From: Richard Sullivan FRPS (richsul@earthlink.net)
Date: 09/20/01-03:08:10 PM Z
Witho,
It means "Fellow of the Royal Photographic Society." Following the
tradition I use the initials after my name when signing photographic
related correspondence.
For those who aren't aware the RPS has joined forces with the National
Museum of Photography Film and Television in Bradford England. The world
renowned RPS Photography Collection will be housed there. The RPS will
maintain its identity. Though the details have not been released yet, it
is rumored that there is some considerable National Trust money involved.
It is an interesting collaboration between the Old Guard (RPS) and the
Young Turks (NMPFT). I spend some time in the UK, usually once every year
or two and I feel a rising sense of Photographic Renaissance brewing there.
I happen to be an American but the RPS membership is open to everyone.
Three Americans are receiving awards this year.
http://www.nmpft.org.uk/home.asp
Join.
--Dick Sullivan
At 09:28 PM 9/20/2001 +0200, you wrote:
Richard, what means FRPS behind your name ?
Witho
At 09:28 PM 9/20/2001 +0200, you wrote:
>Richard, what means FRPS behind your name ?
>
>Witho
>
>----- Original Message -----
>From: "Richard Sullivan FRPS" <richsul@earthlink.net>
>To: <alt-photo-process-l@skyway.usask.ca>
>Sent: Thursday, September 20, 2001 9:14 PM
>Subject: Christopher's Book reviewed!
>
>
> > Christopher James's book was reviewed in the Washington Post. Great
>review.
> > It's a month old and maybe it was mentioned here before. Great book!
> >
> > http://www.washingtonpost.com/wp-srv/photo/essays/vanRiper/010817.htm
> >
> > It is my first ever national press comment on my own work so I am tickled
> > about it.
> >
> > Just a portion quoted here. Go to the link for the rest.
> >
> > >To photographers like myself, whose personal work often is straight black
> > >and white documentary photography, a book that describes how to print
> > >photos on bed sheets may seem like an odd favorite. Let me say here: Much
> > >"alternative" work leaves me cold. I find far too much of it overproduced
> > >and under-inspired - a photographic throwback to the '70s, in which
> > >multi-layered images with mannered borders and fringes, used to tart up
> > >pedestrian photographs, resemble not so much inspired imagery as tie-dyed
> > >T-shirts.
> >
> >
> > >That said, James's book does much to dispel the notion that alternative
> > >process work is only about process. What sets this book apart from other
> > >books - that too often rely on the not-always-wonderful work of the
>author
> > >alone - is the gorgeous sampling of first-rate work by so many
> > >photographers, among them Sally Mann, George Tice, Anna Atkins, Julia
> > >Margaret Cameron, Jerry Uelsmann, Judy Vejvoda, Dick Sullivan and Deborah
> > >Luster. Virtually all of the work here, whether it be Luster's sensuous
> > >nude done with silverprint liquid emulsion on aluminum panels, or
> > >Sullivan's austere ziatypes (an offshoot of platinum/palladium), shows
> > >first and foremost a respect for the image. Only then does the
>alternative
> > >process chosen to display the image come into play, to create a
> > >satisfying, often beautiful, union.
> >
> >
> > Cheers.
> >
> > --Dick Sullivan
> >
> >
> >
> >
> >
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