Almost 7200 pictures were used in this timelapse. The majority were shot on a pair of Canon 5D MkII cameras specifically set up for shooting this timelapse (with a 16-35mm f2.8L II and 24-105mm f4L), one being triggered by a Pocket Wizard Multimax and the other by the highly configurable IO Shutter running on an iPad 3. A GoPro HD Hero was used for the overhead view timelapse. Reportage images were shot on a Leica M9 and M9-P (using a 50mm Noctilux ASPH, 35mm Summilux ASPH and 28mm Summicron ASPH). The images were all processed in Apple’s Aperture and the video created using Apple’s FCP X.

Huge word of thanks to everyone involved, especially the team from Sotheby’s press office, the lighting crew , technicians and contemporary art experts.

Opening of the Leica Studio-S, 27 Bruton Place, Mayfair. Portraits of photographer Edmond Terakopian trying out the new Leica M Monocrom and APO-Summicron-M 50mm f/2 ASPH. May 16, 2012. Photo: By Brett / www.bybrett.com

I have to admit that when I first read rumours of a black and white Leica M, I thought it would never happen. When I saw the announcements, I was a tad surprised, until I saw the images. Such tonal range and amazing detail at very high ISOs all of a sudden made so much sense.

Test shots with the Leica M Monochrom and APO-Summicron-M 50mm f/2 ASPH. Camera was set to jpeg. 640 ISO. ***All shots on a pre-production Leica M Monochrom***. May 16, 2012. Photo: Edmond Terakopian

Test shots with the Leica M Monochrom and APO-Summicron-M 50mm f/2 ASPH. Camera was set to jpeg. 640 ISO. ***All shots on a pre-production Leica M Monochrom***. May 16, 2012. Photo: Edmond Terakopian

I was fortunate enough to be able to try out a pre-production Leica M Monochrom today, along with the astonishingly great Leica APO-Summicron-M 50mm f/2 ASPH. In my enthusiasm to shoot with the camera I unfortunately didn’t check to see if the camera was set to RAW, so all these test images are from jpegs which I have processed a little in Aperture. Naturally RAWs produce the best files, so take these jpegs, which have been saved again as jpegs and thus degraded the image quality (especially at higher ISOs) as a guide. Even so, they are amazingly good!

Test shots with the Leica M Monochrom and APO-Summicron-M 50mm f/2 ASPH. Camera was set to jpeg. 8000 ISO. ***All shots on a pre-production Leica M Monochrom***. May 16, 2012. Photo: Edmond Terakopian

Test shots with the Leica M Monochrom and APO-Summicron-M 50mm f/2 ASPH. Camera was set to jpeg. 8000 ISO. ***All shots on a pre-production Leica M Monochrom***. May 16, 2012. Photo: Edmond Terakopian

Test shots with the Leica M Monochrom and APO-Summicron-M 50mm f/2 ASPH. Camera was set to jpeg. 10,000 ISO. ***All shots on a pre-production Leica M Monochrom***. May 16, 2012. Photo: Edmond Terakopian

Test shots with the Leica M Monochrom and APO-Summicron-M 50mm f/2 ASPH. Camera was set to jpeg. 10,000 ISO. ***All shots on a pre-production Leica M Monochrom***. May 16, 2012. Photo: Edmond Terakopian

One of the great aspects of the launch event for the press at Leica Mayfair’s S-Studio was being able to discuss the camera with friends and colleagues.

Photographer Ian Berry from Magnum Photos tries out the new Leica M Monochrome. May 16, 2012. Photo: Edmond Terakopian (Image shot on an M9-P and processed in Silver Efex Pro 2)

Photographer Ian Berry from Magnum Photos tries out the new Leica M Monochrome. May 16, 2012. Photo: Edmond Terakopian (Image shot on an M9-P and processed in Silver Efex Pro 2)

I must admit to being blown away and yearn to be able to work in black and white like the good old days!

The huge thing with this camera is not needing the bayer filter in front of the sensor. This makes the sensor much better at picking up ultra fine detail and a wider tonal range, not to mention it’s ability to produce really gorgeous files at 8000 ISO. Just playing with these jpegs it’s clear to me that Leica have in fact pulled off a master stroke of absolute genius. I can’t wait to get my hands on this camera again, shoot in DNG and process them properly through Aperture. It is going to be lush!

For a full set of images taken with the M Monochrom, visit my Flickr stream.

Photogrpher Edmond Terakopian during a street photography workshop for the Metropolitan Police Photographic Society. London. September 17, 2011. Photo: Steve Osborm

For anyone in Berkshire or the surrounds, I’ll be giving a presentation of my work and having a chat with a Q&A at Thatcham Photographic Club on June 13th. If you’re interested in popping by, it would be good to have you. Contact the club directly to make a booking.

We’ll be raffling one of my prints, with the proceeds going to the club. Additionally, it’s my pleasure to announce that I’ll also be making several prints, from two of my images from Armenia available for purchase, at very special prices.

Images from Armenia. Signed and embossed prints, made available at a special rate for the Thatcham Photographic Club talk in June. 24cm x 16cm (roughly) archival and embossed print, signed, £25.00. Photo: Edmond Terakopian (These prints were made on a Canon iPF6300 during the testing of the machine which is why I can offer them at this reduced rate).

Images from Armenia. Signed and embossed prints, made available at a special rate for the Thatcham Photographic Club talk in June. 45cm x 30cm (roughly) archival and embossed print, signed. £45.00. Photo: Edmond Terakopian (These prints were made on a Canon iPF6300 during the testing of the machine which is why I can offer them at this reduced rate).

For anyone wishing to purchase a print, please note that on the night, it will be cash only, so kindly make sure you have sufficient means! Alternatively, you can contact me via the Contact page to pay via BACS beforehand and collect your print on the night.

A note on copyright: Please note that by purchasing prints, you are buying a print and not the rights to the image.

Leica M Monochrom. Photo: © Leica

It does at first glance appear a tad odd; a digital camera that only shoots in black and white. There are two types of photographer who this camera will appeal too though; the high end enthusiast who is into monochrome photography and also the established professional photographer who has made a name for themselves by shooting black and white.

I’m very much hoping to do a hands on review soon, but meanwhile, Andreas Jürgensen from the Leica Forum has done an interesting video review.

The camera certainly appears not to be a Leica M9 which just shoots in B&W. It does indeed have a brand new sensor and it’s ISO range is upped to 10,000. Watching the video and listening to Andreas’ conclusions, the camera produces noiseless images at 3200 ISO and absolutely usable images at 8000 ISO. The sensor also renders massive amounts of micro detail. This camera appears to be an astonishing tool; an interesting concept brought to life with a brave decision making by Leica and also executed in a magnificent way. I really cannot wait to shoot with this camera and make some prints on my iPF6300 and Hahnemuhle paper!

Update: I’ve just read a fantastic piece by Jonathan Slack on the Leica M Monochrom; well worth a read and definitely check out the wonderful gallery of images.

Update: There are some images by Magnum Photos photographer Jacob Aue Sobol on the Leica M Monochrom site that are well worth checking out.

Leica M9-P ‘Edition Hermès’. Photo: © Leica

For me cameras and lenses are tools which let me create pictures to convey stories. I decide to choose the best tools for my way of working, which is why for most of my career, I have chosen Leica. Every once in a while though, Leica produce cameras which are probably never going to be used as a tool, but become works of great craftsmanship; objects of absolute beauty; works of art. I must admit that every once in a while, I do look upon some of these creations with great admiration from an aesthetic point of view and from appreciation of great craftsmanship. Having looked at the M9-P Edition Hermes, I feel this admiration again.

To quote from the Leica press release:

“The Leica M9-P ‘Edition Hermès’ is offered in a choice of two different sets, containing either one or three lenses. Compared to the standard versions, the lenses included in the sets also reveal numerous differences in design, ensuring perfect harmonisation between the cameras, their lenses and accessories.

The first of the Leica M9-P ‘Edition Hermès’ sets will be available in May 2012, in a worldwide limited edition of 300. In addition to the camera, the set includes a silver-anodised Leica Summilux-M 50mm f/1.4 ASPH. lens.

This will be followed by a very special set, which will be available in June 2012. The Leica M9-P ‘Edition Hermès’ – Série Limitée Jean-Louis Dumas, in a strictly limited edition of only 100 sets, is a celebration of the friendship and collaboration between Jean-Louis Dumas, the former president of Hermès, who died in May 2010, and Leica Camera AG. The camera in this set is accompanied by three lenses: a Leica Summicron-M 28mm f/ 2 ASPH., a Leica Noctilux-M 50mm f/0.95 ASPH. and a Leica APO-Summicron-M 90mm f/2 ASPH., all featuring a stunning silver-anodised finish.

Leica M9-P ‘Edition Hermès’ – Série Limitée Jean-Louis Dumas. Photo: © Leica

This unique collection of photographic equipment finds a fitting home in a hand-finished Hermès camera bag that is available exclusively as a part of this second set. This is the first Leica camera bag ever to have been created by Hermès, a company world-famous for its manufacturing excellence. As homage to Jean- Louis Dumas, a Leica photographer, the second set also includes a book with a selection of his pictures. On 190 pages, this photographic work in two volumes shows an entertainingly diverse portfolio of 200 black-and-white images captured by Jean-Louis Dumas with his Leica M camera.

The Leica M9-P ‘Edition Hermès’ is scheduled to be available in the UK from May 2012, at a UK suggested retail price of £18,000 inc VAT. The Leica M9-P ‘Edition Hermès’ – Série Limitée Jean-Louis Dumas is scheduled to be available in the UK from June 2012, at a UK suggested retail price of £36,000 inc VAT. In the UK, both cameras will be available exclusively from the Leica Store Mayfair, 34 Bruton Place, London W1J 6NR. Tel: 020 7629 1351, www.leica-storemayfair.co.uk  ”

Although way outside of the league of most working photographers, it is a thing of beauty; the camera, the lenses, the gorgeous bag and even the box.

Leica APO-Summicron-M 50mm f/2 ASPH. Photo: © Leica

Some amazing announcements made today by Leica in Berlin; the B/W only Leica M Monochrom, the beautifully crafted M9-P Edition Hermes, The Leica X2 and an amazing apochromatically corrected and aspherical 50mm lens; the Leica APO-Summicron-M 50mm f/2 ASPH.

I for one cannot wait to see results from this lens and hopefully try it out. Meanwhile, a couple of very interesting videos from Leica.

Following the RNOH film, I decided I wanted to do a different edit to our TAPTV film. My thoughts were to combine some photographs within the edit. At first I looked through the beautifully edited by Neil Patience film and realised that there were some nice still images within the footage. With Quicktime 7, I went back to the original Canon 5D MkII footage and exported some still images, particularly from the interview sections.

These images were imported into Aperture 3 where I processed them. For the B/W conversions I exported them into Nik Software’s Silver Efex Pro 2. Here I created four custom looks and these were applied to the images as appropriate. Using FCP X I then did an re-edit of the film, incorporating the images captures. I also used Red Giant’s Magic Bullet Looks 2 to grade the film slightly differently to our original.

Earlier this year, we decided that to coincide with the launch, it would be a great idea to shoot a proper photo reportage on the RNOH, so over a three and a half day period, using a Leica M9 and M9-P, I wandered the operating theatres, halls and wards (with the invaluable help from the fundraising and communications teams), making a set of pictures. I mainly shot the entire project using the Leica  50mm Noctilux APSH, the new 35mm Summilux ASPH and the 28mm Summicron.

These were first edited in Aperture for my agency Eyevine and once done, I set about incorporating them into my video edit. As before, Nik Software’s Silver Efex Pro 2 was used for the B/W conversions and I set about importing them into FCP X and making the new edit of the video.

There is something much more powerful with B/W imagery and for me, this version is even more powerful. It’s a full multimedia marriage of video, audio and photography. I’d love to know which version of the film you find stronger and why.

My biggest ask though is that if you were touched by this amazing place, please help in their redevelopment and donate to the RNOH fund. Thank you.

Lastly, here is a slideshow of my favourite photographs from the project:

I was very honoured when Neil Patience (an extremely talented video editor) invited me to take part in a project he was going to be involved in. He mentioned it was the RNOH, a hospital which I had already done several assignments in (photographing Princess Diana and on a separate occasion my first ever award winning picture; a wheel chair basketball game, to mention a couple).

In April 2010 we had a meeting with Rosie Stolarski (Head of Fundraising, RNOH Charity) and Professor Tim Briggs (Consultant Orthopaedic Surgeon), the subject of which was to make a fundraising appeal film. The original brief was for a very short, straightforward appeal type film, but after the first few days of shooting, Neil and I had decided to go for more of a documentary feel. Neil put together a rough cut of what we had already and we were overjoyed when the RNOH went for it and changed the brief.

Photographer and film maker Edmond Terakopian filming at the Royal National Orthopaedic Hospital in Stanmore. Filming in an operating theatre with two Canon 5D MkII camera, one on a Gitzo (GT3531LSV + G1380 head) and the other on a Zacuto Striker with the Zacuto Z-Finder Pro attached). Both cameras have Rode microphones attached for ambient sound recording. The VideoMic (closer) and VideoMic Pro. A Think Tank Photo Multimedia Wired Up 10 belt pack is also being used. May 16, 2011. Photo: Neil Patience

We spent a long time planning various aspects of the film, including the patient interviews. With the hospital team, we chose a cross section of their previous patients who had had the full gamut of operations, thus transforming their lives. We covered a wide age range and conditions to paint a full picture.

Photographer and film maker Edmond Terakopian filming at the Royal National Orthopaedic Hospital in Stanmore. Filming in an operating theatre with a Canon 5D MkII camera on a Zacuto Striker with the Zacuto Z-Finder Pro attached and the Rode VideoMic Pro. A Think Tank Photo Multimedia Wired Up 10 belt pack is also being used. May 16, 2011. Photo: Neil Patience

The flip side to these life changing stories though was the conditions in which this amazing staff have to work. Huts that serve as wards dating back to the 1940s, crumbling, leaking building, sloping corridors that require special locomotives to pull beds along. A truly extreme juxtaposition of amazing medical work in such atrocious conditions.

Photographer and film maker Edmond Terakopian filming at the Royal National Orthopaedic Hospital in Stanmore. Filming in a prosthetic limb manufacturing section run by Blachleys. A Canon 5D MkII camera, on the Gitzo (GT3531LSV + G1380 head) tripod, with a Rode VideoMic Pro microphone. Extra equipment needed for the shoot is carried in a Think Tank Photo Multimedia Wired Up 10. May 16, 2011. Photo: Neil Patience

Having an amazing client though is the start of great work and I really must thank the RNOH in helping us be creative, change the brief to make it a more powerful film and for all the logistical help. All the coordination by Rosie Stolarski for the entire project and the patience of her team members Jenny Blyth and Sam Bowie when they accompanied us on site was paramount. A huge word of thanks goes to head of communications Anna Fox who spent the most time with us on site, making sure everything was planned and helping us get the shots we needed. We’d like to thank all the amazing surgeons who invited us into their operating theatres and all the physiotherapists, nurses, prosthetics team and other medical staff for their help. A big thanks also go to the ushers and the security team for all their help.

The biggest words of thanks go to the former patients who let us into their lives and inspired us with their strength and courage. Our thanks go to HRH Princess Eugenie of York, Molly Poole, Carol West, Phil Packer, Phil Coburn, Kat Reid and the amazing Caitlin Kydd.

Camera assistant Nicola Taylor recording audio, using a Rode NTG3 on a Rode Mini Boom pole, onto a Zoom H4n audio recorder. This is in a Think Tank Photo Multimedia Wired Up 10. Edmond Terakopian uses a Canon 5D MkII and 135mm f2L and Rode VdeoMic Pro on a Gitzo (GT3531LSV + G1380 head) tripod. RNOH Children's Ward, Stanmore. July 19, 2011. Photo: Neil Patience

Along with the invaluable help of my assistant Nicola Taylor (an amazingly creative photographer in her own right), Neil and I shot the project over a nine month period.

If you haven’t yet seen the film, you can watch it HERE.

Techniques & Technical

Behind the scenes photographs of the filming of the appeal DVD. Showing film maker Edmond Terakopian & Editor and Producer Neil Patience. An iPad is used for interview questions. RNOH, Stanmore. Photo: Nicola Taylor

I shot the entire video using two Canon 5D MkII cameras, using a range of Canon lenses; 15mm f2.8, 16-35mm f2.8L II, 24-105mm f4L, 35mm f1.4L, 50mm f1.2L and a 135mm f2L. My main tripod was a fluid head Gitzo (GT3531LSV + G1380 head). For the locked off shots with the tighter lens (135mm f2L) I used a carbon fibre photographic Manfrotto tripod. For the handheld shots, I used a Zacuto Striker and Z-Finder Pro eyepiece. Having to cover long distances across the hospital grounds and wards with the kit meant needing to plan not only the right and relevant kit, but the right bags too. We used a Think Tank Photo Airport Internal v2 and also a Multimedia Wired Up 10. On the last interview with Consultant Orthopaedic Surgeon Professor Briggs, I also used a Marshall 5” monitor (V-LCD50-HDMI).

Behind the scenes photographs of the filming of the appeal DVD. Showing film maker Edmond Terakopian, editor and producer Neil Patience, Rosie Stolarski (head of fundraising) and ex-patient Phil Packer. RNOH, Stanmore. Photo: Nicola Taylor

Behind the scenes photographs of the filming of the appeal DVD. Showing film maker Edmond Terakopian and ex-patient Phil Coburn. RNOH, Stanmore. Photo: Nicola Taylor

Operating Theatre 4 with Prof Tim Briggs. A Marshall 5" monitor (V-LCD50-HDMI) is used to check focus, lighting, composition and exposure). The light on the left is a Kino Flo Diva Light supplied by New Day Pictures. September 21, 2011. Photo: Edmond Terakopian

To keep the same feel and uniformity with the ex-patient interview scenes, we decided to shoot them against a black background. One of the problems though was that although some interviews would be done at the hospital, these were at different days and in different rooms. The other interviews would be on location at ex-patients’ homes. We needed a proper light absorbing black, but also a background which was sturdy and stable. On top of these requirements, it also needed to be highly collapsible and portable. After having a chat with our friends at Lastolite, we found just the trick. The Lastolite Plain Black Velvet Collapsible Background (which has a collapsible frame) and the Lastolite background support (1109).

Royal visit to the Royal National Orthopaedic Hospital (RNOH), Stanmore, Middx. HRH Prince Andrew being filmed by Edmond Terakopian. For this shot two Canon 5D MkII cameras were used. One on a Gitzo (GT3531LSV + G1380 head) tripod. The other is on a lightweight Manfrotto carbon fibre tripod. The camera further away (Camera A) is mounted inside a K-Tek Norbert cage (mount frame) and has a Zoom H4n audio recorder mounted on it. This in turn is plugged into a Pinknoise splitter cable, with one end going to camera (to record audio in camera) and the other to headphones. A Rode NTG3 microphone is used for the main audio which is recoded onto the Zoom H4n in WAV format with the passthrough recording in camera. The B camera also has a Rode VideoMic Pro recording audio onto it. The black background and supports are Lastolite and were used in all the interviews. The lighting is by a single Kino Flo Diva Light (supplied by New Day Pictures) and a Lastolite reflector. June 02, 2011. Photo: Nicola Taylor

The other aspect to keeping this consistency was to make sure the lighting was as identical as possible. After consulting with the specialist hire company New Day Pictures, we went for a Kino Flo Diva Light (shot through it’s softbox diffuser). This has been the most amazing light I’ve ever worked with.

Audio

For audio, I used Rode microphones throughout. The cameras where fitted with the Rode VideoMic and VideoMic Pro for all of the cutaway and GV scenes. Although we had originally thought that all their audio would be replaced with the interviews with Professor Briggs, Neil ended up using a fair amount of the audio from them. The main audio, which was for all the interviews, was done using a Rode NTG3, recoding onto both camera A (using a Pinknoise splitter cable) and onto the Zoom H4n (in WAV format). We mounted the mic on a mic stand and had it just outside shot.

The Royal Connection

Royal visit to the Royal National Orthopaedic Hospital (RNOH), Stanmore, Middx. HRH Prince Andrew being filmed by Edmond Terakopian. For this shot two Canon 5D MkII cameras were used. One on a Gitzo (GT3531LSV + G1380 head) tripod. The other is on a lightweight Manfrotto carbon fibre tripod. The camera further away (Camera A) is mounted inside a K-Tek Norbert cage (mount frame) and has a Zoom H4n audio recorder mounted on it. This in turn is plugged into a Pinknoise splitter cable, with one end going to camera (to record audio in camera) and the other to headphones. A Rode NTG3 microphone is used for the main audio which is recoded onto the Zoom H4n in WAV format with the passthrough recording in camera. The B camera also has a Rode VideoMic Pro recording audio onto it. The black background and supports are Lastolite and were used in all the interviews. The lighting is by a single Kino Flo Diva Light (supplied by New Day Pictures) and a Lastolite reflector. June 02, 2011. Photo: Nicola Taylor

The first of our interviews was with HRH Prince Andrew, who not only only was the patron of the hospital, but is also the father of a former patient; Princess Eugenie. We also did an interview with the Princess and both pieces added so much to the film. These weren’t only essential, but were also an absolute joy to shoot.

Royal visit to the Royal National Orthopaedic Hospital (RNOH), Stanmore, Middx. HRH Princess Eugenie being filmed by Edmond Terakopian. For this shot two Canon 5D MkII cameras were used. One on a Gitzo (GT3531LSV + G1380 head) tripod. The other is on a lightweight Manfrotto carbon fibre tripod. The camera to the left (Camera A) is mounted inside a K-Tek Norbert cage (mount frame) and has a Zoom H4n audio recorder mounted on it. This in turn is plugged into a Pinknoise splitter cable, with one end going to camera (to record audio in camera) and the other to headphones. A Rode NTG3 microphone is used for the main audio which is recoded onto the Zoom H4n in WAV format with the passthrough recording in camera. The B camera also has a Rode VideoMic Pro recording audio onto it. The black background and supports are Lastolite and were used in all the interviews. The lighting is by a single Kino Flo Diva Light (supplied by New Day Pictures) and a Lastolite reflector. June 02, 2011. Photo: Nicola Taylor

Editing Workflow

Editing the fund raising video for RNOH at New Day Pictures' Final Cut Pro editing suite in Surrey. Assistant Nicola Taylor and video editor Neil Patience at work, discussing the interview transcripts. November 08, 2011. Photo: Edmond Terakopian

After every day’s shoot, we would make copies of all the CF cards (video) and SD card (audio) onto both Neil and my MacBook Pros. Once back at our respective offices, we would both also make backups onto our Mac Pros and RAID systems. On top of this, I also made multiple off-site backups. With a project that has so much data and is shot over such a long period of time, it’s not worth risking losing something before delivering the final cut to the client. With this workflow we had multiple copies (RAID 1 and RAID 5) across three geographical locations.

Editing the fund raising video for RNOH at New Day Pictures' editing Final Cut Pro suite in Surrey. L-R: Cameraman Edmond Terakopian, assistant Nicola Taylor and video editor Neil Patience at work. November 08, 2011. Photo: Edmond Terakopian

Once Neil had put together a long assembly, Nicola and I met with Neil at the New Day Pictures’ editing suite. Although able to edit video myself, I never thought of myself as anything but having rudimentary skills. Watching Neil at work was an amazing education. The philosophy behind editing is the most crucial thing; watching him operate the keyboard, mouse and various break out boxes full on knobs and sliders like a concert pianist was amazing, but understanding the reason behind constructing edits was just mind blowing. The three days that I spent with Neil were invaluable. The film naturally did take much longer than that to do though. If you’ve never worked with a professional editor, I highly recommend it; in fact, it’s essential.

To find out more about the editing, have a read of Neil’s post, Making The RNOH Appeal Film.

The Premiere

Our first screening was for the RNOH fundraising team. The silence and sniffles, combined with the teary eyes confirmed for us that we had succeeded in making a powerful and emotive documentary. It’s always difficult to fully judge a project until you’ve shown it to someone outside of the team. Close colleagues who had seen it had all been positive, but it was only when our clients at RNOH approved, that we were completely happy.

The premiere of the film was at the launch of the RNOH Funding Appeal at St James’s Palace, at an event hosted by HRH Prince Andrew and Princess Eugenie. Along with the screening was also a photographic exhibition of my work documenting the hospital. I must admit to being quite nervous when the film was shown; it’s again the fear of not knowing how it will be received. The huge room (bigger than a typical hall) fell quite and stayed quite for the entire length of the film, the silence only being broken by the occasional sniffle. As the film approached it’s end, the sniffles grew not only more frequent, but louder. A gentleman in front of me, who is the father of the amazing Caitlin who is featured in the film was in fact crying fully. It’s hard not to be moved and humbled when witnessing such an amazing reaction to one’s work. After the film finished, there was silence; a silence which carried on for a good five seconds and then the room burst into applause. Later, Neil and I shook hands.

Proud. This is one word which kept coming up between the TAPTV team; we were all proud of what we achieved with this project. When I look back at my career which started in 1989, although I give my all to everything I do, certain assignments stand out and I feel proud; this is certainly one of them.

My hope is that we have helped this amazing hospital to raise some of the money they need; they do amazing work there. I hope that you will help by making a donation HERE.

What an amazing evening. We had the launch of our RNOH appeal film; a project we have been working on since our first meeting in April 2011. The film was premiered at a special event at St James’s Palace by HRH Prince Andrew and HRH Princess Eugenie. I shall be posting a in-depth article on the project with some behind the scenes photographs and technical briefing on techniques and equipment used. Firstly tough, it is my pleasure to show you our film:

Alongside the film was also a photographic exhibition of images I had taken around the hospital, documenting the amazing work that goes on there, despite the conditions of the fabric of the hospital.

The RNOH launch their funding appeal at St James’s Palace in London. Photographer Edmond Terakopian’s exhibition of photographs documenting the state of the hospital. April 26, 2012. Photo: Edmond Terakopian

The RNOH launch their funding appeal at St James’s Palace in London. Photographer Edmond Terakopian with his exhibition of photographs documenting the state of the hospital. April 26, 2012. Photo: Theodore Wood / www.theodorewood.com

Here are some images of the exhibition of prints, and some photographs by Theodore Wood from the event, showing Princess Eugenie viewing the exhibition and being presented a print on her departure from the event.

The RNOH launch their funding appeal at St James’s Palace in London. Photographer Edmond Terakopian shows HRH Princess Eugenie a series of photographs documenting the state of the hospital. April 26, 2012. Photo: Theodore Wood / www.theodorewood.com

The RNOH launch their funding appeal at St James’s Palace in London. Photographer Edmond Terakopian and Rosie Stolarski (head of fundraising), present HRH Princess Eugenie with a portrait of herself (taken by Edmond Terakopian). April 26, 2012. Photo: Theodore Wood / www.theodorewood.com

To make donations to this extremely worthwhile project to rebuild one of the world’s top three orthopaedic hospitals, please visit the RNOH Charity website. Thank you.

HRH Princess Eugenie of York who had spinal surgery at the RNOH. RNOH Fundraising Film stills grabs from the film. June 02, 2011. Photo: Edmond Terakopian

HRH Princess Eugenie of York is also helping raise funds for the hospital by taking part in 100km bike ride; please pop by her page and make a donation if you can.

As we count down to the launch of the RNOH (Royal National Orthopaedic Hospital) funding appeal, we thought to share a few images from the photographic exhibition accompanying the premiere screening of our film. The event will be at one of the Royal Palaces later on today. To say it’s an exclusive and special venue would be an understatement.

The RNOH is known for transforming people’s lives and our film, launched later on tonight, will go into more detail. Meanwhile, here are the images:

Feature on the Royal National Orthopaedic Hospital (RNOH) in Stanmore ahead of the launch of their fundraising appeal. The Imaging Department is one of the departments that will benefit from the redevelopment. Superintendant Radiographer Marubini Mamphwe carries out a Scoliosis X-Ray on patient David Chapell. February 06, 2012. Photo: Edmond Terakopian

Feature on the Royal National Orthopaedic Hospital (RNOH) in Stanmore ahead of the launch of their fundraising appeal. Dad Adrian Rafferty from Maidstone helps and encourages his eight year old son Jake Rafferty as he goes through transference exercises from his bed to the wheelchair, under the instructions of physiotherapist Emma Cook. Jake had a large tumour removed from his spinal cord and has been in hospital for 4 weeks. This is his first week out of bed and in his wheelchair. He is expected to remain in hospital for another 6-8 weeks. Coxen Ward (children's ward). February 08, 2012. Photo: Edmond Terakopian

Feature on the Royal National Orthopaedic Hospital (RNOH) in Stanmore ahead of the launch of their fundraising appeal. Professor Tim Briggs, Consultant Orthopaedic Surgeon and his team of surgeons remove a tumour from inside a patient's bone. Operating Theatre. February 13, 2012. Photo: Edmond Terakopian