2016 AGM

AHFAP Annual General Meeting Agenda
IWM London, 10 November 2016, 1pm

Apologies for absence
Minutes of last meeting
2015 Minutes for approval (Adobe PDF)
Chair’s report
Treasurer’s report
Membership Secretary’s report
AHFAP legal status review
Legal & Tax review document (adobe PDF)
Motion: The association shall relinquish its current status as an Unincorporated Association and subject to independent legal advice on the conversion process, move to being an Associate Charitable Incorporated Organisation.
Elections to the Committee
See 2016 Committee Nominations below
Notice of next meeting
Close of meeting

2016 Committee Nominations
One nomination received
Richard Everett
Photographic Manager
Wellcome Trust

I would like to be considered for election to the post of Chair for the following reasons:

Firstly, having already achieved a number of goals in my photographic career and therefore looking to expand my experience by engaging with a new challenge and, if elected as Chairman of AFHAP, would bring my passion, enthusiasm and experience of the industry to this role. I have 35 years experience working in the field, across a wide range of photographic disciplines, the majority of my career having been in the Cultural Heritage Sector. As Head of the Photographic Department at the Wellcome Trust, my current role has allowed me to develop good leadership, negotiating and strategic skills, whilst remaining both impartial and objective. I have frequently operated at a senior level chairing meetings and special interest groups, whilst more recently acting as a representative for staff in negotiations with the Executive Board on a highly critical issue, for which I received praise on the outcome from both staff and the organisation’s Directorate.

In addition, having worked in the industry for this lengthy period of time has allowed me to build up a wide network of industry contacts, which I would bring to bear in delivering our shared vision for the association. Further I was instrumental in bringing the Preservation Advisory Committee Imaging Group into AFHAP and currently Chair that Special Interest Group (SIG), from which I shall be stepping down in late October.

Building on the excellent work of the current chairman, and with his support, I believe there is much more that the Association could achieve, and if elected I would have the full support of my senior managers in devoting the time that I feel would be required, in working with the committee members to best serve the wider membership of this great Association.

I began my career as a Medical Photographer, qualifying in 1986 at the Royal London Hospital. I also passed / HND in Photography and Design at Twickenham College of Technology. I then went on to spend 3 years working at The British Library as a photographer ending up working mainly in their press department covering many assignments around the country. In the early 90’s I was one of the first students in the country to complete a degree in Electronic Imaging at North East Surrey College of Technology. I have worked in the commercial sector for IPC magazines and Camera Press as well as working as a photographer at Christies Auctioneers, before joining the Wellcome Trust in 1993 where I am now the Photographic Manager responsible for running and developing a team of six Photographers.

No nominations received by the 6 October deadline, but Ivor Kerslake offered to stand on the 23 October.
At the committee meeting held on 7 October, the current incumbent, Ben Gilbert agreed to stand for one more year, but expressed a wish that a replacement be found earlier.

Membership Secretary
One nomination received
Steve Cole
Current Membership Secretary
I am Steve Cole and I have been Membership Secretary of the Association since 2009. During this time I have enjoyed corresponding with members and feel that I have built up a relationship with many of them. After all this time I think I have a pretty good idea of what the job entails and I would be happy to continue in this role for another two years.

Minutes Secretary
No nominations received
At the committee meeting held on 7 October, the current incumbent, Colin Maitland agreed to stand for a full two year term.

Recent Posts

Paolozzi: Mosaics to Maquettes

Author: John Bryden

In February 2016 I was tasked with digitising a large number of mosaic pieces which once comprised an Eduardo Paolozzi mural, previously installed in Tottenham Court Road Tube Station, London in 1984. The work of the Scottish artist was acquired by the University of Edinburgh Art Collection in October 2015 following its removal from the tube station arches by Transport for London.

The dissipate mural consisted of approximately 500 fragments spread over 42 boxes and 4 pallets. Dependent on what percentage of the original mural we had actually acquired, the initial long-term plan was to reconstruct the mural and install it within the university campus, giving it a new life. From the outset however, it became clear that piecing it all back together again would be challenging. We decided to attempt to digitally reconstruct the mural first to give a better idea of the potential for physical reconstruction. This would also help us establish what percentage of the whole mural was represented among the pallets and boxes….an unusual, but exciting, project to say the least!

On a technical level, I used a Hasselblad-H4 camera and professional, Bowens studio lights within my digitisation process. To begin with, I captured several mosaic fragments in one shot and then went on to crop, and edit, each piece individually before saving as a separate, new file. The tricky part came in ensuring that the scale of each fragment would be represented correctly with every image produced. I, therefore, set the camera at a distance from the mosaics that would represent a 1:1 ratio in scale, placing a ruler within each raw image capture in order to make minor adjustments at a later stage if necessary. The result meant that, when using the images in image processing software, the pieces would be of a relative size to one another. If the size of the fragments was incorrect then this would only cause problems further down the line when trying to complete this very large digital jigsaw puzzle. Further, the faces/upside of the mosaics had to be perpendicular to the focal plane of the camera and, collectively, the mosaics had to be of equal distance to focal plane. The same principles applied for the positioning of the ruler itself. This confirmed that perspectives would not be distorted and that the relative size of the mosaics would remain consistent throughout the project.



The image management process for this project involved saving the final cropped images as both tiff and png files. Having cropped directly around the edges of each fragment (i.e. with no background around the mosaic itself), the png files would then allow the fragments to be arranged edge to edge where possible. This process was key regarding the next stage of the project.

The images of the mosaics were then transferred to Professor Bob Fisher of the University’s Informatics Department. This cross departmental work seems particularly fitting as Paolozzi had close ties to the Informatics department and this relationship is visible in the form of several Paolozzi sculptures dotted about the Informatics buildings. With the help one of his PhD students, Professor Fisher used image recognition software, that he had developed, to digitally piece back together the fragments so to reflect the original design of the mural as best as possible. Professor Fisher had access to original images of the Paolozzi Mural in situ at Tottenham Road Tube Station which served as a vital reference point. To give a simple analogy, these original images would act as the cover image you would see on the box of a jigsaw puzzle, with the images of the individual mosaic fragments representing the pieces inside the box.

Art Collections Curator, Neil Lebeter, and I produced a short video interview with Professor Bob Fisher and Phd student, Alex Davies, where they discuss their work process, the challenges, and uniqueness, of this particular project and the results they have found to date. It is an interesting watch!


Since the making of this interview the project plans have developed in light of Bob and Alex’s findings. In August 2016 the University employed a Public Art Officer, Liv Laumenech. As well as caring for, and developing the public art collection, she also has the responsibility of figuring out what to do with the fragments. Given that a large portion of the arches are missing, to reconstruct the arches now seems an unlikely option. The next step that has been taken is to organise an interdisciplinary symposium in February 2017 that will bring together Paolozzi experts, conservators and mosaicists to brainstorm ideas for redisplay and use of the fragments with students. Until such time as a decision is made regarding their redisplay, the mosaics have been used in teaching and as part of visits by researchers and the general public to the art collection.

Having completed my side of the Paolozzi Mosaics Project, I have been lucky enough to get the opportunity to digitise a large number of Paolozzi maquettes which are also part of the University of Edinburgh Art Collection. The collection encompasses a wide range of weird and wonderful pieces. Among his maquettes we can see where he began developing his ideas for what became his piece, The Manuscript of Monte Cassino (also known as the ‘big foot’), situated outside St Mary’s RC Cathedral here in Edinburgh.


Digitising the mosaic fragments involved a more consistent photographic approach in terms of camera positioning and lighting, whereas working with the maquettes has offered slightly more freedom in this regard. I have been lighting and positioning each maquette in a way that best exhibits the physical attributes of that particular object. Here are a number of the maquettes pictured below.




We have also had Digital Heritage specialist Clara Molina Sanchez in the studio carrying out 3D work on one of the maquettes. This should render a high quality 3D visualisation of the object. Currently we are looking at ways of delivery such 3D images online. Here, Clara has kindly allowed us to show an interesting behind-the-scenes shot of her setup.


John Bryden

Project Photographer

Digital Imaging Unit

University of Edinburgh



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