger Whose Path Has Been Broken ‘Untitled’ from The Longing of the Stranger Whose Path Has Been Broken REPRO OP SUBS ART PRODUCTION CLIENT

We celebrate a new generation of THE GRADUATES photographers emerging during testing times

RPS JOURNAL JULY / AUGUST

BLACK YELLOW MAGENTA CYAN Graduates, 1

‘Untitled’ from The Longing of the Stranger Whose Path Has Been Broken ‘Untitled’ from The Longing of the Stranger Whose Path Has Been Broken

We celebrate a new generation of THE GRADUATES photographers emerging during testing times

JULY / AUGUST RPS JOURNAL

91RPSAUG20151.pgs 02.07.2020 17:15 VERSION REPRO OP SUBS ART PRODUCTION ‘Untitled’ from The Longing of the Stranger Whose Path Has Been Broken

Rehab Eldalil CLIENT Falmouth Institute of Photography (MA photography)

My personal project evolved, the circulation of an My role as a visual storyteller The Longing of the Stranger image on social media has has expanded to social Whose Path Has Been Broken escalated this concern, advocacy. In collaboration explores the liminal spaces of prohibiting some women from with tribe elders we established Bedouin life in St Catherine, ever being photographed. a community centre in the South Sinai, Egypt. This challenge has prompted heart of the mountains to By working collaboratively creative approaches to include provide free medical and with the community I wanted the female voice and presence. educational services for to create an artwork made I learned to create portraits of 2,000 community members. up of their commentary female members of the Bedouin As a visual storyteller I’m through the traditional community by collaborating drawn to the broad theme of mediums of poetry, sound with them through adding identity, explored through and embroidery. embroidery on to their portraits. collaborative approaches and I started to work on my In doing so, they take full control my personal experiences. This project for my MA in 2018 after over their visual presence by project has given a second life almost seven years of research, using a medium familiar to to my dream job; the idea of during which time I discovered them. They obtain the power working on long-term projects, my Bedouin ancestry. The to highlight and hide features focusing on topics that matter title of the project is derived as they see fit. to me and are important to tell, from Bedouin poetry and Developing a mutual trust and involving and collaborating references my connection candid friendship with many of with communities. to the Bedouin community. the collaborators has allowed Photography and storytelling Until the 1990s, Bedouin me access to their intimate give me the power to contribute women were prohibited from spaces. But, more importantly, to the world. being seen by men from other it has also provided me with an tribes. As visual technology understanding of my roots. rehabeldalil.com ‘Untitled’ from The Longing of the Stranger Whose Path Has Been Broken

RPS JOURNAL JULY / AUGUST

BLACK YELLOW MAGENTA CYAN GRADUATES Graduates, 2

‘Untitled’ from The Longing of the Stranger Whose Path Has Been Broken

evolved, the circulation of an My role as a visual storyteller image on social media has has expanded to social escalated this concern, advocacy. In collaboration prohibiting some women from with tribe elders we established ever being photographed. a community centre in the This challenge has prompted heart of the mountains to creative approaches to include provide free medical and the female voice and presence. educational services for I learned to create portraits of 2,000 community members. female members of the Bedouin As a visual storyteller I’m community by collaborating drawn to the broad theme of with them through adding identity, explored through embroidery on to their portraits. collaborative approaches and In doing so, they take full control my personal experiences. This over their visual presence by project has given a second life using a medium familiar to to my dream job; the idea of them. They obtain the power working on long-term projects, to highlight and hide features focusing on topics that matter to me and are important to tell, Developing a mutual trust and involving and collaborating candid friendship with many of with communities. the collaborators has allowed Photography and storytelling me access to their intimate give me the power to contribute spaces. But, more importantly, to the world. it has also provided me with an understanding of my roots. rehabeldalil.com ‘Untitled’ from The Longing of the Stranger Whose Path Has Been Broken

JULY / AUGUST RPS JOURNAL

91RPSAUG20152.pgs 02.07.2020 17:16 VERSION REPRO OP SUBS ART PRODUCTION

CLIENT ‘Untitled’ from Bakerloo

Nico Froehlich Ravensbourne University London (MA digital photography)

I used to dream about Bakerloo is an ongoing becoming a professional screen project documenting the actor – the next Al Pacino or Bakerloo line, the stations and Robert De Niro. I would go for the diverse passengers who long walks at night in central use it. The line has been London just to observe human transitioning from old to new. behaviour. I saw it as a way of Transport For London has building my craft as an actor. proposed plans to extend the I remember telling myself Bakerloo line in the next five that I should visually record to 10 years out to Lewisham, some of the scenes I would introducing four new stations discover on my walks. A few in south-east London. years later I decided to buy During this time, the a camera. Soon after I went Bakerloo line’s 1970s rolling to university to pursue my stock, the oldest stock on ambition of becoming a the entire network, will be ‘Untitled’ from Bakerloo professional photographer. replaced with completely

RPS JOURNAL JULY / AUGUST

BLACK YELLOW MAGENTA CYAN GRADUATES Graduates, 3

‘Untitled’ from Bakerloo

Nico Froehlich Ravensbourne University London (MA digital photography)

I used to dream about Bakerloo is an ongoing new trains designed for the becoming a professional screen project documenting the future of the city. actor – the next Al Pacino or Bakerloo line, the stations and Bakerloo is a visual homage Robert De Niro. I would go for the diverse passengers who and social commentary about long walks at night in central use it. The line has been a piece of London that will London just to observe human transitioning from old to new. soon be gone. My approach is behaviour. I saw it as a way of Transport For London has that of a street photographer – building my craft as an actor. proposed plans to extend the every photo is candid. I never I remember telling myself Bakerloo line in the next five ask for anyone’s permission that I should visually record to 10 years out to Lewisham, to take their photo and I some of the scenes I would introducing four new stations never verbally engage with discover on my walks. A few in south-east London. any of my subjects. The results years later I decided to buy During this time, the are raw and sincere snippets a camera. Soon after I went Bakerloo line’s 1970s rolling of unfiltered moments and to university to pursue my stock, the oldest stock on real emotion. ambition of becoming a the entire network, will be professional photographer. replaced with completely nicofroehlich.com

JULY / AUGUST RPS JOURNAL

91RPSAUG20153.pgs 02.07.2020 17:16 VERSION Clár Tillekens University of the West of England, Bristol (MA photography)

I was born in New York City My latest project, Overseas, REPRO OP to Irish parents and raised in is a visual portrayal of this a proudly Irish household. experience. Created between I acquired US citizenship 2018 and 2019, it features my through jus soli (right of soil) ancestral home in rural Leitrim, and Irish citizenship through my parents’ surroundings in jus sanguinis (right of blood). New York, and my life in

SUBS I partook in Gaelic arts, multiple European cities. and spent my summers in The series captures the shifts Connacht and Ulster. in my lifestyle prompted by Yet when I went to Ireland I immigration while celebrating would feel like an out-and-out the hybridity that comes American. I began to embrace with being multi-local across the in-betweenness inherent in several countries. ART immigration, especially for The project shows the first-generation immigrants. fluidity of Irish culture in Five years ago I left America my international family. I to explore Ireland and the EU show parallels between rural as an Irish national. My dual Ireland and urban New York citizenship prompted me to alongside my more atypical

PRODUCTION examine how nationhood depictions of Irishness. influences identity. How culture Taking on an additional is altered by migration. nationality and returning to

CLIENT ‘Don’t lay your hands on me sweetheart’ ‘I remember, she was so proud of this roast chicken she spent hours cooking, she left it to cool, when she came back, it was gone and there was just a cat sat on the kitchen table’ Chloe Alexandra University of South Wales (MA documentary photography)

This project explores family mannerisms to look back at them and make something anecdotes of my great- the choices they have made, photographically. grandmother, Irene, and her questioning how much of that As my mother and ties with alcohol and men. psychological, genetic past grandmother retold the stories, Before I shoot I listen to audio I will carry in my own life. I became more interested in the recordings of stories about I photograph in the homes way each story [was distorted]; my great-grandmother, or surrounding village where how each memory of the same grandmother and mother, these women spent the majority scenario is different. I started as told by my mother and of their lives. I set up a small creating more fictionalised grandmother. I then create film space, put my camera on a scenes, changing the facts. still-like visual representations tripod and perform these I placed myself in situations of these recollected stories, recollected stories. that, realistically, I don’t want where performance and Initially this wasn’t going to experience. By acting out duplicity play critical roles in the to be a photographic project. my reactions and confronting act of smoke-screening reality. Once I realised the connection my psychological, genetic By reconstructing – and [between] the life choices past, I explore its effect on me, appearing in – these visual my grandmother and questioning how it will determine plays I recreate memories of mother had made, and the my life. It’s a search for a sense insobriety, abuse, disregard link with the stories of my of self, a truth I have yet to find. and self-contempt. I embody great-grandmother, I knew I the characters and their could create characters from chloealexandraphoto.com ‘Sinéad and ten pence’ from Overseas ‘Sober – ten Hail Marys’ from Overseas

RPS JOURNAL JULY / AUGUST

BLACK YELLOW MAGENTA CYAN GRADUATES Graduates, 4 Clár Tillekens University of the West of England, Bristol (MA photography)

I was born in New York City My latest project, Overseas, the continent my family to Irish parents and raised in is a visual portrayal of this emigrated from has been a proudly Irish household. experience. Created between complex. Photography enables I acquired US citizenship 2018 and 2019, it features my me to visualise and synthesise through jus soli (right of soil) ancestral home in rural Leitrim, the subtleties of such and Irish citizenship through my parents’ surroundings in circumstances. I create images jus sanguinis (right of blood). New York, and my life in that show the dynamism of a I partook in Gaelic arts, multiple European cities. culturally interconnected life and spent my summers in The series captures the shifts between a homeland and Connacht and Ulster. in my lifestyle prompted by hostland. I’m particularly Yet when I went to Ireland I immigration while celebrating interested in how we develop an would feel like an out-and-out the hybridity that comes attachment to place, and how American. I began to embrace with being multi-local across that relates to memory. the in-betweenness inherent in several countries. I hope my work resonates immigration, especially for The project shows the with others – the excitement of first-generation immigrants. fluidity of Irish culture in bridging cultures, the nostalgia Five years ago I left America my international family. I of home. Photography causes to explore Ireland and the EU show parallels between rural a heightened awareness of as an Irish national. My dual Ireland and urban New York the transitory nature of life citizenship prompted me to alongside my more atypical and the bittersweetness of examine how nationhood depictions of Irishness. an in-between identity. influences identity. How culture Taking on an additional is altered by migration. nationality and returning to clartillekens.com

‘I remember, she was so proud of this roast chicken she spent hours cooking, she left it to cool, when she came back, it was gone and there was just a cat sat on the kitchen table’

University of South Wales (MA documentary photography) mannerisms to look back at them and make something the choices they have made, photographically. questioning how much of that As my mother and psychological, genetic past grandmother retold the stories, I will carry in my own life. I became more interested in the I photograph in the homes way each story [was distorted]; or surrounding village where how each memory of the same these women spent the majority scenario is different. I started of their lives. I set up a small creating more fictionalised space, put my camera on a scenes, changing the facts. tripod and perform these I placed myself in situations that, realistically, I don’t want Initially this wasn’t going to experience. By acting out to be a photographic project. my reactions and confronting Once I realised the connection my psychological, genetic [between] the life choices past, I explore its effect on me, questioning how it will determine mother had made, and the my life. It’s a search for a sense link with the stories of my of self, a truth I have yet to find. great-grandmother, I knew I could create characters from chloealexandraphoto.com ‘Sinéad and ten pence’ from Overseas ‘Sober – ten Hail Marys’ from Overseas

JULY / AUGUST RPS JOURNAL

91RPSAUG20154.pgs 02.07.2020 17:16 VERSION REPRO OP

SUBS Phoebe Somerfield London College of Communication

ART (BA photography)

On Fairly Solid Ground easier to improve upon work contemplates feminine presence I felt imperfect and letting in landscape, with the Thames go of the image allowed me to ‘Swamp’ from On Fairly Solid Ground Estuary as a post-industrial develop the work contextually.

PRODUCTION backdrop. The work is This experimentation performative – I use my body transitioned into more and gestural movement to considered photographic interact with my surroundings. practices. A certain bridge The Thames has a rich and on the Thames became a complex history. It is a place manifestation of thinking, with a strong industrial a place I was drawn back to CLIENT presence, now faded but not time and time again. With the altogether lost. Several projects ‘The stage’ from On Fairly Solid Ground bridge I found scale; I felt so have aimed to rewild the small against this towering Thames Estuary with the hope structure, a concrete cascade of restoring previously diverse into the land. ecosystems. Since opening ‘Swamp’ is in response to the as a protected site, Rainham land artists Nancy Holt and Marshes on the north bank of Robert Smithson’s moving image the river has become one of piece Swamp, made in 1969. In the most biodiverse places the footage, Smithson leads Holt in the UK. I felt the Thames, through a swamp in New Jersey. haunted by the spectre of Her only vision is through the its industrial past, could lens of a camera. The work perhaps be representative of is a dissection of the power the Anthropocene. dynamics between a man Ecofeminism is a theory that and woman in the landscape, explores how femininity and a recontextualisation that nature are viewed as existing produces an equalising stance. concurrently. I built upon this In times that require a thinking with the influence of revised way of thinking of artists like Carey Young, who how we look at the world critiqued land artists of the as well as photography, I 1970s as well as discussing have begun thinking about art practice as an unpaid how the work could inhabit commodity in her series a domestic setting – a Body Techniques. diversifying of the landscape For months I worked using I find myself in. only my camera phone, learning not to be precious. It was far ‘Towers’ from On Fairly Solid Ground phoebesomerfield.co.uk ‘Untitled 2’ from On Fairly Solid Ground

RPS JOURNAL JULY / AUGUST

BLACK YELLOW MAGENTA CYAN GRADUATES Graduates, 5

easier to improve upon work I felt imperfect and letting go of the image allowed me to ‘Swamp’ from On Fairly Solid Ground develop the work contextually. This experimentation transitioned into more considered photographic practices. A certain bridge on the Thames became a manifestation of thinking, a place I was drawn back to time and time again. With the ‘The stage’ from On Fairly Solid Ground bridge I found scale; I felt so small against this towering structure, a concrete cascade into the land. ‘Swamp’ is in response to the land artists Nancy Holt and Robert Smithson’s moving image piece Swamp, made in 1969. In the footage, Smithson leads Holt through a swamp in New Jersey. Her only vision is through the lens of a camera. The work is a dissection of the power dynamics between a man and woman in the landscape, a recontextualisation that produces an equalising stance. In times that require a revised way of thinking of how we look at the world as well as photography, I have begun thinking about how the work could inhabit a domestic setting – a diversifying of the landscape I find myself in.

‘Towers’ from On Fairly Solid Ground phoebesomerfield.co.uk ‘Untitled 2’ from On Fairly Solid Ground

JULY / AUGUST RPS JOURNAL

91RPSAUG20155.pgs 02.07.2020 17:15 VERSION REPRO OP SUBS ART PRODUCTION

Little Red One Little Red One

CLIENT ‘In memory of grandmother’ from ‘Untitled (Orthodox)’ from

Adriana-Ioana Cosma Edinburgh Napier University (BA photography)

My grandfather was them and most of my childhood I started Little Red One nicknamed Roşiştea by his holidays after. I remember the in summer 2019, but I had mother when he was born. It snow being half a metre tall in thought about it for seven years translates as ‘little red one’. He winter and the fields full of – ever since my grandmother had red hair once, and everyone workers in summer. died when I was 18. I realised I in his village called him Red. Things changed in the past hadn’t photographed her much Before the fall of Communism 20 years – the village became and no one had recordings of in 1989 he had a function in lost between an attempt to her voice. It made me grateful agriculture and [afterwards] he modernise and an unwillingness my grandfather was still around became an independent farmer to change. There are barely – I photographed him every in Vărai, a village in north more than 100 people now, and time I visited. Romania surrounded by hills no one has been born there in In 2019 I made Little Red and forests. He lived with my years. In January, 42 of [those] One my final project for my grandmother, a fierce woman left were widowers living alone. photography BA (Hons). It who knew how to make most My grandfather is one of them. is a chapter in a larger story, things from scratch, and his It is difficult to photograph my with my grandfather as the mother-in-law, a short, devout childhood place and see signs starting point. In a way this woman whose spirituality of decline everywhere, but I project is my attempt to cope combined Orthodox-Christian have found hope too: the people with the passage of time. rites with old pagan rituals. keep going, maintain faith, keep I spent my first five years with working as they used to. adrianaioanacosma.com ‘One summer ago’ from Little Red One

RPS JOURNAL JULY / AUGUST

BLACK YELLOW MAGENTA CYAN GRADUATES Graduates, 6

‘Untitled (Orthodox)’ from Little Red One

them and most of my childhood I started Little Red One holidays after. I remember the in summer 2019, but I had snow being half a metre tall in thought about it for seven years winter and the fields full of – ever since my grandmother died when I was 18. I realised I Things changed in the past hadn’t photographed her much 20 years – the village became and no one had recordings of lost between an attempt to her voice. It made me grateful modernise and an unwillingness my grandfather was still around to change. There are barely – I photographed him every more than 100 people now, and time I visited. no one has been born there in In 2019 I made Little Red years. In January, 42 of [those] One my final project for my left were widowers living alone. photography BA (Hons). It My grandfather is one of them. is a chapter in a larger story, It is difficult to photograph my with my grandfather as the childhood place and see signs starting point. In a way this of decline everywhere, but I project is my attempt to cope have found hope too: the people with the passage of time. keep going, maintain faith, keep working as they used to. adrianaioanacosma.com ‘One summer ago’ from Little Red One

JULY / AUGUST RPS JOURNAL

91RPSAUG20156.pgs 02.07.2020 17:16 VERSION House ad - OU, 1 REPRO OP SUBS ART PRODUCTION CLIENT OPEN UNIVERSITY COURSES SUPPORTED BY THE RPS

DIGITAL PHOTOGRAPHY DIGITAL PHOTOGRAPHY CREATING AND SHARING BETTER IMAGES CREATING A PROFESSIONAL PORTFOLIO Available worldwide for £200 Available worldwide for £450 Course starts 17 October. Register by 2 September Course starts 2 November. Register by 2 November OU course code: TG089 OU course code: TZFM200

This 10-week course for beginners to intermediate level This 10-week microcredential is for competent provides a general foundation for people intending to photographers. You’ll build a professional portfolio tackle the LRPS Distinction. in your chosen genre as a way of working towards the ARPS Distinction. On completion you’ll gain 10 academic credits from the Open University.

On successful completion each course will lead to an RPS certificate in digital photography* For full details see rps.org/openuni

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

BLACK YELLOW MAGENTA CYAN 91RPSAUG20157.pgs 02.07.2020 18:56 VERSION RPS NEWS AND EVENTS Society / events, 1 REPRO OP

ENGAGING WITH PAST, PRESENT AND HAPPINESS PHOTO SocietyTECHNOLOGY FUTURE OF THE RPS COMPETITION 522 523 536 SUBS GETTING CREATIVE WITH OF THE BEST YOUR LANDSCAPES ONLINE EVENTS Thu 9 Jul, 8-9.15pm Join the Landscape Group to learn how Glenys Garnett creates her imagery. Garnett started her own photography business in 2011 after

ART achieving a first-class degree in graphic communication at Leeds Metropolitan University. Mark Reeves ARPS, [email protected]

DISTINCTIONS LIVE TALKS TESSA MILLS FRPS Thu 9 Jul, 5.50pm PRODUCTION Tessa Mills FRPS discusses contemporary photography with Stewart Wall ARPS. As the chair of the Contemporary Distinctions panel Mills explains what the RPS qualification involves, and why she values the genre’s approach. Andy Moore LRPS, CLIENT [email protected]

IN THE MAKING WITH GARETH MARTIN Sat 11 Jul, 3-4.30pm South Wales RPS member Gareth Martin discusses what he sees on his photographic journeys and how he produces his images. Rhys Jones ARPS, [email protected] Get swept away by the power of water to sculpt the landscape in the online event Shaped by the Sea THE FAB THREE Tue 21 Jul, 6-7pm An illustrated Zoom presentation with artist Rex Parker showcasing MAKE WAVES GO TO the work of Alvin Langdon Coburn, Explore the Atlantic coast with Theo Bosboom Edward Weston and Ansel Adams, rps.org/whats-on whose timeless images helped to for the latest define 20th-century photography. updates Michael Pritchard FRPS, SHAPED BY THE SEA Now the Netherlands- [email protected] Thu 9 Jul, 8-9.15pm based landscape and nature It is worlds away from the legal career photographer is to share his experiences ADVENTURES IN SIBERIA WITH PAMELA JONES LRPS he left in order to devote his time in an online talk for the RPS on 14 July. Sun 26 Jul, 10.30am-12.30pm to photography. Since 2013, Theo Bosboom A tribute to the power that the sea has In an online talk organised by the has explored the Atlantic coast of Europe, to shape the land, Bosboom’s project also Western Region, Pamela Jones LRPS gives a flavour of the in every season and in all kinds of weather, highlights some of the creatures living journey she took to Lake Baikal taking a series of photographs around in the intertidal zone. in Siberia. Her work has been spectacular beaches in Norway, Iceland, the sold internationally, bought by Faroe Islands, Scotland, Ireland, Northern Shaped by the Sea with Theo Bosboom private collectors and featured in exhibitions in London and Bath. Ireland and more. The results can be seen is on 14 July, 8-9pm. To book visit Suzanne Johnson LRPS, in his latest book, Shaped by the Sea. rps.org/shaped [email protected]

JULY/ AUGUST RPS JOURNAL

BLACK YELLOW MAGENTA CYAN 91RPSAUG20158.pgs 02.07.2020 17:08 SOCIETY / ONLINE Zoom, 1 VERSION REPRO OP SUBS ART PRODUCTION VIRTUAL MADE REAL CLIENT IN LOCKDOWN The RPS is using technology to engage more people than ever, says Mike Taylor

How quickly things have events attended by 3,242 people. Amid this we ran an online changed in just a few months. These are crude measures but Extraordinary General Meeting Despite the many hardships of they show what is possible. It is attended by 80 members, lockdown, it has advanced our thanks to the adaptability and and moved all committee use of technology faster than hard work of volunteers and staff meetings online, with better I thought possible. – as well as the responsiveness attendance and huge savings I’m amazed at how quickly of our members – that we in time and expense. RPS staff and members have have achieved this and more. If you have not yet done so, come together around digital And we are proud of I urge you to join us in this technologies, enabling us to the quality: these are not virtual world. If you want to try stay in contact and to continue downloaded, self-led learning a workshop, please sign up and sharing and learning. tools and guides, but fully we’ll help you from there. If you Members are saying they interactive live activities. The are a volunteer and need help, feel more connected to the new Distinctions Talks are live please ask. RPS and more able to take discussions including a Q&A We are learning together. advantage of the learning with a global audience. Our As we understand your needs, opportunities on offer. workshops are interactive, with a we will develop better support Consider this … in May 2018, maximum class size of 12 so the and guidance. To find out RPS headquarters ran 10 events tutor can provide responsive more about the technologies attended by 119 people; in May individual guidance. We’ve also we are using please visit Above The first virtual Distinctions Talk 2019, we ran 18 events attended launched one-to-one Distinctions rps.org/virtual featured Joe Cornish by 242 people; in May 2020, advice sessions, receiving

HonFRPS (top right) under lockdown, we ran 27 incredibly positive feedback. Mike Taylor is COO of the RPS SIMON HILL FRPS

RPS JOURNAL JULY / AUGUST

BLACK YELLOW MAGENTA CYAN 91RPSAUG20159.pgs 02.07.2020 17:07 VOICEBOX / SOCIETY VERSION

ALAN HODGSON ASIS HonFRPS COO / VoiceBox, 1 President, The Royal Photographic Society ONLINE AND REPRO OP UPWARDS Virtual events promise a more inclusive future SUBS

NEW RPS CEO STRIKES THE RIGHT NOTE The RPS is to welcome Evan Dawson as its ART new CEO this summer. Dawson, who has an extensive background in arts management, began his career as a lawyer. He comes to the RPS

PRODUCTION from Live Music Now, a charity that provides support and training for musicians nationwide. “The RPS is a wonderful and historic ‘What’s past is prologue’ by Alan Hodgson ASIS HonFRPS organisation, helping CLIENT photographers flourish throughout the UK and It is good to see the first issue of the whom group interactions, noise or travel beyond, and shedding new-look RPS Journal. The extra pages in general is a significant and perhaps new light on important certainly allow us to cover a wider range insurmountable hardship. A step forward stories, perspectives and of genres. I am also looking forward to the for us to include a wider community. issues,” says Dawson, monthly email newsletter. Considered Our past may be our prologue – a message who is himself a together, these two publications will allow seen on the statue outside the National passionate photographer us to explore topics in greater depth. Archives in Washington DC. I was visiting and a composer. As we continue to live through the the city late last year and I wanted to note the “The Covid-19 pandemic, online RPS events have proved to thought for future consideration. It comes pandemic has certainly be one of the successes of this unprecedented from Shakespeare – “What’s past is prologue; brought home the situation we find ourselves in and could well what to come, In yours and my discharge”. importance of the arts point the way to our future. I have attended My interpretation is that the past informs in providing human some of them over past weeks and the benefit us – what we do next is up to us. There are connections and apparent to me each time is that of inclusion. many more online events planned and they sustaining our One tangible advantage of an online event is can and should figure as a part of our post- imaginations. that it is accessible to people irrespective of pandemic future. If lockdown is part of our “So I’m honoured and where they live. Even considering time prologue, we must learn from this as we plan excited to have been differences, I have been in the company of a post-Covid-19 RPS. chosen as the next RPS members from North America, Europe, Asia I look forward to interacting with more CEO, and am looking and Australia, as well as the furthest corners of you at our online events. I have groups, forward to working with of the UK. chapter and regional events on my calendar, everyone to develop a There is another advantage that is no less and I hope to see you at some of them. Keep shared strategy for real for some members of our community. safe as we move from prologue to a more bringing inspirational Online activity brings inclusion to those for inclusive community. photography to even more people.”

“The past informs us – what we do next is up to us” evandawson.com

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BLACK YELLOW MAGENTA CYAN 91RPSAUG20160.pgs 02.07.2020 19:22 WHAT ARE RPS DISTINCTIONS? LICENTIATE LRPS

VERSION Learn from two high Working for a Distinction takes you on Applicants must flyers at Associate a personal journey which will improve your show photographic DISTINCTIONS technical skills, develop your creativity and competence in approach and Licentiate level broaden your understanding of photography and techniques REPRO OP SUBS ART PRODUCTION CLIENT

RPS JOURNAL JULY / AUGUST

BLACK YELLOW MAGENTA CYAN WHAT ARE RPS DISTINCTIONS? LICENTIATE LRPS ASSOCIATE ARPS FELLOWSHIP FRPS

Learn from two high Working for a Distinction takes you on Applicants must Requires a body of work Requires a body of work of Distinctions, 1 flyers at Associate a personal journey which will improve your show photographic of a high standard and distinguished ability and DISTINCTIONS technical skills, develop your creativity and competence in approach a written statement excellence, and a written and Licentiate level broaden your understanding of photography and techniques of intent statement of intent

Left RAF Red Arrows during a display practice

ARPS Applied Malcolm English I was given my first camera – a Kodak Brownie Cresta which I still have – by a neighbour when I was about 14 years old. It is one of the best presents I have been given, as photography has been a major interest in my life for more than 60 years. Photography has formed a significant part of my life in many ways. In addition to being an active member and past chairman of a photographic club, I am group organiser of the RPS East Anglia Documentary Group. Both of these generate motivation and inspiration to further my photography. I also enjoy being a judge on the local photographic society circuit, a role which provides wonderful opportunities to see a wide variety of work. Last, but by no means least, like so many amateur photographers I am the ‘family photographer’ – probably the most challenging genre, but also the greatest fun.

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Photography has been a photographs produced for with a telephoto lens and the major factor in my career. It was magazines, books, newspapers second with careful choice of largely as a result of freelancing and calendars. The majority shutter speed and panning. as an aviation photographer – were taken with digital cameras, Air-to-air demands a strong a ‘paying hobby’ – that I was but one or two are digital scans stomach (particularly fast jet REPRO OP invited to become editor of the of transparencies. Most of the and aerobatics), a knowledge of monthly international aviation fast jet air-to-air photographs aircraft capability, skilled pilots magazine AIR International. were taken during operational and detailed pre-flight briefings. I have had a lifelong interest missions. My intent was to In terms of time it was a big in aviation. I was in the illustrate the characteristics step from Licentiate, which I aerospace industry all my and capabilities of some of obtained in 1984, to Associate,

SUBS working life and hold a private the aircraft I have flown with. achieved in 2016. Although pilot’s licence. It seemed As with other photographic I had to resubmit my natural to combine two of genres, aviation photography Associate portfolio I didn’t the loves of my life – the covers a broad spectrum – find the challenge as great other knows who she is. from static subjects to fast as achieving Licentiate. Photography also gave me jets, airshows and air-to-air. This was partly because my the unique opportunity to fly in Challenges at airshows are photography had improved ART more than 100 different types chiefly associated with distant during the interval and also of military aircraft, including flight lines and the speed of the that I was able to submit with the Red Arrows, visit many aircraft. The first can be solved material on a subject I had exotic places and take part in numerous military exercises. Below Spitfire Vc in the “As with other genres aviation style of aviation artist My Applied submission

PRODUCTION Nicolas Trudgian is a selection of aviation photography covers a broad spectrum” CLIENT

Above Dogfight. been photographing, sometimes Photographically, I have a A composite professionally, for many years. Magic of Light project on the image showing a What next? Helping to go, and a couple of projects, Messerschmitt Bf 109 being pursued ensure the future of the RPS based on the north Norfolk by a Spitfire East Anglia Documentary coast, for the Documentary Group. This is a particularly Group. In the current testing time for a group that climate these have had to has only recently been be put on hold, but I am reformed, but I am fortunate taking advantage of the in having wonderful support time available to process and some very creative and those images taken prior to active members. the lockdown.

Statement of intent

My portfolio is a selection of aviation photographs produced My work is also used for marketing a UK air show. I have for a variety of magazines, books, newspapers and calendars. had four books published, two of which [focus on] aviation Since specialising in aviation photography some 38 years photography, illustrating the techniques I employ. ago, I have worked with historic, commercial and military Whenever possible I show aircraft in their natural aircraft in service within the UK and overseas. environment. Most of my fast jet air-to-air photographs The market for my work is equally varied and includes were taken during operational missions. international professional and enthusiast aviation/technical My intent is to illustrate the characteristics and capabilities and photographic publications. of some of the aircraft I have flown with.

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BLACK YELLOW MAGENTA CYAN DISTINCTIONS / SOCIETY Distinctions, 2 photographs produced for with a telephoto lens and the magazines, books, newspapers second with careful choice of and calendars. The majority shutter speed and panning. were taken with digital cameras, Air-to-air demands a strong but one or two are digital scans stomach (particularly fast jet of transparencies. Most of the and aerobatics), a knowledge of fast jet air-to-air photographs aircraft capability, skilled pilots were taken during operational and detailed pre-flight briefings. missions. My intent was to In terms of time it was a big illustrate the characteristics step from Licentiate, which I and capabilities of some of obtained in 1984, to Associate, the aircraft I have flown with. achieved in 2016. Although As with other photographic I had to resubmit my genres, aviation photography Associate portfolio I didn’t covers a broad spectrum – find the challenge as great from static subjects to fast as achieving Licentiate. jets, airshows and air-to-air. This was partly because my Challenges at airshows are photography had improved chiefly associated with distant during the interval and also flight lines and the speed of the that I was able to submit aircraft. The first can be solved material on a subject I had

“As with other genres aviation photography covers a broad spectrum”

Above Dogfight. been photographing, sometimes Photographically, I have a With a view to applying for A composite professionally, for many years. Magic of Light project on the a Fellowship in Documentary image showing a What next? Helping to go, and a couple of projects, Photography, I shot a series of Messerschmitt Bf 109 being pursued ensure the future of the RPS based on the north Norfolk theatre images. It was one of by a Spitfire East Anglia Documentary coast, for the Documentary the most enjoyable projects I Group. This is a particularly Group. In the current have worked on, but arranging testing time for a group that climate these have had to a portfolio is defeating me has only recently been be put on hold, but I am and I’m concerned about the reformed, but I am fortunate taking advantage of the technical quality. That said, in having wonderful support time available to process I haven’t given up and will and some very creative and those images taken prior to shortly be calling upon the active members. the lockdown. RPS advisory panel for advice.

Statement of intent

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Right RAF Phantom during aerobatics, photographed from another Phantom REPRO OP SUBS

WHY THE PORTFOLIO WORKS Malcolm English ARPS creates ART aviation images for editorial, marketing and publishing, and his submission demonstrates experience, depth of understanding and personal vision. The submission

PRODUCTION as a whole is visually cohesive, communicating the aims and objectives set out in the statement of intent. Malcolm clearly has a level of access to his subject that most of us could not hope to get, but CLIENT this does demonstrate how, when considering the subject for your submission, you should think about the level of access you will have. Malcolm's technical ability, appropriate to the subject, is clear. It is obvious most of the shots will have been achieved in conditions that are cramped and subject to movement, but that has not been allowed to affect the composition or the focus on the point of interest. Whether communicating the skill of precision flying or the performance abilities of the LRPS aircraft, for example the Martin Searle Phantom in steep climb seen to the right, Malcolm’s intentions It was only 10 or 11 years ago me, but I was hooked and are clear. Working in very that I began to be interested began taking many of different lighting and in photography. My wife, a her photographs. atmospheric conditions he has florist, wanted better-quality I have always been keen presented a cohesive set of photographs of her work. She on aircraft. As a child I wanted images whose colour balance, bought a new camera but asked to join the RAF as a pilot but subject brightness and tonal me, a non-photographer, to poor eyesight prevented this. Above Grob 109b range hang together. motor glider from read the manual and help her The next best thing was to the AeroSPARX with the settings. This resulted work in the aircraft industry Simon R Leach FRPS aerobatics team in a rapid learning curve for and I undertook an engineering

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BLACK YELLOW MAGENTA CYAN DISTINCTIONS / SOCIETY Distinctions, 3

LRPS Martin Searle

It was only 10 or 11 years ago me, but I was hooked and apprenticeship with an aircraft that I began to be interested began taking many of engine manufacturing in photography. My wife, a her photographs. company. Although I left that florist, wanted better-quality I have always been keen industry many years ago my photographs of her work. She on aircraft. As a child I wanted interest in aircraft has remained. bought a new camera but asked to join the RAF as a pilot but I am a regular visitor to the me, a non-photographer, to poor eyesight prevented this. aircraft museums across the Above Grob 109b motor glider from read the manual and help her The next best thing was to country – there are 38 to my the AeroSPARX with the settings. This resulted work in the aircraft industry knowledge – and attend a large aerobatics team in a rapid learning curve for and I undertook an engineering number of air shows each year.

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91RPSAUG20163.pgs 02.07.2020 17:28 VERSION REPRO OP SUBS ART PRODUCTION CLIENT

Right CF-18 Hornet of the Canadian Air Force demonstration team in its 2018 livery

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BLACK YELLOW MAGENTA CYAN DISTINCTIONS / SOCIETY Distinctions, 4

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Below Hawker Sadly, neither of these things electric lighting and a limited could meet the criterion by Hurricane MkIIC are possible at present due amount of natural light. I find a focusing on a subject area operated by the to the Covid-19 restrictions. good tripod and long exposures I loved. Battle of Britain Memorial Flight One of the key challenges are essential. I time my visits I attended another advisory with photographing aircraft carefully as the use of tripods day but this time with my REPRO OP in either of these situations is is not appreciated on a popular portfolio. Fortunately, it was getting in the right location. visitor day. deemed that very little work was Air shows are popular in the I spent nearly a year trying necessary for me to reach the UK and many photographers to prepare my submission for standard required. I cannot attend them, all wanting that the Licentiate, going on trips thank enough the RPS, regional position on the front line where specifically to cover the wide groups and many individuals

SUBS the aircraft will be taking off range of genres I thought was involved in organising the or landing. I prefer to be more necessary to comply with advisory days, which have mobile in order to get a wider the RPS requirements. This improved my photography range of shots. approach was not working for immensely. I would recommend Photographing museum me as I could not achieve what members attend these displays also presents its I considered a cohesive portfolio events even if they have problems. Access to the exact of work. no intention of pursuing ART position you would like is often During this process I attended a Distinction immediately. not available and there is an advisory day as a spectator. I recently started always background clutter to This was a fantastic eye-opener concentrating on black and consider. The biggest problem, and I realised that for me the white photography. Many however, is lighting. The use of whole approach had been aircraft have an inherent flash is not possible and there wrong. I scrapped the portfolio artistic beauty as well as being

PRODUCTION is always a mixture of harsh and started again, realising I examples of exemplary detailed engineering design. The use of black and white can enhance “Air shows are popular in the UK and the artistic form, removing many photographers attend them” other distractions. CLIENT

WHY THE PORTFOLIO WORKS distant photographs clearly Martin Searle LRPS has based emphasise the important his work around a subject, element of the composition. aviation, although a theme The portrait (above) is well is not required at this level. executed, with good use of light He has created a variety and excellent depth of field so of photographs that that the background does not demonstrate his understanding become too distracting. and ability in order to meet The movement we can see the Licentiate criteria. offers an insight into Martin’s There are close-up details thought processes, as he with an appropriately selected makes decisions such as point of focus, while more how to communicate the

RPS JOURNAL JULY / AUGUST

BLACK YELLOW MAGENTA CYAN DISTINCTIONS / SOCIETY Distinctions, 5 electric lighting and a limited could meet the criterion by amount of natural light. I find a focusing on a subject area good tripod and long exposures I loved. are essential. I time my visits I attended another advisory carefully as the use of tripods day but this time with my is not appreciated on a popular portfolio. Fortunately, it was visitor day. deemed that very little work was I spent nearly a year trying necessary for me to reach the to prepare my submission for standard required. I cannot the Licentiate, going on trips thank enough the RPS, regional specifically to cover the wide groups and many individuals range of genres I thought was involved in organising the necessary to comply with advisory days, which have the RPS requirements. This improved my photography approach was not working for immensely. I would recommend me as I could not achieve what members attend these I considered a cohesive portfolio events even if they have of work. no intention of pursuing During this process I attended a Distinction immediately. an advisory day as a spectator. I recently started This was a fantastic eye-opener concentrating on black and and I realised that for me the white photography. Many whole approach had been aircraft have an inherent wrong. I scrapped the portfolio artistic beauty as well as being and started again, realising I examples of exemplary detailed engineering design. The use of black and white can enhance “Air shows are popular in the UK and the artistic form, removing many photographers attend them” other distractions.

WHY THE PORTFOLIO WORKS distant photographs clearly speed of the jet (page 528) by Above Flt Lt Chris Martin Searle LRPS has based emphasise the important allowing some blurring of the Lyndon-Smith (‘Red 4’) of the RAF his work around a subject, element of the composition. subject as it moves through Red Arrows, 2018 aviation, although a theme The portrait (above) is well the frame. is not required at this level. executed, with good use of light By way of contrast, He has created a variety and excellent depth of field so movement is communicated of photographs that that the background does not in the photograph of the demonstrate his understanding become too distracting. Hurricane (opposite page) and ability in order to meet The movement we can see through the use of panning the Licentiate criteria. offers an insight into Martin’s and allowing the background There are close-up details thought processes, as he to blur. with an appropriately selected makes decisions such as point of focus, while more how to communicate the Simon R Leach FRPS

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Distinctions successes Congratulations to these RPS members LRPS EXEMPTIONS Jan Arnold, Fiona Smith, Glasgow Jennifer Baker, Exmouth ASSOCIATE THE JOURNEY MAY 2020 Shoreham-by-Sea Jennifer Willis, Belfast Alan Collins, Fareham NATURAL HISTORY JUNE 2020 Simon R Leach FRPS guides you through the three levels of RPS Distinction REPRO OP Megan Carine, Yeovil Amanda Burgess, London John Foster, Leytonstone Jennie Meadows, Les Cornwell, Buckhurst Hill LRPS Paul Herbert, Jersey Jean Robson, Middlesex Wendy Davies, Alton MAY 2020 John Henry Histed, Dumfriesshire Andrew Daw, Dunoon Ingrid Abery, London Chippenham Mark Cale, Stanmore LRPS EXEMPTIONS Hilary Dickson, Farnham Kate Barclay, Norwich Julie Holbeche-Maund, JUNE 2020 Will Dickson, Farnham Jane Barrett, Nuneaton FELLOWSHIP FINE ART Sean Doyle, Lincolnshire Kevin Flanagan, Aberdeen Southend-on-Sea Thomas Cheng, Hong Kong MARCH 2020 Scott Near, Edinburgh Linda Gates, Andover Philip Bedford, London Polina Plotnikova, Bromley SUBS Isabella Hillhouse, Dunoon Mary Braddock, Addlestone ASSOCIATE FINE ART ARPS EXEMPTIONS Atul Kshirsagar, Eastleigh Victoria Ferrier, Redhill JUNE 2020 FELLOWSHIP RESEARCH APRIL 2020 Rob Lavers, Warwick Judy Ford, Umberleigh Nigel Dutt, Exeter MAY 2020 Lorraine Hamilton, Bristol Cameron Leask, Linlithgow Catherine Knee, Adrian Park, Whitley Bay Dr Derek Trillo, Stockport Anthony Leech, Stafford Lutterworth Kevin Casha, Malta ARPS EXEMPTIONS Andrew Leonard, Ellon Yilan Song, Hong Kong ASSOCIATE TRAVEL Terry Flaxton, MAY 2020 Beimeng Liu, Fuzhou (Hei Kong) Draco Wong, JUNE 2020 Shepton Mallet ART Ray Hobbs, Burry Port Fengying Long, Leshan Hong Kong Bob Chiu, Los Angeles Vanessa Lees, Surrey Roger Marks, Maidstone Htet Hein, Singapore FELLOWSHIP Andrew Mills, Ipswich ASSOCIATE FINE ART Checky Lam, Hong Kong NATURAL HISTORY LRPS (Muriel) Ann Nissen, Salford MARCH 2020 Lung-Tsai Wang, Taiwan JUNE 2020 MARCH 2020 Francis Peckham, London Gus-Al-Hussani, Ellon Kwok-Shing Yau, Lakshitha Karunarathna, Urs Albrecht, Cordast Nicola Robley, Carlisle Kathryn Alkins, London Hong Kong Sri Lanka PRODUCTION

Above Simon R Leach The three RPS Distinctions You will need more than ideas FRPS frequently speaks together make up a creative to exploit your artistic medium, on the subject of journey. From Licentiate, from photography to film.

CLIENT personal creative development through Associate and on to To communicate ideas clearly Fellowship, they encourage you and effectively an artist learns to develop your understanding which brushes and pigments to of photography. use. The photographer learns The RPS Distinctions team camera and lighting techniques, and wider Society provide tools whether analogue, digital or to help, such as talks, workshops mobile, using natural or artificial and advice, but the creative light sources. spark must come from you. You might focus on a varied Practitioners generally follow subject matter and your a logical process when learning personal voice may be unclear, their chosen artform. With but you will demonstrate photography, often the start creative ability and a high is that exciting realisation technical standard. an image can be captured. You'll probably then run Associate around photographing Moving on, your ideas in everything. Mostly your images photography will have matured are good enough, helped slightly. You will know your craft by in-built technologies. But and be comfortably in control occasionally a shot is not what of your device. While the most you would have liked and you difficult conditions can still might wonder what can be prove challenging, you should done better. So what next? be able to create the image you intended. More importantly you Licentiate will have started to understand This level allows you to learn the the genre of photography, and photographic craft, composing photographers, that influence

Above Bristol Blenheim Mk 1 CANDANEDO JC images in different scenarios. and excite you.

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BLACK YELLOW MAGENTA CYAN DISTINCTIONS / SOCIETY Distinctions, 6

Distinctions successes Congratulations to these RPS members Fiona Smith, Glasgow Jennifer Baker, Exmouth ASSOCIATE THE JOURNEY Jennifer Willis, Belfast Alan Collins, Fareham NATURAL HISTORY John Foster, Leytonstone JUNE 2020 Simon R Leach FRPS guides you through the three levels of RPS Distinction Paul Herbert, Jersey Jean Robson, MAY 2020 John Henry Histed, Dumfriesshire Ingrid Abery, London Chippenham Mark Cale, Stanmore Kate Barclay, Norwich Julie Holbeche-Maund, Jane Barrett, Nuneaton FELLOWSHIP FINE ART Southend-on-Sea Thomas Cheng, Hong Kong MARCH 2020 Philip Bedford, London Polina Plotnikova, Bromley Mary Braddock, Addlestone ASSOCIATE FINE ART Victoria Ferrier, Redhill JUNE 2020 FELLOWSHIP RESEARCH Judy Ford, Umberleigh Nigel Dutt, Exeter MAY 2020 Catherine Knee, Adrian Park, Whitley Bay Dr Derek Trillo, Stockport Lutterworth Kevin Casha, Malta Yilan Song, Hong Kong ASSOCIATE TRAVEL Terry Flaxton, (Hei Kong) Draco Wong, JUNE 2020 Shepton Mallet “While the most Hong Kong Bob Chiu, Los Angeles difficult conditions Htet Hein, Singapore FELLOWSHIP ASSOCIATE FINE ART Checky Lam, Hong Kong NATURAL HISTORY can still prove MARCH 2020 Lung-Tsai Wang, Taiwan JUNE 2020 challenging you Gus-Al-Hussani, Ellon Kwok-Shing Yau, Lakshitha Karunarathna, Kathryn Alkins, London Hong Kong Sri Lanka should be able to create the image you intended”

Above Simon R Leach The three RPS Distinctions You will need more than ideas Although you might be unsure FRPS frequently speaks together make up a creative to exploit your artistic medium, why you prefer the work of one on the subject of personal creative journey. From Licentiate, from photography to film. photographer over another, development through Associate and on to To communicate ideas clearly there is something about the Fellowship, they encourage you and effectively an artist learns style and subject matter you to develop your understanding which brushes and pigments to would like to emulate. You of photography. use. The photographer learns should understand what you The RPS Distinctions team camera and lighting techniques, are trying to communicate and and wider Society provide tools whether analogue, digital or recognise others with a similar to help, such as talks, workshops mobile, using natural or artificial vision to yours. You are exploring and advice, but the creative light sources. an individual approach, and spark must come from you. You might focus on a varied gaining a deeper understanding Practitioners generally follow subject matter and your of how to edit, present, a logical process when learning personal voice may be unclear, sequence and hang your work. their chosen artform. With but you will demonstrate photography, often the start creative ability and a high Fellowship is that exciting realisation technical standard. At this point you will have a an image can be captured. deep understanding of your You'll probably then run Associate medium and a wide field of around photographing Moving on, your ideas in reference. Your work will be everything. Mostly your images photography will have matured cohesive in its use of craft and are good enough, helped slightly. You will know your craft appropriate techniques. You by in-built technologies. But and be comfortably in control will have an individual way of occasionally a shot is not what of your device. While the most seeing and communicating, you would have liked and you difficult conditions can still and your work will have an might wonder what can be prove challenging, you should identifiable, distinctive and done better. So what next? be able to create the image you consistent style. intended. More importantly you Licentiate will have started to understand Simon R Leach FRPS is This level allows you to learn the the genre of photography, and chair of the Documentary photographic craft, composing photographers, that influence Distinctions panel and

Above Bristol Blenheim Mk 1 JC CANDANEDO images in different scenarios. and excite you. an Applied assessor

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91RPSAUG20166.pgs 02.07.2020 19:27 SOCIETY / ONLINE COMPETITION VERSION It’s a goal! Happiness NOEL BENNETT ARPS TREVOR DINGLE

My five-year-old Labradoodle coating of frost to help keep which helped minimise on single point centre focus, The shot was taken around REPRO OP Bella has always provided an her cool. She loves running distractions. I could have at 2000th/sec shutter, f/2.8 the corner from the office. endless wealth of portrait between the goal posts – zoomed in but thought the shallow DoField, auto ISO I just liked how the sunlight and action photography. or maybe I’m just good at space and full goal important choosing a value of 200, and the message on the This shot was taken at throwing the ball. I shot the for punch and composition. using a 24-70 f/2.8 Nikon red wall were brightening 8.30am in Westbridge Park, image from the bottom of a After several rehearsals lens (used at the long end) up an otherwise dull Staffordshire, with a good bank looking up to the sky, I was ready with my camera attached to a D810. street scene.

SUBS I had seen the graffiti appear a few days beforehand and although not normally a great fan of graffiti, on this occasion it added to the scene and I thought I would ART capture it before it was painted out or otherwise defaced. It needed some light so I took a camera to work on a promising day Cosina CT1G – a much for the job. underrated camera from

PRODUCTION I prefer film, so used the 1980s, of which I have colour print film in a several. It is small and light CLIENT

ENTER THE NEW LOOK ONLINE COMPETITION Getting the message MYRA STOKES ARPS Exposure is the new RPS members’ online competition. It will run bimonthly, with a This image was captured household. I was enjoying a special guest photographer selecting their favourite winning images. Submit your during the current Covid-19 walk in the Buckinghamshire Exposure photos in response to a theme for a chance pandemic, a few days after the countryside when I to win a full-frame, mirrorless Nikon Z6 and government announced we spotted these two women, Enjoy the top entries from the last monthly RPS online Z 24-70mm f/4 S lens (worth c£2,000). were allowed to meet outdoors clearly adhering to the photo competition, themed around happiness exposure.rps.org with a person from another social distancing rules

RPS JOURNAL JULY / AUGUST

BLACK YELLOW MAGENTA CYAN Monthly comp, 1 Happiness TREVOR DINGLE coating of frost to help keep which helped minimise on single point centre focus, The shot was taken around her cool. She loves running distractions. I could have at 2000th/sec shutter, f/2.8 the corner from the office. zoomed in but thought the shallow DoField, auto ISO I just liked how the sunlight space and full goal important choosing a value of 200, and the message on the throwing the ball. I shot the for punch and composition. using a 24-70 f/2.8 Nikon red wall were brightening image from the bottom of a After several rehearsals lens (used at the long end) up an otherwise dull bank looking up to the sky, I was ready with my camera attached to a D810. street scene. I had seen the graffiti appear a few days beforehand and although not normally a great fan of graffiti, on this occasion it added to the scene and I thought I would capture it before it was painted out or otherwise defaced. It needed some light so I took a camera to work on a promising day Cosina CT1G – a much so can be easily carried in for the job. underrated camera from my rucksack without I prefer film, so used the 1980s, of which I have drawing attention to itself colour print film in a several. It is small and light or weighing me down.

ENTER THE NEW LOOK ONLINE COMPETITION Getting the message MYRA STOKES ARPS Exposure is the new RPS members’ online competition. It will run bimonthly, with a This image was captured household. I was enjoying a while enjoying the view special guest photographer selecting their favourite winning images. Submit your during the current Covid-19 walk in the Buckinghamshire and, more importantly, Exposure photos in response to a theme for a chance pandemic, a few days after the countryside when I getting the message. to win a full-frame, mirrorless Nikon Z6 and government announced we spotted these two women, I took the image with a Enjoy the top entries from the last monthly RPS online Z 24-70mm f/4 S lens (worth c£2,000). were allowed to meet outdoors clearly adhering to the Sony RX100 VI, 24-200mm photo competition, themed around happiness exposure.rps.org with a person from another social distancing rules lens, 1/200 sec, f/10, ISO125.

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91RPSAUG20167.pgs 02.07.2020 17:06 VERSION Raymond F Ruddick HonFRPS

Ray Ruddick died in April 2020 aged 99. Ray was one of the last REPRO OP remaining medical photographers selected during the Second World War to photograph and document the injuries sustained by service personnel. SUBS Richard Ray served in the RAF as a medical assistant before becoming a service medical photographer. Sadler His principal role was as photographer for the orthopaedic surgeons ART FRPS Henry Osmond-Clarke and Reginald Watson- Jones, taking pictures The photographer and of orthopaedic injuries sustained by airmen. teacher Richard Sadler FRPS, In 1947 Ray was invited who spent six decades by Osmond-Clarke to PRODUCTION documenting life in his native become his photographer Coventry, has died age 92. in the newly configured Born in the city in orthopaedic department 1927, Richard trained at the London Hospital, in photography at the Whitechapel. This studios of Edward Eves in appointment Leamington Spa. At the re-established their CLIENT time Eves had invented and working relationship, and in 1950 the sold the “one shot” colour orthopaedic department camera, which led to Richard of medical photography producing colour prints by ‘Weegee the famous’, 1963, by Richard Sadler FRPS ‘Gypsy on gated road, Warwickshire’, 1950, was inaugurated. trichrome carbro and dye- by Richard Sadler FRPS transfer processes. He later held major David Briggs ARPS photographic posts in the In the late 1960s Richard Gallery and the Center for textile and aircraft industries became involved with Creative Photography. David Briggs, a in Coventry. With Sir photographic education, first Over the decades Richard member of the RPS since Armstrong Whitworth he at the Coventry College of Art, touched the lives of many as the early 1970s, died on gained experience in publicity Design and Technology, then he captured the economic and 16 April at the age of 79 photography and research. at Derby College of Art and cultural boom, and underlying having lost his battle against Alzheimer’s Later he joined Courtaulds’ Design until his retirement in poverty, of post-war Coventry. disease and lower textile research laboratories 1994. In 2005 he received an He will be best remembered respiratory tract infection. and in 1960 became joint honorary doctorate from for his portrait of American I first met David when managing director of the the University of Derby. photographer Arthur Fellig, I was the organiser for the colour laboratory HICOL, His continuing professional known as Weegee, who visited North West Region from as well as director of his practice was, in its day, an the city in 1963. Richard’s 2006 to 2016. He had own commercial studios. unusual package. There was image uses Weegee’s taken early retirement Joining the RPS in 1960, his long-term contract as technique of getting close to, from his career as a Richard became a member in-house photographer with and isolating, the action. publications manager with of the Distinctions advisory the Belgrade Theatre. He was Richard, who died at home VSEL – now BAE Systems – at its Barrow-in-Furness board and the Contemporary specialist adviser on the arts in Monmouthshire, is shipyard to concentrate on Distinctions panel. As the panels of both East Midlands survived by his partner Sue his photographic business. inspirational chair of the and West Midlands Arts. Richardson and his daughters. Although he lived in Contemporary Group, he And his work appeared in the Lake District, David edited its journal. In 2005 he the collections of the V&A Michael Hallett ASICI FRPS often attended the

received the Fenton Medal. Richard Sadler FRPS by Mike Hallett ASICI FRPS Museum, the National Portrait RICHARD and Alan Cameron LRPS North West Region SADLER FRPS / VICTORIA AND ALBERT MUSEUM, LONDON

RPS JOURNAL JULY / AUGUST

BLACK YELLOW MAGENTA CYAN OBITUARIES / SOCIETY Obituaries, 1 Raymond F Ruddick HonFRPS

Ray Ruddick died in Simultaneously, the long- photographing hidden April 2020 aged 99. established outpatient lesions and as such Ray was one of the last department of medical worked closely with remaining medical photography served other forensic pathologists. photographers selected clinical departments. In In September 1981, Ray during the Second 1969 the two departments used this technique in World War to photograph merged, with Ray the Azaria Chamberlain and document the becoming the chief ‘Dingo Baby’ case, injuries sustained by medical photographer. photographing the service personnel. A founder member and child’s jumpsuit. Ray served in the RAF former treasurer of the Ray semi-retired in 1982 as a medical assistant RPS Medical Group, Ray but continued working before becoming a service also made 16mm medical part-time until around medical photographer. films and in 1963 was 1993 at the London His principal role was awarded a British Medical Hospital Medical College as photographer for the Association gold award department of forensic orthopaedic surgeons for his film Muscle medicine, where he Henry Osmond-Clarke Function of the Fingers. documented the and Reginald Watson- He recorded the Turin Shroud. Jones, taking pictures consultant’s commentary Ray was an excellent of orthopaedic injuries on magnetically striped teacher, mentor and sustained by airmen. 16mm film, originally department manager. In 1947 Ray was invited while they sat in a bespoke Several of his protégés by Osmond-Clarke to soundproof booth he went on to run their become his photographer designed. Later, the own departments. His in the newly configured projector would be housed darkroom skills and orthopaedic department inside the booth with the technical excellence were at the London Hospital, consultant sitting beside it. an example to the whole Whitechapel. This The projector had a tape team. In 1973 Ray was appointment recording facility that awarded the Rodman re-established their allowed for real time Medal and in 1983 working relationship, synchronous recording received his Honorary and in 1950 the whilst projecting the film. Fellowship. He was also orthopaedic department Ray was a pioneer of an accomplished pianist, of medical photography reflected ultraviolet light gardener and angler. ‘Weegee the famous’, 1963, by Richard Sadler FRPS ‘Gypsy on gated road, Warwickshire’, 1950, was inaugurated. photography used for Ian Berle by Richard Sadler FRPS David Briggs ARPS In the late 1960s Richard Gallery and the Center for became involved with Creative Photography. David Briggs, a meetings in Manchester. landscape photographs photographic education, first Over the decades Richard member of the RPS since I co-opted him on the at various venues in the at the Coventry College of Art, touched the lives of many as the early 1970s, died on North West Region north-west. He illustrated Design and Technology, then he captured the economic and 16 April at the age of 79 committee to organise two numerous books, at Derby College of Art and cultural boom, and underlying having lost his battle ‘Walks in the Lake District including the classic against Alzheimer’s countryside’ events, one in Cockley Beck: A Celebration Design until his retirement in poverty, of post-war Coventry. disease and lower the spring and the other in of Lakeland in Winter by 1994. In 2005 he received an He will be best remembered respiratory tract infection. autumn, to photograph John Pepper and, with the honorary doctorate from for his portrait of American I first met David when landscapes with glorious late John Dawson, two the University of Derby. photographer Arthur Fellig, I was the organiser for the seasonal colours. titles on the Lakes, His continuing professional known as Weegee, who visited North West Region from David was a passionate Wordsworth’s Duddon practice was, in its day, an the city in 1963. Richard’s 2006 to 2016. He had professional landscape Revisited and A Dream unusual package. There was image uses Weegee’s taken early retirement photographer and used of Eden. his long-term contract as technique of getting close to, from his career as a to run tutorials on David is survived by in-house photographer with and isolating, the action. publications manager with landscape photography his wife Jill, two daughters the Belgrade Theatre. He was Richard, who died at home VSEL – now BAE Systems during the walks. These and two grandchildren. – at its Barrow-in-Furness events were popular and I have lost a dear friend, specialist adviser on the arts in Monmouthshire, is shipyard to concentrate on well attended. In 2015 and David will be sorely panels of both East Midlands survived by his partner Sue his photographic business. I had the pleasure of missed by his family, and West Midlands Arts. Richardson and his daughters. Although he lived in presenting David with the friends and all those And his work appeared in the Lake District, David RPS Long Service medal. who knew him. the collections of the V&A Michael Hallett ASICI FRPS often attended the David held many Professor Afzal Ansary

Richard Sadler FRPS by Mike Hallett ASICI FRPS Museum, the National Portrait RICHARD SADLER FRPS / VICTORIA AND ALBERT MUSEUM, LONDON and Alan Cameron LRPS North West Region exhibitions of his ASIS FRPS

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91RPSAUG20168.pgs 02.07.2020 17:04 Mifsuds 1 VERSION REPRO OP SUBS ART PRODUCTION CLIENT

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BLACK YELLOW MAGENTA CYAN 91RPSAUG20106.pgs 01.07.2020 12:12 THE COLLECTION / SOCIETY VERSION The collection, 1 THE ART OF EVOLUTION As the RPS Journal enters an exciting new era, Michael Pritchard FRPS REPRO OP looks back over its 167-year history

The changes to the RPS Journal, evident from the as with this issue’s which you can read about on page 441, contemporary format and design of this issue, are just the has been a response to developments in printing technology, latest in its 167-year history. The world’s oldest photography and the changing role of the Journal for non-members and,

SUBS publication, with a continuous history since 3 March most importantly, for the membership. 1853, the Journal just pips the equally prestigious The Journal has reported and been part of the British Journal of Photography, which first appeared artistic and scientific debates affecting photography in January 1854. VISIT and is a key source for historians. In 1953 the The Society recognised the need for a journal The RPS Collection is at scientific papers were moved to a separate Society the V&A Photography from its outset. It was intended to communicate its Centre, London publication, the Journal of Photographic Science, proceedings and report “the progress of photography vam.ac.uk since when the Journal has focused on general ART both at home and abroad”. Council believed features, photographers and the photographic the Journal would “receive not only the approval of the image, rather than the equipment, optics and members, but the support of photographers in general”. chemistry of the early years. Nearly 3,000 copies of the early issues were printed – It is well placed to fulfil this role into the future. far in excess of the membership. The design evolved from simple letterpress with occasional Michael Pritchard FRPS is the RPS director

PRODUCTION line engravings, to tipped-in photographs, and then to half-tone of education and public affairs. A complete run of reproduction, with a shift from black and white to colour and, the Journal is held at RPS House, Bristol. The Journal in 1970, illustrated covers. Each of these evolutionary leaps, from 1853 is available online at archive.rps.org CLIENT

Top row The Journal and Transactions of the Photographic Society of Great Britain, May 1894; The Photographic Journal, April 1942; The Photographic Journal, January 1970; The Photographic Journal, December 1970

Bottom row The Photographic Journal, February 1971; The Photographic Journal, December 1971; The Photographic Journal, November 1972

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BLACK YELLOW MAGENTA CYAN 91RPSAUG20169.pgs 02.07.2020 18:18 BACK STORY Back story, 1 VERSION REPRO OP SUBS ART PRODUCTION CLIENT

Artist and writer Yayoi Kusama in her Shinjuku studio, Tokyo, Japan 2016, by Alex Majoli ALEX MAJOLI The Magnum photographer remembers his second shoot with the ‘polka dot princess’

With her striking red bob, Yayoi Kusama The shoot was the second Majoli had done is as recognisable as her immersive, highly with Kusama. He first photographed her in 1994, Instagrammable polka dot-covered installations. when he was the official photographer for the 1993 This portrait of the Japanese contemporary Venice Biennale and she was exhibiting her work artist, now aged 91, was made by Alex Majoli, in a mirror installation at the Japanese Pavilion. who is best known as a conflict photographer. “She’s been photographed millions of times, It features in Magnum Artists, a new book but I wanted to capture her unencumbered,” showcasing portraits of leading fine artists of the Majoli said. “People wear masks and act out in 20th and 21st century by Magnum photographers. society through this facade, but artists are more Majoli took this portrait, a commission for Time vulnerable, they aren’t hiding from anything. magazine’s ‘100 Most Influential People’ issue of Kusama wasn’t afraid of the way she would be 2016, at Kusama’s studio. “She was natural, fully portrayed by me.” immersed in her brush, her colours,” he said in an interview for Time. “In a portrait, you get a stiff Magnum Artists is published by Laurence King.

smile, but when you give them a brush, they go.” laurenceking.com MAJOLI / MAGNUM PHOTOS ALEX

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