RPS Digital Imaging Group- DI ONLINE JUNE 2024

COVER IMAGE

ThePhotographer:MontyTrent

TheImageTitle: F StopTemple of Ptah

AbouttheImage:

This photo was made, in-camera, with a Canon EOS R5. There were multiple exposures of 1-9 images with different blending modes, white balance and exposure compensation. The R5 blended the multiple exposures into a RAW composite. This was then post-processed and re-composited in Lightroom and Photoshop, making numerous adjustments to the RAW data.

Editor DI ONLINE: Melanie Chalk

Contact: dionline@rps.org

CHAIR’S CHAT

THOUGHTS FROM THE CHAIR…

‘Positive feedback’ seems to be something that keeps popping up right now so I thought perhaps it was a good topic for the Chair’s Chat this month.

We all like positive feedback on our images and even if we sometimes need to give what might be considered more critical feedback we should put it across in a positive way. Perhaps we will all learn something if we book and watch the Judy Hancock Holland ‘ Critiquing Photos: Your Own and Others’ on 22 June.

We did have some very welcomed positive feedback on DIGIT 100 from a past DIG Chair Clive Haynes, which I would like to share with you….. “ what an outstanding edition it was. From time to time we need to take stock and remember where we came from, where it all began and for those who have no idea, what a schism 'going digital' was for some and what possibilities it presented for others. Photographers continue to face challenges both technical and ethical. The dawn of accessible AI is reminding us about this responsibility. Like the digital revolution we will continue to accept and adapt. When it comes, it'll be interesting to see what perspective DIGIT 200 will reveal. Now there's a thought.”

It was particularly refreshing to read Clive’s comments as the DI team worked exceptionally hard to make DIGIT 100 a special issue, with the addition of making the DIGIT Archive available to all, plus the forum for your digital memories - and yet there was so little feedback and interaction from members, positive or not, that I honestly start to wonder if all the work your committee do is worthwhile. Feedback to the Print Portfolio, from a few of those who entered and received copies, was more gratifying to read. Remember volunteers aren’t paid to do this work and all work exceptionally hard, so might I propose a little more ‘positive feedback’ wouldn’t come amiss from time to time to give us the motivation to keep going. That doesn’t just cover publications but we have some superb webinar speakers and they have to be identified and cajoled into presenting. Then without the professionalism of the tech team they wouldn’t be half so enjoyable to watch either. I could add to the list the Comp Sec, TWT team, the projects and workshops, updating the web site - every one on the committee works so hard.

When I read the following statement recently I thought it summed it all up beautifully. “We all need people who will give us feedback. That’s how we improve.”

– Bill Gates

DIGITAL IMAGING COMPETITION

CONGRATULATIONS TO THE WINNERS OF ROUND 4 - SCAPES

We have seen some varied and interesting images this round. If you wish to view them all go to https://rps.org/groups/digital-imaging/di-competitions/digital-imaging-competition/ and scroll down to the bottom of the page. There are joint winners in Round 4. On the same page there is also a link to the ROUND 6 winners so far. Submissions open now for Round 5 Architecture.

JOINT FIRST PLACE – Atlantic Shore By John Scott

John tells us:

“The photo was taken around the first week of January at Sandymouth beach just North of Bude. I think, in truth, it is known as the Celtic sea but is part of the Atlantic hence the title. The Camera is a Sony A7Rii mounted on a tripod with a Revoring Variable step filter fitted. This was set at around 4 stops ND at F13 for 2 seconds.

The time of day was early afternoon and there was a combination of sea mist and low cloud giving a very eerie feel to it. Out of shot you had the sun starting to go down in the west creating a very diffuse light. I didn't do very much post camera apart from crop to 16:9 (removing some blown highlights caused by the sun) and a bit of dodging in around the beach pebbles.

The lens was a Sigma 24 - 70. I didn't take a note of the exact focal length of the shot but I would guess around 30mm.”

JOINT FIRST PLACE – Rainscape in London Town by David Nicholls LRPS

David writes:

“Living in the US with my (American) wife, we make trips to London at least once a year. Ever since COVID we have taken to the buses rather than the Tube to get around, as you get to see more. This picture was taken from the top deck front seat of a 390 bus in the general vicinity of Oxford St/Tottenham Court Rd. It was a wet December morning with street lights and shop signs shining through the murk, and rain on the bus windows. The scene cried out for a photo and my iPhone was happy to oblige!”

Technical details: iPhone 14 Pro Max, 1/120sec at f/1.8, ISO 80, 6.86mm

SECOND PLACE – Falindre by Peter Stickler ARPS

THIRD PLACE – Hunstanton Groyne by Peter Orton

DIGITAL IMAGING COMPETITION

ROUND 6 - WINNERS FINAL

Selection and announcement of the winners will be held online on Friday 2 August at 16.00

To book your ticket to hear what our selectors have to say about each image and for the presentation to the winner of the Raymond Wallace Thompson Trophy go to https://bit.ly/RPSDI-Final24

Your selectors are:

Martin Addison FRPS, Carol Olerud FRPS and Mark Reeves FRPS

Carol Olerud is a Dutch/Australian woman, born in Brisbane from Dutch parents.

She now lives in The Netherlands. Active in the Royal Dutch Fotobond for 27 years, she is a member of several groups. Carol is the coördinator of the Documentary Photographers National Group, a genre group of the Fotobond, where she’s been a member for over 20 years.

Carol is an experienced photographer, she started taking photos at age 12 when she got her first camera. Since then there’s been no stopping her. Mentorships, workshops, competitions, expositions are all things Carol has been busy with to stay up to date and to keep learning.

She’s done jury work both nationally and internationallly. The latest was in 2023 at the International Photo Festival Pelt in Belgium.

Carol joined the RPS in 2017, she gained her Associateship in the Conceptual and Contemporary genre in 2018. Then in 2021 Carol was awarded her Fellowship Distinction in the same genre. To see these panels and more work by Carol, visit her website www.carololerud.com

Carol is the organiser of the RPS Benelux Chapter since 2020.

Carol loves to travel, visits museums and photographic expositions often. She’s a documentary/contemporary photogapher, loves street photography and people. Photos that tell a story more so than just ‘pretty pictures’. She likes to work on long-term projects, as well as collecting themes. Most recently Carol has been doing night-photography, where she’s been awarded Candidate BMK (Masterclass photographer of the Fotobond) in 2023.

ROUND 6 - WINNERS FINAL DIGITAL IMAGING COMPETITION

Your selectors are:

Martin Addison FRPS, Carol Olerud FRPS and Mark Reeves FRPS

Mark Reeves joined the society in 2010 and earned his licentiateship in 2012. In 2015 he began work with a number of other members to found the RPS Landscape Group which was launched in January 2016. Since that time has served as web manager, events manager and vice-chair of the group. In 2019 Mark earned his associateship of the society in the visual art genre,followed by fellowship in 2022.

Outside of the RPS, Mark gives regular talks to photographic societies and teaches photography to a number of private clients. His photography mainly features modern architecture and creative interpretations of the landscape. His work has been exhibited in London and Liverpool and a number of galleries around the north west of England.

Martin Addison - “ I have been enthusiastic about photography for getting on for 60 years and I still find it as exciting and engaging as ever.

I enjoy creating images in a number of genres including landscape and street, but my enduring love is to create images that intrigue and perhaps confuse, often by the use of ICM and multiple exposure.

I still use my camera but I also use my phone just as much, which allows me to use some of the very interesting apps which are available.

I am a prolific photographer and share my images most days on Facebook and Vero and on my website: martinaddison.photography.”

DI IMAGING COMP FINAL

Round 6 of the annual DI Digital Imaging Competition is the culmination of the 5 winners from rounds 1-5 in a head to head.

From the 25 round winners only one will walk away with the coveted Raymond Wallace Thompson beautiful glass trophy. Why not join us for the FINAL SELECTION and the online AWARDS ceremony on 2 August at 16.00 BST

To book you place at the ringside virtual ceremony go to https://bit.ly/RPSDI-Final24

TALK-WALK-TALK

Plans are now coming together for the next round of our joint project with the Landscape group.

So far some Regions are engaging with the project; namely South West, Scotland and East Anglia. We would hope shortly that others will also put forward walk leaders for their areas.

We do also have some individuals who are happy to lead walks in a Woodland near them. Walk Leaders do not have to be experts in the topic; just willing to organise a few local members getting together to go out and shoot. Leaders can determine the size of the group from 6 upwards. For more information or to offer to be a walk leader please email twt@rps.org

https://rps.org/groups/digital-imaging/diprojects/di-talk-walk-talk/

Copyright - Paul Mitchell FRPS

DI PRINT PORTFOLIO 2024

CONGRATULATIONS to all members who entered.

For members who engaged with the DI Print Portfolio everyone should have now received their beautiful portfolio if they were one on the selected 30 winners, or the catalogue magazine if they had an image accepted.

This annual print competition replaces our old print exhibition. We recognised that not only were the exhibitions difficult and expensive to arrange and organise, but that too few members ever got to see them. So we have put our annual DI exhibition into a book and renamed it the DI Print Portfolio.

For those who would like to view the Portfolio we have have put this up on ISSUU and linked to it from our web page https://rps.org/groups/digital-imaging/di-competitions/printportfolio/

DO CONSIDER ENTERING THE 2025 DI PRINT PORTFOLIO WHICH WILL BE ANNOUNCED IN DECEMBER 2024

RHS PORTFOLIO AWARDS

DI Workshops has been collaborating with the RHS, since 2020, to support members towards submitting work to this annual RHS Portfolio Competition. This year with the project ‘From Seed to Bloom’ we are offering lots of workshops on Flower and Garden photography, as well as advisory sessions. Thursday 13 June was the awards ceremony held at the Saatchi gallery in London. Five of the Winners were Digital Imaging members - so a super result to celebrate.

CONGRATULATIONS TO MELANIE CHALK ARPS

Our DI Online Editor and DI Workshop organiser won a GOLD medal for her super panel of cyanotype prints - and even wore a cool cyanotype shirt to go with it.

Melanie won a Gold Medal with her Panel ‘Cyanotype Magic in a Summer Garden’.

CONGRATULATIONS TO KEITH SUREY

Keith was also a GOLD medal winner and provided this additional information when I emailed asking for one of his winning images.

“My entry was in the Photography Portfolio competition of the RHS Botanical Art and Photography Show. As you know I won a gold medal in what was my first year of entry and in addition was awarded the Judges Special Award.”

The Judges special award was a new award this year along with the best single image as well as the best overall portfolio. The judges award was given for, ‘A cohesive portfolio with a theme that offered a story to the audience’.

Keith won a Gold Medal with his Panel ‘Botanical Harmony’.

CONGRATULATIONS TO SHEENA ROGERS ARPS

Sheena’s words - “It is an honour to be selected for this competition (just 18 portfolios). I’m definitely on cloud 9 and I was delighted to get a medal.”

Sheena won a SILVER-GILT medal with her Panel ‘Hebridean Lichens’.

CONGRATULATIONS TO LINDA GOWER ARPS

This is that what Linda told me when she replied to my email - I must say it's really exciting to think that my work is in the Saatchi Gallery!

The Portfolio competition isn’t divided into themes. There is the overriding brief: “It offers entrants the ability to submit a body of work based on a series of six images that have a cohesive theme within the spectrum of gardens, gardeners, wildlife in gardens and plants”.

Linda won a SILVER medal with her Panel ‘Pensthorpe Millenium Garden’.

CONGRATULATIONS TO RICHARD MILTON-WORSSELL ARPS

Richard’s words, “I am pleased and amazed that I have gained a silver award in this competition, as I only undertook the RPS/OU Digital Photography: creating and sharing better images course in 2019. I want to thank DI for organising great YouTube training events and a very good and helpful critique session before the competition. Richard won a SILVER medal with his Panel ‘Painshill Park, Surrey’.

The RHS medals categories are levels of commendation. They award gold, silver gilt, silver, bronze or no medal (same as at the Chelsea flower show). Some years they don’t award some of the medals eg one year there were no golds! This year they gave no bronzes and everyone got a medal either silver, silver-gilt or gold. And then there is a best in show, best single image, and a judge’s award.

To view the entire RHS Award winners list go to HERE

HANDS ON WORKSHOP

AT RHS WISLEY – A REPORT

Over 2024 the ‘From Seed to Bloom’ project has a succession of talks and workshops highlighting flowers and Garden Photography presented by Charles Needle. Firstly we were inspired by his talk in May and we have just enjoyed the first of the iPhone app workshops, when Charles was joined by his wife Melissa, and they shared their workflow and methods of processing in the powerful Snapseed app.

We knew Charles was coming to the UK to run an amazing Tour of English Gardens, photographing them in their spring colours over two weeks so we were able to persuade him to delay his return flight to the USA and run a hands on workshop for DI at RHS Wisley. Fifteen photographers enjoyed calm and overcast weather and Charles demonstrated different ways to capture artistic shots using ME, ICM and a macro lens. It was fun, went really quickly and everyone went away to practice these techniques.

On July 2nd, Charles returns to run a Virtual “Supportive Image Evaluation” in-depth feedback session. The idea behind this is for those interested to share images inspired by Charles ,or any of the techniques he has shown, to create a flower, plant or Garden image. He will then evaluate as many as time allows. There is a cost of £10 to participate or free just to observe the process.

Book your place below:

ACCOLADE SPOTLIGHT

All back copies of Accolade can be found HERE. Production of Accolade is currently suspended but we hope to be able to resume full production later in 2024

DAVE TURNER ARPS - SEA STRUCTURES

Sea Structures ARPS Panel for Visual Arts

For many years, I have been interested in long exposure monochrome photography and it was inevitable that this would feature in my A panel. Members of my local camera club, Norwich and District Photographic Society, were helpful and encouraged me to try for my ARPS.

My panel originated as I was drawn to manmade structures in the sea and combined this with my love of long exposure photography. Initially, I printed out and studied the requirements for an associate with the Royal Photographic Society. Armed with this information, my fifteen images plus the five spares were duly sent to Inaki HernandezLasa with whom I had a one-to-one meeting. The meeting went very well, and the changes suggested were implemented. It was stressed that the tonality of my images, when printed, must be uniform. To this end, I printed each image half size and laid them out. It soon became apparent which prints needed adjusting. A single image from the panel was printed on four fine art papers from various companies. I found Fotospeed’s Cotton Etching 305 paper worked well with my prints bringing out subtle detail and contrast and I thought the texture of the paper suited the images. I used the generic print profiles produced for my printer (Epson SC-P700).

Printing on numerous papers proved worthwhile as the paper I thought I would use proved not the best option for my prints. Samples of white mount card were ordered, and the appropriate shade of white was chosen. It was amazing how the various white shades, changed the panel's look so a useful exercise. The statement of intent was revisited as it didn’t communicate the creative vision needed for the visual art genre. All the printing, mount cutting and mounting was done by myself.

Statement of Intent

I have always been fascinated by man-made structures along our varied coastline and how they interplay with our coastal waters. The sea can be benign one minute and destructive the next as if seeking to destroy what man has placed within its reach.

Using a long exposure, emphasising negative space and a minimalist interpretation, one can bring the illusion of calm to the restless sea. This brings an otherwise hidden serenity and surrealism which contrasts with the starkness of the man-made structures and when presented as a black and white print brings tranquillity to the soul. The viewer is encouraged to share that feeling of space and time that I experienced standing on a deserted beach.

Favourite Panel Image – Number 1, The Bridge To Nowhere

One of my favourite images from my ARPS panel is the Bridge to Nowhere, number 1 in the layout order.

Upon arriving at Belhaven, the weather had taken a turn for the worse with rain set in. Long exposure images and rain do not mix with the camera picking up the rain drops on the filter! After checking the location and at that time the sea was out, we decided to head into Dunbar for refreshments. Once suitably refreshed and the rain stopped, we headed back to Belhaven to the incoming tide and the clouds clearing.

Time to get the tripod out and after numerous shots head back to Bamburgh in Northumberland to where we were staying.

Caister Sea Defence, Norfolk – An image that didn’t quite make it.

This image was taken on the coast at Caister in Norfolk.

To process the image, I first removed any blemishes and took the image into NIK Silver Efex Pro to convert to mono. I never use the presets in NIK preferring to adjust the image to my liking. I matched the tones in the sea and sky to enable me to remove the horizon line. Once happy with the mono conversion, the horizon line was removed to give the image a more ethereal look. It was not used in the panel due to other images being stronger. If I had been able to use the image, it would have fitted as the centre bottom image in the panel.

DI e-CIRCLES

There are several different e-Circles for peer to peer critique, project or software. For more information or to join an e-Circle contact digmem@rps.org We asked one of the e-Circles to tell us a little more and show us some of their members work.

Nature is slowly reclaiming an abandoned pub. The creeper now barring the door contradicts the welcoming sign.

Photo: Garry Mumford

This DIG eCircles Critique group holds a session every last Sunday of the month at9:00 AM.

The current members are Garry Mumford, Mark Stothard, Munier Hossain, Kevin Payne, Gary Davis and Michel Claverie (coordinator).

Each member brings a different style and focus to the sessions: Mark records thoughtful contemporary landscapes often linking them to a struggle between men, and between man and nature. Kevin enjoys landscapes and travel photography and coordinates one of the DIG eCircles Processing groups. Gary records delicate B&W urban landscapes and activities from his home in South-West France. Garry is the head gardener of the National Trust Avesbury Manor and produces colourful or B&W pictures – depending on his mood - from his beautiful garden and regular trips to Australia. Munier is our formal nature photographer who produces highquality flora and fauna pictures, and Michel records street life in Reading, London and from his discovery trips to the North of England.

This melting pot makes for animated and flowing discussions of the pictures, which are often guided by a theme.

Here are a few pictures and comments from our recent interpretation of the theme “conflict”.

The flowers are symmetrical yet not looking at each other, so twinned together in harmony yet looking away with a sense of conflict.

Photo: Munier Hossain

Looming conflict, but the seagull did not dive for the churros. Conflict averted.

Photo: Michel Claverie

BOOKS AND ZINES PROJECT

FEATURING MONTY TRENT

With many completing the optional workshops connected with the long term project, Books and Zines, there have been some interesting books compiled and made ready for others to preview. It has been fascinating to see the variety of subjects chosen and the quality of the writing and images contained in the books. I will feature excerpts from some of them over the forthcoming issues. This one, ‘Beyond my Back Yard’ by Monty Trent caught my attention for its wackiness, creativity and inventive words.

I am displaying the Introductory page and two of the unusual subjects covered in the book, F Clefs and the Pesky Pigeons. I was unaware of Hip Irons, and read Monty’s description and its resemblance to the f cleft with interest. Imagine my dismay and lack of observation, when sitting in bed with my shutters open, to find them featured on the roof corners on the building opposite! All these years had I noticed them but now I have ‘my eye in’ I am seeing them everywhere!

The Back Garden

Excerpts & images from the Book, ‘Beyond

my BackYard’ by MontyTrent

You can read the book in full HERE on the DI Issuu page.

Cloister Walk

MONTY’S INTRODUCTION FROM THE BOOK

In January 2024, here on the upper edge of Leeds, the weather was bitter raw, freezing wet and windy, caging me in my shed, a converted garage separated from the house by a tiny quadrangle. I confined my photography to seeing how many pictures I could make from within that tiny backyard, looking in, out, up and down. Gazing at a stained glass door panel, a garden rake, illuminated windows of the house, views along the adjacent road, pigeons on the roof and the scrolled hips tipping roof ridges.

Then, inspired by Dan Simmons’ ‘Hyperion’ and the Infinite Monkey Cage podcast, I was exhilarated to discover that my backyard was a space portal, a gateway to the stars. Supernovas, red stars strutting, rampant f: Clefs dancing with the pesky pigeons to my chortling rake giggling at Schrödinger’s cat (who, happily, is alive and well at Trent Towers) dancing to the music of the Spheres.

Since starting this project, I have made hundreds of pictures. This is only a sample to whet my appetite for a book or maybe an exhibition. I’ll carry on until the itch abates but with spring around the corner maybe it’s time this town mouse emerged into the big world. Fasten your seat belts, hop onto the No 29 Route master rocket to Cockfosters and Victoria via the Rings of Saturn. Just a mere step down from my shed and beyond our back yard.

Scrolled hip iron Our home was built in the late 1930s, and I am fascinated by the ornamental iron scrolls decorating the ends of the roof ridge tiles. They remind me of the music score F: Clef symbol, seducing me along the following path . . .

The F clef, or the bass clef, has a rich history and significant meaning in music notation. Its origins date back to medieval times when musical notation was evolving. Initially, clefs were simple letters placed at the beginning of a staff to indicate the pitch of a particular line. Over time, as music became more complex, the F clef emerged to represent lower pitches.

The F clef symbol resembles a stylised letter "F" with two dots surrounding the fourth line of the staff. This line, when properly notated, indicates the pitch of F below middle C. The placement of the F clef on the staff indicates that the notes written on or above the fourth line correspond to lower pitches, making it especially suitable for instruments with lower registers, such as the cello, bassoon, and bass guitar.

Beyond its practical utility, the F clef also Beyond its practical utility, the F clef also holds symbolic significance within the musical community. It represents the depth and richness of lower registers, evoking feelings of stability, strength, and gravity in musical compositions. Dark, growly, murky sounds in deep bass. It's time to liberate them, give them a bank holiday outing on the lighter side, and sing us a new song.

F Stop Pink & Yellow

It’s a well known fact that many idiots think the less than humble pigeon is a digital drone that knows more than is good for us. We know better - they are firmly controlled by the f: Clefs who know something the pigeons don’t . . . a fox is coming!

Pesky Pigeons

The Visitation

WORLD PHOTOGRAPHY

World Photography Day is celebrated annually on August 19th. This day is dedicated to celebrating the art, craft, science, and history of photography.

Why is it on August 19th each year?

◦ World Photography Day commemorates the day in 1839 when the French government announced the invention of the daguerreotype process, developed by Louis Daguerre. This was the first publicly available photographic process, marking a significant milestone in the history of photography.

◦ The date, August 19, was chosen to honour the French Academy of Sciences' announcement and the subsequent gift of the daguerreotype to the world.

Daguerre's View Of The Boulevard du Temple, taken from the window of his apartment in Paris in 1838, is a unique example of early street photography that includes the first known recorded image of a human being.

What is the significance of this celebration of Photography?

• It recognises the contributions of photographers, both professional and amateur, who capture moments that tell stories, evoke emotions, and document history.

• It enables Photographers from around the world to share their best work on various platforms, participate in photography contests, exhibitions, and workshops. Social media plays a significant role with hashtags like #WorldPhotographyDay trending as photographers share their images.

How can we personally be involved in WPD?

• Seek out the various photography exhibitions and competitions that are being held to showcase diverse photographic talent and styles which often highlight both historical and contemporary works.

• Attend any Educational events, workshops, or webinars, that might be organised to educate us about different aspects of photography, from technical skills to artistic expression.

• It could also be an opportunity for Photographers to engage with their communities by sharing stories behind their photographs, discussing their techniques, and providing inspiration for aspiring photographers.

How are the Digital Imaging Group getting involved in 2024 WPD?

• DI are inviting members to submit one photo taken on Monday Aug 19, to be displayed on a specially created web page to promote our members celebrating World Photography Day.

• Take a photo of “Your World”, really think about what illustrates your world, art is subjective so don’t be afraid to ‘step outside the box’ Perhaps it’s a day to see beauty in unexpected places, or in everyday objects?

• We will also encourage you to add a statement to accompany your image, “why I enjoy photography" or “why do you take photographs”

• Sizes and details of how to send in your images will be announced in JULY

World Photography Day is a celebration of the medium that has transformed the way we see and interact with the world. It honours the pioneers of photography, the innovations that have advanced the field, and the countless individuals who use photography to tell compelling stories, capture beauty, and document life.

Do get involved on the day and share your image with others.

INTERNATIONALS

Each month we will feature an International Member and learn more about them and their photography. Here Janet Haines poses questions to Joaquim Capitao

Janet: As a Portuguese person living in Belgium did you see any difference in photographic styles or colours from your home country to where you now live?

Joaquim: I left Portugal in 1987, first for the US (Florida) for a couple of years, then Italy for 8.5 years and finally Belgium since 1998. Although I did some photography before, it was only in the last 10 years that it became a serious hobby.

However, I continue to follow the work of many photographers in Portugal and have had the pleasure of participating in a few books published there collecting work of about one dozen photographers each time, most of them Portuguese. I cannot pretend to know everything about photography and photographers in Portugal, but I have a reasonable idea of what is being done there, mainly in my favourite genre, landscape photography.

And that is the main difference I can see between photography in Portugal and Belgium: possibly due to the more varied landscapes available within a short distance, landscape photography is much more vibrant in Portugal than in Belgium. I know some excellent landscape photographers in Belgium, and some of them photograph mostly Belgian landscapes, but street photography or portraits seem to be much more popular with Belgian photographers than landscapes.

Focusing on landscape photography, one difference I see, also related to the different conditions available, is that Belgian landscape photographers tend to take full advantage of misty mornings in the woods or in cultivated fields, while Portuguese photographers seem to prefer the vibrant colours of a sunrise or sunset, possibly associated with sea stacks or with the built environments in Lisbon and Porto.

One common trend, however, is for photographers, both in Belgium and in Portugal, to travel to beautiful locations around the world to photograph iconic (or not) landscapes.

Janet: The Belgians seem a very free society and not so ‘rules’ orientated as some European countries. Is it easier therefore to photograph whatever and wherever you wish?

Joaquim: Belgium is generally seen by foreigners as a country very relaxed when it comes to rules, and there is probably some truth in that image. However, when photographing in Belgium you need to be aware of the fact that the Belgian society is very multi-cultural. Although I believe that legally you can photograph anyone in a public space (but not publish the photos unless you get written permission from the persons you photographed) many people do not want to be photographed and make that very clear.

One guideline I tend to follow when photographing in a city is to take my time to prepare the photo and make it obvious to those around me that I will at some point take a photo. That gives those who do not want to be photographed enough time to get out of the frame and generally, but not always, avoids any discussions once the photo is done.

Another issue in Belgium is photographing well-known buildings. Belgian cities are famous for their art nouveau and art déco buildings, but for many of them there are restrictions on the use of photos for any kind of “commercial” use. In some of the building which you can visit, taking photos inside is often forbidden or limited. For instance, I was recently on a visit to the Solvay House, a beautiful art nouveau house built by the Belgian architect Victor Horta and one the four buildings included in a UNESCO World Heritage site. The visit lasted about 40 minutes, but photos were only allowed in the last 10 minutes. Looking at their web page now, it seems they do not allow even that any longer. In other buildings you can photograph with a phone but not with a camera, while in others you must leave your bag and phone at the entrance to make sure you’re not tempted to sneak by and take a quick snapshot with your phone!

Janet: You have recently been showing (on Facebook) us some hidden gems of places in Brussels. How are you discovering these less well-known locations?

Joaquim: Since my favourite genre is landscape photography, I tend to go out of Brussels for photography. I also enjoy bird photography, and you can do that quite easily in Belgium in general, but even in Brussels or very close to the city.

Apart from that, I had until recently only attempted some street photography, with what I think were pitiful results… I did shoot some beautiful buildings, but not very often. However, that changed significantly in the last few months. That was partly because some buildings that were closed to the public are now open for visitors, even with all the restrictions on photography that I mentioned before. And, quite surprisingly, in some buildings they welcome photographers. I recently visited one in which there was a warning sign at the entrance reading “please take photos”!

I have therefore been discovering a lot of architectural gems in Brussels, but also in other Belgian cities (Antwerp is particularly beautiful). And my phone is much more used for photography than had ever been the case, allowing me to take photos where cameras are banned.

Janet: When did you first hear about the RPS and what prompted you to join?

Joaquim: I am a member of an international camera club in Brussels, the Viewfinders Photography Club of Brussels. Several members of the club are or were members of the RPS and during the Covid-19 crisis I found out from them about the online talks and workshops that the RPS was organising. As I was, and will always be, looking at ways to improve my photography, the possibility to attend all those online events seemed to be more than worth the annual fee. And, as I never do things in half, I decide to join not only the RPS but also four special interest groups, Digital Imaging, Landscape, Nature, and Travel.

I am a member of the Benelux Chapter of the RPS, which meets once every two months in Rotterdam and the other months via zoom. Although Rotterdam is not exactly around the corner, I try to go to the meetings as often as I can.

Janet: It is lovely to see you engaging with so much that the RPS has to offer. Are you finding this beneficial to your photography and in what way?

Joaquim: The main benefit I have had from my membership has been meeting some great people who share a common passion for photography. Most I met only through a computer screen, but several others I have actually met in person. This is, for me, the main advantage of belonging to a club or association.

I think I am a bit different from most RPS members in that I am not particularly interested in distinctions. I am still undecided about whether or not to go for one, not so much because of the distinction itself but because of the process. Having a project to drive my photography is something that I see as having a strong potential impact on its quality. I had never thought of my photography in terms of project, but rather of individual photos, so this project-centred approach is, for me, one of the great benefits I already got from joining the RPS, independently of whether or not I end up putting a panel together to submit for a possible distinction.

And, of course, the possibility to attend many talks and some workshops or to participate in project such as the urban landscapes Talk-Walk-Talk earlier this year, was at the origin of my decision to join the RPS and has more than fulfilled my expectations. Even with many activities now going back to being in person, and therefore being much less accessible to overseas members, I see there is a tendency to keep a good number of online activities, which certainly makes it easier for me. Even if many or maybe all the online activities are also accessible to nonmembers, I don’t think I would be participating as much if I had not joined the RPS.

Janet: Please can you show us two of your own favourite images and tell us why you like these?

Joaquim: This is certainly the most difficult question! I usually say my favourite photo is the next one I will take, but I can’t show it yet…

The other reason that makes it so difficult to reply to this question is that for me “the joy is in the journey, not the destination”. My feelings about a photo I have taken are largely influenced by what it felt like being there.

The photos I have selected are therefore probably not my best ones technically or artistically, but they are associated with my feelings about the places.

The Champalimaud Foundation - Lisbon

The first one is one of my favourite places in Lisbon. The Champalimaud Foundation is a biomedical research centre, located on the shore of the Tagus River, in the Southwestern part of Lisbon. The Champalimaud Foundation Centre was built between 2007 and 2010 and was designed by Charles Correa, an Indian architect. In the same complex there is a restaurant and bar, with a very nice view over the river facing towards the West and the Atlantic Ocean in the distance.

As most, if not all, landscape photographers, I am not a big fan of completely blue skies. However, the sky in Lisbon in the Summer during blue hour can be an amazing show of light and colour. So, on this particular evening in the Summer of 2017, a nice dinner in the restaurant was followed by an impromptu photo shoot around the buildings during blue hour. It is not the case with this photo, but in some of the photos taken that evening I actually had to desaturate the blues and oranges to make the photos more “believable”!

My second choice is from the Netherlands, although quite close to the Belgian border. The Kinderdijk is a UNESCO World Heritage Site and is generally packed with tourists from all over the world. Photographing without the crowds and using a tripod is effectively possible only if you get there very early in the morning.

This photo was taken at about 6 am in a February morning. I was with a small group of Belgian photographers and when we left the cars everyone rushed to the most photographed area in Kinderdijk, to get there in time for sunrise. It was very cold and misty, so the idea of taking our time and looking around did not come easy to most, but that is exactly what I did. I was fascinated by the mist and the reflection of the windmill in the small canal but, even more, by the frost on the grass in the foreground.

I don’t often participate in competitions but decided to send this for a monthly competition in the RPS Landscape group. I was happy to be voted third, but even more when I received the newsletter and my photo was on the cover (benefitting from being in portrait format and having enough negative space on the upper part to accommodate the necessary text…)

Kinderdijk - Netherlands

BOOKS AND ZINES

This year long project has been great fun to organise and to participate in. As organisers we are not remotely book experts so have been learning lots along with the participants. Participants have been generous in sharing their own knowledge, and their work.

We have been seeing some impressive drafts and publications both in the peer support sessions (where participants helped solve a wide variety of issues for each other), and on our project Facebook group (for participants only). One of the peer support groups even set up a What’s App group to facilitate continuing mutual support.

We still have lots of events coming up for participants only (participants - remember to check our noticeboard in the Google Drive folder for log in and booking details.)

All the talks will be recorded.

June 26th 10.00am UK time. Zoom talk. Tim Parkin talking about preparing your images for print. Tim is fresh from producing a fabulous edition of the NLPA book, and is renown as an expert in colour reproduction. You do need to book a place on this, and there is a small charge.

July 1st 14.00 UK time. Zoom talk Lois Wakeman on typography and Fiona McCowan on producing a printed zine from a handmade one. Free talks. Link on our noticeboard.

August dates tbc . Some participants have requested more peer support Zoom sessions so we will set a couple of dates for that in August. Booking will be required.

August 27th 10.00 UK time. Zoom talk. Eddie Ephraums giving us more inspiration about what works and what doesn’t. Eddie is very highly respected in photo book circles. Link will be on our noticeboard.

October 28th 14.00 UK time. Zoom. Final critique session with Alex Nail. Alex will select some PDFs to critique; we will request offers in early Autumn. Link on our noticeboard.

For any queries on the project contact Jean Robson - digmem@rps.org

WE HAVE AN ISSUU CHANNEL

Those who are participating in the Books and Zines project are being given the opportunity to have their ‘work in progress’ uploaded on Issuu, to see how it looks. Also, when happy with the completed Zine they will be able to share it on Issuu to a wider audience. Do have a look! https://issuu.com/digweb

FROM SEED TO BLOOM

Our project From Seed to Bloom is continuing through the summer months with more interesting Talks and Workshops.

Learn new processing techniques. Be inspired on ways to present your work. Sow the seed and watch it flourish. Links below with places available.

• Supportive Image Evaluation with Charles Needle Participant July 2

• Supportive Image Evaluation with Charles Needle Observer July 2

• How to Create jaw dropping Closeups using your phone July 24 a Workshop with Charles Needle

• How to Craft Painterly/Abstract Images Using Your iPhone Sept 17 a Workshop with Charles Needle Part 1

• How to Craft Painterly/Abstract Images Using Your iPhone Oct 8 a Workshop with Charles Needle Part 2

• Still Life, a Talk with Cherry Larcombe Oct 9

• Triptychs a Talk with Cherry Larcombe 27 Nov

For Talks, Walks, Workshops and Support from Springtime to Autumn 2024 and beyond see the FULL RANGE HERE

WE HAVE A NEW FACEBOOK PAGE FOR ‘FROM SEED TO BLOOM’

This is a group for those interested in the DI ‘From Seed to Bloom’ Project 2024. It is intended to be for members to ask questions, and share information about Gardens to visit, Flower Farms we could go to photograph, exhibitions of interest and to share your Flower and Garden Photography.

https://www.facebook.com/groups/2093842637659612/?ref=share_group_link

FROM SEED TO BLOOM

THE ART OF FLOWER PHOTOGRAPHY WORKSHOPS WITH CELIA

Repeat Workshops and two new dates for your diary for the Autumn

See-Make-Take No 4 in the series of workshops with Celia Henderson REPEAT of The Sweet Pea July 2/4

See-Make-Take No 5 in the series of workshops with Celia Henderson REPEAT of The Rose July 30 - Aug1

See-Make-Take No 6 in the series of workshops with Celia Henderson REPEAT of The Dahlia Sept 7

See-Make-Take No 7 in the series of workshops with Celia Henderson Autumn flowers and Colour Oct I/3

See-Make-Take No 8 in the series of workshops with Celia Henderson Early Winter in the Garden Nov 12/14

On the 9th of July starting at 10am, Celia Henderson is hosting a session called ‘Calling Creatives’.

This is an open workshop – and if you have attended any of the recent flower workshops, you are welcome to come and chat informally with Celia, ask questions, get some more help, show your work, or simply just drop in to listen or learn.

Register your interest to this FREE session HERE .

Go here for the full programme and more detail: DI Homepage/ From Seed to Bloom

For the whole range: Billetto DI Public Profile page

To further refine your search, type a particular tutor’s name in the Search Bar

EDITOR’S WORDS

from THE COMPUTER CHAIR

So the Computer Chair has been sitting empty and forlorn for a succession of days this month. I have taken days away from my ‘Job’ as a volunteer for Digital Imaging, although some of those did include representing DI at events. I never really leave DI behind when I leave home!

One has to be very disciplined to not check one’s emails when away, and as mine all come into one address, it’s impossible to not look at what is going on, so even while on holiday I can’t let go entirely. I could not leave my mobile at home, as it is so much more than a phone, it is my map, my train timetable, my vegetarian restaurant finder, my reader, my audible book and my very light weight camera, and even a means to process those images captured.

I would find it difficult to live without mine, but its battery life lets me down at times and I have to endure radio silence and much more! I don’t find that inactivity appealing I always need something to read, notes to write or news to scan, how would I survive on a desert island?

So back to normality and the structure of ordinary week, just the memories to enjoy, as the suitcase is put away. But of course now there is all those images to review and process too!

Melanie Chalk Editor DI ONLINE

Trying some ME and ICM techniques with Charles and Melissa Needle at RHS Wisley on my iphone

AI SNAPSHOT

UNVEILING THE LATEST INNOVATIONS IN AI-DRIVEN PHOTOGRAPHY WITH

NEWS & VIEWS FROM OUR ROVING

REPORTERS !

THOUGHTS FROM SIMON NEWLYN

AI on a Poetic Diversion……

It is early June and the prime minister has called a general election and the man at the end-of-the-pier has also decided to run! Time for a diversion I think.

I had wanted to be able to tell you that Midjourney was fully operational as a web application and unfortunately it is and it isn’t! Unless you have a Midjourney subscription and have created 100 images you still cannot use Midjourney through a ‘normal’ bowser window. This is very disappointing as creating images through the browser window controls is both a lot of fun and more importantly easier than working with Midjourney through the Discord platform.

Personally, I now use Midjourney to help create concept ideas. My only objection is that when it suggests use of a ‘gothic spaceship interior’ it fails to also suggest a necessary location budget. No matter.

The Midjourney web interface, as composited image showing Left: Create and Explore buttons: Top The Imagine box where you enter your prompt: Superimposed pop out box showing easy-touse slider controls covering Image size, Aesthetics and Midjourney model to use. Pictures show Midjourney response to a prompt asking for a decaying chapel with a cross on the wall .

Now let me ask you to do one of those creative thinking tests. It is this; if your camera no longer worked ( and could not be repaired ) list five things you would do with it. Don’t cheat and have a quick go …my list included use of the camera body to grow a miniature Bonsai tree out of it. While, I’m sure you will have come up with five interesting answers did you think - be honest - of using your camera to write poetry…..yes words, not pictures, that rhyme.

Well that’s just what two designers Kelin Carolyn Zhang and Ryan Mather and Jo yce Kilmer have come up with - an AI camera that turns what it sees into written poetry. The Poetry Camera as it is called can be found here https://poetry.camera The camera with a built-in Raspberry Pi computer, which retains the captured image, then links up with Open AI’s GPT-4 to generate a printed copy of your poetic verse!

Now if you ( really need a general election diversion ) can’t wait to get your hands on this interesting device you can actually built your own. Download the basic instructions here https://github.com/ carolynz/poetry-camera-rpi to build a camera and start creating not only free verse poems but sonnets and a haiku or two.

Enjoy!

Simon

Image Credit:The Picture Camera

Image Credit:The Picture Camera

RPS DISTINCTIONS

Find out how to start – or continue – your Distinctions journey: Each of the pages below includes handy links to guidelines and genres for distinctions, assessment dates, and a “how to apply” document:

• Licentiate (LRPS)– the process for LRPS is changing – see below for more details.

• Associate (ARPS)

• Fellowship (FRPS)

Changes to LRPS

The LRPS application process has been changed and will now use an online application system for digital submissions – no more prints or books will be assessed.

There are currently no details of these new assessment procedures on the RPS website, but the new online process is still being developed, and will be announced as soon as it’s been tested successfully. Keep an eye out on the Facebook group (see below) for announcements.

(ARPS and FRPS submissions will continue to support print-based assessments.)

The Photobook genre has its own special guidelines and submission process (as opposed to an ARPS or FRPS submission in book form). You can find out more here: Photobooks. You might also like to see a talk hosted by Stewart Wall which is both informative and inspiring.

Some genre-specific hybrid Advisory Days for both Associate and Fellowship levels at RPS House are bookable – limited spaces; book here.

To help you prepare, you can request a one2one portfolio review – an online session with a panel member appropriate to your genre/distinction. See this page for more information: How to book a one2one.

There has been some confusion over what happens next – someone from HQ will find you an advisor and put you both in touch to arrange a date and to send images/ presentation plan. This can take time depending on how many volunteer assessors in your genre or at your level are available, and you are advised to make your request at least 4 months before an assessment.

Some regions are offering Advisory Days online and in person. Look out on our Facebook group or for broadcasts from your regional group for details, or use this link https://portal.rps.org/s/eventlisting and click the ‘Advisory Day’ button at the top.

You can generally attend as an observer if you aren’t ready to step up yet (usually advertised a week beforehand on the Facebook group). In addition, some Chapters and Regions offer online Distinctions Study Groups. You can find these by searching the RPS website (these are in random date order including past dates, so you do need to be patient).

You can send your booking forms to distinctions@rps.org or by post to head office. As for advisory days, you can sign up to observe an Assessment Day (in person or online) tickets for assessments –currently free.

And don’t forget, as well as projected and printed images, you can also apply for a Film, Digital and Multimedia Distinction at any level, and also a written Research Distinction: Film And Research The Research page on the website has been updated, and more changes are scheduled for other pages.

More avenues of support

If you missed any of the Distinctions Live talks, you can catch up here. (Also accessible via the RPS Distinctions channel on YouTube.) This talk from Stewart Wall gives advice on how to gain your Licentiate.

The Facebook Group RPS Distinctions **Official Group** is still growing after 3 years, with over 5000 members. It includes news from HQ, links for observer places at assessments, and posts celebrating distinction successes to inspire you. It’s a civilised venue to ask questions, share your successes – and disappointments – and ask for critique or expert advice on your proposed portfolio.

If you aren’t sure which genre or level to apply for, you can post 6 images (plus your Statement of Intent if appropriate) and request moderator advice.

Accolade, which celebrates Digital Imaging members’ distinction successes, is useful for insight into the process in many different genres and at all levels. The last Issue 13 of Accolade has been published. Future distinction stories will be featured in DI ONLINE instead (back numbers also available on the DI Website).

LANDSCAPE GROUP

An invitation from the RPS Landscape Group

Members of DIG are very warmly invited to join us for the Landscape Group'sforthcoming weekend conference which takes place in Fife next March. We will be staying in the DoubleTree Hotel in its stunning location overlooking the beautiful Firth of Forth. Over the course of the weekend there will be speakers, practical workshops and guided location shoots. To say nothing of the yummy food and great company!

You can join us on either a fully-inclusive residential basis or on a non-residential basis if you live nearby or wish to arrange your own accommodation. You are welcome to bring a friend or a partner to share your room who can either attend the conference too or spend their time visiting some of the many local attractions. Edinburgh and Dunfermline are both only a stone's throw away as are the attractive coastal villages of Aberdour, Burntisland, and Kinghorn, all just short direct train trips from the hotel.

In previous years, places have sold out so if you would like to come, don't wait till the last minute to book! Also, until the end of August, we are offering lower-priced tickets to encourage early bookings as this helps our cashflow when it comes to paying the hotel.

To find out more, including details of the speakers, and to book your place, go to https://billetto. co.uk/e/landscape-group-conference-2025-early-bird-tickets-tickets-910820 or scan one of the QR codes below.

EXHIBITION

DI WORKSHOP LINKS

DIGITAL IMAGING WEBSITE

Do visit our webpage

The members-only link for the DIGIT Archive is to be found in the email message announcing this newsletter.

The RPS Digital Imaging constitution can be downloaded HERE.

For everyone’s convenience, we include a list of shortcuts to the main Digital Imaging pages at the end of each Broadcast.

You can subscribe to our email Mailing Lists here to hear new announcements:

Garden & Plant Photography Workshops Events DI Competition