Working with the WRU, Visit Wales and Cardiff based VR specialists, Atticus Digital, we filmed a selection of virtual reality video clips at the recent Wales v Scotland Six Nations match. Have a look at one of the clips on the .

Together these clips give you a flavour of what it is like to be standing pitch-side at the Principality Stadium with 74,000 fans cheering as the teams come out onto the pitch and sing the anthems.

These clips are most exciting when viewed using a Virtual Reality headset, but you can still get a taste of the potential of this technology by watching the videos on your smartphone. Search for 成人论坛 Wales on your Facebook app or visit the on the YouTube App. Move your phone and look around to get a feel for the scale of the venue and the emotional intensity of the crowd’s reaction.

This fledgling technology has its challenges. When we used it to film the back in October, it was the technology that challenged us: could the camera actually film for long enough and how do we stream such large video files to the audience? Now the challenges are more creative/logistical: with such a high profile event how do we capture the quality of experience that the audience expects without getting in the way of the TV cameras, players and pyrotechnics?

Wales’ Six Nations home games are filmed with 29 cameras, to achieve the very best TV coverage. You might think that adding a few more 360 cameras would be simple, but, even with fantastic cooperation from the Stadium and our TV team, it was hard to position cameras where they wouldn't obscure the view of match cameras. One novel solution is the use of a head mounted camera – easier to move than a tripod.

We hope you enjoy this first trial of capturing the excitement of international rugby, but clearly the next step is to look at how Virtual Reality could be used to capture match action. In a few years, I think we will see live coverage, and immersive experiences that take you onto the pitch during the game, putting rugby fans right at the centre of the action.

This work led to me being asked to do a project celebrating the communities of Cwmparc and Treorchy, two very different but closely-knit villages at the top of Rhondda Fawr. While Cwmparc is now sleepy and idyllically placed at the foot of the Bwlch mountain, Treorchy is a thriving and vibrant shopping stop-off.

Treorchy stands out because it has retained many attributes now sadly missing from other Valley towns - Bute Street is a vibrant shopping centre; It has a fantastic theatre, the Park and Dare; and it also has a brilliant library.

Researching my new project in that library led to one of those life-diverting moments that come along every so often. I was allowed into a storeroom behind the reference section, and directed to eight anonymous cardboard boxes.

Opening the first one was like releasing the genie from the bottle - tens of little yellow Kodak boxes from the 1960s were in there. Tentatively I opened the first one that came to hand, and I genuinely couldn't believe my eyes when I saw that the first packet of negatives was labelled 'Enoch Powell visits Merthyr' in a clear hand, written in old-fashioned fountain pen.

To my amazement, they were ALL full of old photographs and negatives, and as I looked more closely I realised I had discovered the most incredible archive of life in the Valleys. I was told they had been donated to the library by a local family after the owner died, and after more digging I learnt that this amazing collection was the work of Rhondda-based photographer, David Thickins.

The boxes contained about 18,000 negatives and a handful of black and white photographs. There were pictures of ordinary people going about their everyday lives, as well as celebrity visits to the area, political rallies, circus shows and even - bizarrely - car crashes.

The photographs dated from the 1960s and 70s; they were beautiful and haunting and provided a unique record of a lost era. I decided to find out more about the people featured in some of the photographs and began to visit some of the places I was able to identify.

I now need to widen my search, and hope that this blog can help. A small selection of the pictures are featured here - do you know any of the people in them? Can you tell me where they were taken? Maybe you have elderly relatives who lived in the area or who may have been at one of the events?

Here I am just showing a handful of pictures, but there are hundreds more. Please get in touch if you think you can give me any information about them.

Discover more pictures on .

The Wales International Young Artist Award was launched in 2013 by the British Council Wales with the aim of both identifying a new pool of young talent across the creative sectors and also nurturing it by offering young artists from Wales, national and international exposure.

As its first winner, Andrew received a 拢500 prize and the opportunity to exhibit in six continents and over 100 countries. He already has plans to take his work to Cairo through the British Council.

He said: 鈥淚鈥檓 trying to come to terms with being given the award because it doesn鈥檛 seem quite real.

鈥淭his is my first solo show and it is fantastic because it opens up my work to a whole new audience and I鈥檝e already had a really interesting dialogue with some of the people who have come to see the exhibition.

Andrew's photographs will be on show in the bar at Chapter until Sunday 18 May 2014.

Darren Harries captured these amazing images and submitted them to our .

Foxes can swim, but will normally only take to the water when strictly necessary - either to escape danger or to seek out food e.g. swimming across a lake to reach nesting ducks and eggs on an island.

It's a mystery why this particular animal was swimming but perhaps it's developed a taste for the local shellfish or was trying to reach a spot where wading birds were feeding on the shore.

from the sea off the Sussex coast after people on a boat spotted it as they came into the harbour and notified wildlife experts.

Falling behind on her college work at Carmarthen College, she could either take time out to resit the year, or turn and face that elephant in the room which she was currently unable to tackle, her very raw sense of loss.

Bravely, she chose the latter path and at a time when all she wanted to do was shut off her emotions, she picked up her camera and ventured out into the Pembrokeshire countryside to re-connect with her father.

She told me: "I realised I had to go on and do my third year, but all I could really think about was my dad.

"It was really cathartic actually because until then I wasn't letting myself feel anything and I realised I hadn't really known him.

"He died on a beautiful day at the end of a hot spring in 2011 and during the winter that followed, I felt compelled to get to know him, as the man he was, not just as my parent."

What came next was an extraordinary voyage of self-discovery, which saw Grainne visit the places her father often frequented as a way of connecting with him.

He was a fan of ancient burial sites and historic places in Pembrokeshire and whereas in his lifetime she used to dread being dragged along on the excursions in the cold and wet to visit yet another meaningless location, this time her experience was quite different.

"When he died, he was buried in a churchyard next to where he lived and I felt nothing going there - his spirit wasn't there for me.

"Instead I could really imagine him in the places he used to visit. It became a very strong sensation and at times I felt I could smell him."

Wanting to convey this ethereal sense of presence in her photographs, Grainne began experimenting with her techniques.

She decided to use strips of material blowing in the wind to signify her father's presence and alighted on the idea of muslin as a material because it used to be used traditionally in funerals.

"We had quite a difficult relationship and I really wanted to show it was resolved and all was forgiven.

"This project really helped me see that he was just a person who made mistakes like everybody else- it was a very healing process."

Her photographs are printed using traditional techniques on medium format film and are then printed by hand on silver Gelatin papers.

"I love the process of the dark room and seeing the image come out on paper as you lift it out of the chemicals."

In Memory, a collection of photographs by Grainne Connolly is on show at the Swansea Museum's Long Gallery until 14 April.

For more details about the artist visit her website .

The last time I spoke to Pountney was at the time of the exhibition, which he called "a bit overwhelming". He said: "I wasn鈥檛 really prepared for so many people to turn out. I think the WMC said they had over 400 people in on the opening night. One guy had even organised a bus trip!"

The exhibition also gave him the chance to meet family members of some of the people in Robertson's original photographs.

He said: "In the book we mention one family called the Makinson family. Their family members are in the , so they were able to show their granddaughter the picture of her grandfather that she'd never seen before - both the people in the picture have passed away now, so that was really moving. Three generations were reunited through a photo."

Robertson told me that he'd "written off" all hope of seeing his work again, having been told that all of his work had been burnt when he was kicked out of his studio. He said: "What Jon has done was quite devastating at first, because I'd written it off and never expected to see it again."

Robertson was born in Splott. He said that wandering the streets of Cardiff and taking the photographs "was fun" and that he didn鈥檛 encounter any bad reactions or suspicion from anybody he met.

I asked Pountney how they had met for the first time. "One night I was leaving the studio and Keith was stood outside with his daughter Leigh, just about to knock on the door. I was thunderstruck, as at that point I鈥檇 never spoken to Keith.

"Keith came in, we had a chat and I showed him the blog. I was very nervous at that point, thinking 'I've no idea what Keith is going to say about what I've done with his work.鈥� All I鈥檇 done up to then was to put Keith's photos online, and very few of mine.

"The original meeting was an amazing stroke of luck."

Pountney describes the way the Cardiff Before Cardiff book came about as 鈥渁nother strange coincidence鈥�. As a result of the blog he was contacted by the National Library in Aberystwyth, who were holding a talk on street photography in November 2011 as part of the Lens Festival.

Golwg, the Welsh language magazine, wanted to run a feature on the festival and so Pountney was contacted by writer Alun Gibbard.

"Alun rang me and we had a chat and got on really well. His grandparents lived on Carlisle Street, which was where Keith had lived. He really liked the idea but hadn't seen any of the pictures at that point.鈥�

Once Gibbard had seen the photos he was so impressed that he ran a double page spread in the magazine and, already a published author himself, contacted his publishers Y Lolfa about the idea of a photo book.

I asked Pountney how he had selected the images for the book, out of the vast quantity he had to choose from.

"Due to time constraints, what I had digitised of mine and Keith's work was effectively what we had to choose from.

"The rule I'd set myself was that I'd only use stuff from Keith's prints, not negatives, because I only wanted to show Keith's photos how he had wanted to show them.

"The selection really was what went in the exhibition, but Keith asked to add a few - like the ."

There are several 'exclusive' photos in the book that people won't have seen before though, as Pountney explained: "There are a few extra ones of mine taken last summer and there are several of Keith's which weren't in the exhibition and I don't think have been online. I thought it was prudent to put more in; I didn't want it to just look like a brochure of the exhibition."

One photo, of a baby in an incubator, sparked the reunion of Robertson with his daughter, Nicola.

Pountney said: "I saw that picture right at the start, and I thought if I can find who is in that incubator and take a picture of them now, that would be the most amazing turnaround.

"So I digitised the picture, put it online and had an email from somebody called Nicola Horne. It read something like, 'Hi Jon, love the pictures, lovely photo of the baby in the incubator. The funny thing is, that's me, and Keith is my dad.'"

Nicola had lost touch with her father, but through the project and other members of the family getting in touch, the two are now back in contact.

I asked Robertson how he felt about being reunited with his daughter. He said: "Overwhelmed. I find it very difficult to come to terms with it really."

Pountney added: "I probably wouldn鈥檛 believe this story unless I'd lived it. There are so many coincidences and so many amazing parts to it. I'm just so pleased that Keith has got everything back that he lost, which is what he deserves.

"I would love at some point to sit down with Keith and do something that is extensive, and probably just of Keith鈥檚 work. I think Keith really deserves exposure for the amazing pictures that he took and his work alone is certainly strong enough to have a book of its own."

I made the mistake of asking Robertson if he still dabbled in photography, to which I was playfully rebuked with "one doesn鈥檛 dabble in photography". Due to recovering from a stroke he's unable to take photographs at the moment but the two plan to work together in the future, with the idea of a possible documentary in the pipeline.

Pountney said: "I wouldn鈥檛 want to think the book would be the end of the story, I'd be really sad if it was. But I'll be happy to see the book in the flesh 鈥� to have a book come out for Christmas isn't something that happens every year."

The result is a collection of 52 black and white hand printed photographs that explore cultural identity under the title What Is Welsh.

Currently being shown at the Cynon Valley Museum and Gallery in Aberdare until 5 January, the project is funded by the Arts Council of Wales.

Dan, who works out of a studio at his home in Bridgend, said: "I was out in Morocco documenting all these different things and it suddenly hit me that I needed to find out what was going on in my own country.

"I decided my next project would be concerned with recording Welsh people in a positive way as I'd seen enough shots of council estates and men sitting around in string vests. We don't need anymore depictions of Wales as rural and insular when it is cosmopolitan and diverse.

"I wanted something more affirming and that moved away from clich茅s and daffodil shots."

Last year Dan went on a long road trip of Wales with his English girlfriend, documenting the scenes as he saw them.

Many of the shots are environmental portraits or snapshots of people he met and spent time with along the way.

"It was the first time I had really appreciated the north-south divide in Wales," he said.

"It was really interesting delving deep into different people's worlds and their interest and I also tried to incorporate a lot of street photography into the collection as well which isn't an easy thing to do in your home country."

Dan shot the photos exclusively with film and then developed them all during a seven-week toil in his darkroom.

He hopes to take the exhibition elsewhere when it has finished its run in Aberdare.

He added: "I want my photos to depict a Wales that is as multi-cultural and interesting as anywhere else on earth. To explore what it is that makes people Welsh is to explore what it is that makes people unique."

To find out more about Dan's work visit .

A selection of the framed prints ready for the exhibition. Images courtesy of Jon Pountney

Jon recently explained the history of the project to me: "At first I found a couple of odd photos lying around and I didn't really know what they were, and had no idea why they were there.

"I put them aside but then started finding more and more and realised after a while I'd collected a large pile. Then I found the negatives. It was quite shocking how much there was, hundreds of prints and perhaps thousands of negatives.

"Straight away I realised they were of Cardiff. I recognised a few of the places - the first few that I looked at I could tell straight away where they were. And I just thought that they were so good, it's exactly the type of photography that I like to look at."

Jon's discovery was the work of photographer Keith S Robertson. His striking body of documentary photography taken in the early 1980s gave a snapshot of life in the capital city, largely in the Adamsdown, Splott and Butetown areas of the city.

In order to discover more information about the pictures, the anonymous people in them and the photographer behind the lens himself, Jon began to share them online.

He added: "First of all I put them on Tumblr, a blog site, and within a few days they were picked up by Ed Walker at Media Wales. So within three or four weeks it was a double page spread in the South Wales Echo. It snowballed from there - I was receiving emails every day."

Negatives in Jon's studio in preparation for the exhibition, which opens on 5 April

Jon has now made contact with many people in the photographs. His discovery of the photos has inspired him to get out and take photographs in the same communities 30 years on - including taking photos of some of the original subjects.

Jon also tracked down Keith S Robertson. Now in his eighties, Robertson had previously used Warwick Hall as his studio. According to Jon he had fallen out with the people who ran the building and was told that the locks had been changed and that his possessions had been thrown out - including his photographs and camera equipment. He never attempted to gain re-entry to the building and gave up on the thought of seeing the photos again.

Jon added: "A lot of my friends have said 'you were born to find these pictures'. They could have gone in a skip or sat there for another five years if we hadn't renovated the building. It would have been a crying shame for them to be lost. I don't think this kind of discovery happens every day - it must be a fairly unique thing to find. I feel really lucky."

There have been a number of similar documentary photography projects in th UK, such as and Robert Haines' photos of Heolgerrig near Merthyr in the 1970s, which resulted in the book Once Upon a Time in Wales.

But as Pountney stresses, this is a pretty unique case: "In those cases the photographers had kept hold of the original pictures, they hadn't lost their pictures. I think this is a unique case where the pictures have been found by another photographer, and in seeing the pictures it just made me want to go out and take pictures, to do what Keith was doing.

"I've always wanted to take photography like that but it's not the easiest thing to do; people always want to know what you're up to, and when people see someone with a camera these days they're automatically suspicious of them! That's the thing about Keith's pictures, everybody looks so friendly in them."

Getting ready for the exhibition: over 100 prints showing the work of both photographers will be on show at the Wales Millennium Centre in Cardiff

Jon's connection with the people in the photographs came with the realisation that a number of the smiling faces in the pictures are sadly no longer alive.

He added: "That's been the saddest aspect of it for me. You expect a lot of the older people to have died, you take that for granted, but a surprising number of the really young kids have passed away.

"These photos are popping up and reminding people of them, which is quite nice in a way. Keith's pictures really get that person's personality, so it's obviously sad but a lot of people are really happy that they've seen the pictures.

"In particular there's a picture of a little girl on a bike, Denise Truman, and a lot people have said how nice the picture is and that they really miss her. It's really sad when it's someone who is so young, and has passed away perhaps years ago. It's a part of the project that I hadn't expected."

The free exhibition, Cardiff Before Cardiff - Keith S Robertson and Jon Pountney, runs at the from Thursday 5 April to Sunday 27 May 2012.

Visit the to browse more photographs and join in the discussion on the project's .

Paralympian Nathan Stephens. Photo: Bettina von Zwehl

The Road To 2012 touring exhibition features some of the highlights of one of the largest photographic commissions ever undertaken by the in London.

Photos of athletes, and other other key figures involved in staging the Olympics, will be be printed on the panels.

Welsh sitters for some of the portraits include Paralympian Nathan Stephens, who competes in the javelin and discus events, and Welsh Paralympic swimming coach Billy Pye.

Cardiff will be the first to enjoy the exhibition, with the panels taking up residence just in front of the in Cardiff Bay.

Due to its outdoor nature, the free exhibition will be open 24 hours a day for people to experience.

Photographs from the project were first seen in two exhibitions held at the National Portrait Gallery in London, Road To 2012: Setting Out In 2010 and Road To 2012: Changing Pace In 2011.

In this new touring exhibition previously unseen photographs, by new photographers working on the final commissions, will be on show on the panels when the exhibition opens.

The free outdoor exhibition will open in Cardiff on Friday 30 March and will run until Sunday 27 May 2012. It then moves on to Edinburgh and later Birmingham.

See more portraits, listen to audio clips from the photographers and find out more about the exhibition on the Road to 2012 website, .

Bethan Elfyn with Kutosis

Kutosis

Kutosis

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Fifteen Minutes 1 from The Business of Living, c-print, 2010 漏 Daniel Blaufuks

Blaufuks believes memory cannot be separated from our notions of time, space and place.

In his own contemporary photography, for which he has built up a strong reputation in Portugal, he uses each object he snaps as a springboard for something else, be it conscious or unconscious.

Untitled from The Memory of Others, c-print, 2010 漏 Daniel Blaufuks

The works contained in the exhibition will explore how these cues for romantic relationships, emotional resonance or recollections just outside the realms of consciousness have significance yet can often remain beyond our reach.

As he says: "The hand-written note, postcard, concert ticket, passport stamp, shopping receipt; as individual images they appear to have little significance and meaning, but presented in a series they encourage us to look for patterns and relationships, to build a coherent narrative from the shards and fragments of personal or collective memory."

Another point of interest for Blaufuks is how individuals archive the important information in their lives and how that affects their ability to remember and the way they access those memories.

Images of film canisters, cassette tapes, celluloid film strips and negatives included in the installation cast a glance at technological developments in photography over time and muse on how, even as we find ever more newfangled ways to store and retrieve data, something true can also be lost in the process.

In using photography as his medium, Blaufuks investigates how it in itself becomes part of the process of memory and is more than just a trigger for past reminiscences or snapshots.

"From the act of photographing something new, or incorporating a found image in a work, new memories and associations are formed."

Untitled, from Terez铆n, c-print, 2007 漏 Daniel Blaufuks

Works On Memory is co-curated by Filipa Oliveira and Ffotogallery Director David Drake and runs until 25 February. A new Ffotogallery publication, Works On Memory, will accompany the exhibition.

Exhibition preview: Friday 13 January 2012, 6.30-8.30pm. Artist talk: Saturday 14 January, 11am-2pm.

Cardiff, Wales, UK - Leena, 37, was born in Cardiff, and her family speaks English at home - her children understand the Sylheti dialect, but cannot speak it well. She regularly visits Bangladesh to keep in touch with her family.

Garaj told me: "The two-year project involved a number of visits to Cardiff, several sessions in London and two prolonged trips to Bangladesh between January 2010 and September 2011.

"The majority of the photographs tell personal stories and provide an insight into the way of life of Bangladeshi women both in the UK and in Bangladesh and some illustrate the complex female-male relationships existing in the Bengali society.

"Besides their documentary aspect, the photographs and the exhibition are intended to raise a wider awareness of the issues many Bangladeshi women face in their daily lives."

Cardiff, Wales, UK - "Here I have only my children but in Bangladesh I have so many relatives around me," says Lubna, 52, who has been living in the UK for 31 years. "I used to feel like going back home. I was feeling so bad, but slowly everything was OK."

Sylhet City, Bangladesh - Most street restaurants in Bangladesh cater for rickshaw drivers and other male workers, and women generally feel uncomfortable to visit these places. Other more upscale food establishments, however, are frequented by both men and women, particularly in urban centres like Dhaka and Sylhet City.

The exhibition is part of Project MINA: Migration, Nutrition and Ageing across the Lifecourse in Bangladeshi Families: A Transnational Perspective - a three year research project funded by Economic and Social Research Council UK, under New Dynamics of Ageing Programme.

Bangladesh鈫扷K: The Stories of Food, Ageing and Migration, A Photo Exhibition by Vanja Garaj, runs at at The Old Library, The Hayes, Cardiff until Thursday 15 December.

Browse a photo gallery of some of Garaj's striking images on the 成人论坛 Wales News website.

Hein-Kuhn Oh, Jung-suh Yun, age 17 July 19, from Cosmetic Girls, 2007 漏 the artist

The term 'Junsinsajo' is used in traditional Korean portrait painting and signifies the replication of a person's shape and spirit. This means that taking a snapshot of a person is not restricted to a replication of their physical likeness, but should also embody the essence of their personality.

It is an idea that endures in contemporary photography and makes for one of the themes explored by the seven photographers incorporated in the Believing is Seeing exhibition, a body of work which also appears to question the very notion of 'Koreanness'.

The collaboration has been made possible through the work of Ffotogallery curator David Drake and Jiyoon Lee from the SUUM Academy & Project in Korea and was jointly funded by Arts Council Korea and Wales Arts International.

David says: "Each of the seven featured artists has a very different approach to photographic portraiture.

"The exhibition examines some common themes in contemporary Korean photographic art - its performative nature, ideas of duration and transience, nature and constructed reality, memory and illusion.

"Inverting the Western idiom 'seeing is believing', the exhibition features artists with markedly different strategies in relation to photographic portraiture, but who have in common the rejection of any approach to photography that emphasises visual verification and purely mechanical reproduction."

Je Baak, detail from We Laughed Together, 2009 漏 the artist

The exhibition will, he says, challenge our preconceptions about Korean culture.

"It's a very distinct culture but each artist is very aware of Western arts traditions, influenced by global contemporary art trends but remaining deeply rooted in Korean culture and traditions.

"The work featured in the exhibition also demonstrates the 'natural ambiguity' of the photographic image in that the portraits are no longer just depictions of people, they have a reality of their own and become a screen onto which the viewer projects their own relationships and emotions."

The featured artists are Byung-Hun Min, Duck Hyun Cho, Hein-Kuhn Oh, Hyun Mi Yoo, Je Baak, Kyungwoo Chun and the awardwinning photographer Seihon Cho. In all they have contributed 44 different works to the exhibition.

One of Duck Hyun Cho's works sees him combining an image of the queen with an image of his mother in a portrait realised as a graphite pencil drawing on canvas, where the canvas is allowed to hang loose, like a drape.

His collection sees him repeatedly blurring the boundaries between painting and photography and reflects a keen interest in personal memory and collective history, identity, family and spirituality.

Duck Hyun Cho & Seihon Cho, Portrait of a Great Monk, 2001 漏 the artists

In Oh's work, his subjects in many cases break a Korean taboo, as they are teenage girls embracing the world of cosmetics and the myriad ways it can alter and sexualise appearance.

Chun has become well-known for his poetically blurred photographic portraits, created in a very unconventional way of dealing with time and space.

The exhibition runs from 10 November to 17 December with a private view on 9 November and a curators' talk on 1 December at 6.30pm.

Admission is free to all visitors. For more details visit .

Gwenllian and Rhun by Greta Hughes

Second prize went to Jonty Storey for an intriguing portrait of St Tudwals, affectionately known as 'St Tuds' while Peter Baumann scooped third for a shot of wonderfully patterned sand with a mirror shard reflecting the brightly coloured facades of beach huts.

St Tuds by Jonty Storey

Highly commended were pieces by Charles Henshaw, Gillian Walker and Guto Lloyd Davies.

The exhibition will run until 6 November alongside work by Gareth Thomas, who explores the effects of light and colour on the landscape, mainly in watercolour, but with works in all media including pastel applied over watercolour.

Abersoch Beach by Peter Baumann

Works by Wrexham artist Keith Bowen are also on show, with a series of small oil paintings of the Ancient Churches of Llyn as well as his usual subjects of countryside figures and mountain streams.

London-born Daniel Roberson has lived in Machynlleth, Mid Wales for the last seven years where he has been developing his work. On show at the gallery are his realist painters inspired by the places he has been and the people he has met. His current exhibition at Oriel Plas Glyn y Weddw is entitled Memory, Observation and Imagination.