Issue 3 July 2025
Editor
Martin Addison FRPS martinaddison22@gmail.com
AV World is designed by Martin Addison and Andrew Gagg
AV World is published approximately every two months in the Autumn to Spring period. and contains news and information from the world of AV.
If you would like us to advertise your event or send a review of an AV related activity, please send to the editor at the above address
This issue marks a complete redesign by Martin Addison and Andrew Gagg, and sports a new fresh look.
Donʼt forget that AV World e-xtra is available to ALL of the AV community ‒ not just RPS members. If any of your friends and colleagues would like to be added to the circulation list, just send Martin an email with their details.
Weʼre drawing to an end of the competition season, with the Jurassic Coast AV Gala Day just finished, and the results of the Challenge 321 Competition just announced.
The next season will be round quick enough, and we have put together a handy reminder list of the events to look forward to on page 35. The list includes a new AV International Festival that will be run by the AV Group of the Australian Photographic Society. This will be a biennial event dovetailing with the Adelaide AV Festival. It will be an on-line festival viewable over Zoom.
Ian Bateman FRPS MPAGB AV-EFIAP APAGB
Also in this issue are the details of the RPS International AV Festival. The format has changed this year, with the main competition viewable over Zoom, and the results and award winners announced at a Gala Day on 22nd November.
Ian Bateman FRPS MPAGB AVEFIAF APAGB
June 2025
Open to ALL AV Producers
Your summer challenge is to produce an AV on the theme of ʻSummerʼ. Anything goes so long as the AV keeps to the theme. Here are a few suggestions. Perhaps you could interpret the words of a song. Just think what you could do with these:
Here Comes the Sun by The Beatles
In the Summertime by Mungo Jerry
Sittin' on the Dock of the Bay by Otis Redding
Good Vibrations by The Beach Boys
Mr. Blue Sky by Electric Light Orchestra
Walking on Sunshine by Katrina & The Waves
Summer Breeze by Seals & Crofts
Summer Nights by Olivia-Newton John and John Travolta
Lovely Day by Bill Withers
On the Beach by Chris Rea
The list is endless …
Or maybe you have a local event celebrating summer such as a village fair, a music festival, a family gathering, an agricultural show. You might even be going to the Glastonbury Music Festival! Perhaps you live in a city where it is “Hot, Hot, Hot”.
The opportunities for your creativity goes on and on…
The rules:
1. Entry is free and open to all AV producers from any country.
2. No more than two entries per entrant.
3. Entries must be produced over the summer of 2025.
4. The AV should be no more than 12 minutes (but preferably shorter).
5. All entries must be submitted in MP4 format (4K is encouraged)
6. All entries will be retained and posted on-line for viewing.
7. An on-line show will take place in the Autumn.
8. Comments and feedback from a “celebrity” AV producer (or two).
9. Reasonable use of AI and archival images is permitted.
10. The AV Group reserves the right to disallow entries which it views as distasteful.
Please send your finished AV via a suitable File Transfer service to the Summer Challenge Organiser ‒ Alastair Taylor at the following email address: AVTreasurer@rps.org
Closing date is the last day of summer on 21 September 2025.
Regular readers will have noticed that we have a completely new design for AV World this time.
I donʼt know if this has happened to you, but often when we decorate our houses, we paint one room, then decide that it needs new curtains and then perhaps some of the furniture needs changing, and then the next room doesnʼt look as good and what started off as a simple job ends up with a large part of the house being changed.
This is a bit of an exaggeration of course, but this was something similar.
It all came about when I said to Andrew Gagg (who does the great designs for all the RPS AV Group publicity) that I didnʼt much like the font we were using for the publication and could we consider changing it please.
He said OK and after a few thoughts sent me a link to some other publications and we picked one which looked good.
He then sent a selection of eight fonts for me to consider. Having thought about it further, I suggested that we remove the red headers and footers and, while we were at it, perhaps redesign the front cover.
More suggestions came back from Andrew and so it went on, with an idea coming from one of us and the other developing the idea into something better.
This took place over Easter and in under 10 days we had completely redesigned AV World between us.
Much of the time we develop AVs by ourselves, with perhaps some comments from family or friends,
but it does highlight the value of collaborating with other people. This seems to be more common on the continent and with some outstanding results.
We think that this new version is a big improvement and hope that you do too!
The previous edition of AV World
If you would like to publicise an event, or perhaps send in a report on a recent event, please send to the editor at the address in the front of this issue, we will be very pleased to include it in the next AV World
The award winners of the Jurassic Coast AV Salon, pictured at the Gala Day
I recently attended a talk by Malcolm Imhoff at the Worcestershire AV Group in Bewdley. It was a live talk and he had been asked to explain how he created his AV ʻQueen of the Hillsʼ, which has won over twenty awards over the last few years and deservedly so.
Malcolm started by explaining that it had started when at the end of a trekking trip in Nepal he visited West Bengal in India and taken a trip on the splendid Darjeeling Hill Railway. This railway travels from Siliguri on the plains way up the steep mountainside to the Darjeeling hill station at over 2000 metres.
The journey was memorable, with a steam train pulling the old coaches and he came back with some good photos using his very first digital camera. On his return to the UK he thought that his train journey might make a good subject for an AV, but he didnʼt have sufficient images to go ahead at that time. Instead, he planned out the photographs he needed by writing a detailed script for the AV. When he returned to India four years later and took the same train journey he went with a storyboard and a clear knowledge of the images he needed.
During the planning of the AV he decided that rather than make a straight documentary, a better approach would be to tell it through an elderly person looking back and remembering the train journey when she was a child in India. Malcolm explained how his mother proved to be an ideal person to photograph for the role, although he had another person, Hazel Evans, speak the voiceover.
In order to give us a better feeling
for the area, Malcolm showed three other AVs during the evening, one on the wonderful people in Nepal, another on trekking in Nepal and one on a visit to Bhutan.
Queen of the Hills has also won five awards for the best sound. Malcolm showed us the audio tracks in Audition and explained how the soundtrack had been built up from a great many short audio clips, mainly sound effects, with only two or three short pieces of music.
The evening was very interesting and entertaining and I learned a lot about planning and all the steps necessary for creating a successful AV. As so often, when the end result looks so professional, it is easy to overlook all the effort that goes into making it look good. If you get a chance to see Malcolm giving this talk, do make the effort to go and see it, you will not be disappointed.
You can watch ʻQueen of the Hillsʼ here
Martin Addison FRPS
This screenshot shows the ʻQueen of the Hillsʼ layout in Pictures to exe, the program which Malcolm used to create the AV.
Malcolm uses Audition to build his soundtracks and this shows all the sound files which he used to build the atmosphere in his ʻQueen of the Hillsʼ AV.
An informative and entertaining day at Smethwick PS
In an RPS AV Group committee meeting, Adrian Battersby came up with the idea ‒ ʻLetʼs have a day to show AV makers just how good their AVs look when shown in 4Kʼ. We all thought it was an excellent idea and promptly gave him the task of organising it ‒thatʼs what happens when you suggest a good idea!
The day was very much Adrianʼs brainchild and after a huge amount of work, by Adrian and others, we had a very informative but also hugely enjoyable day. Our group chairman Ian Bateman introduced the day before handing over to Adrian who explained the thinking behind the idea and showed us the schedule of events.
Adrian had asked for some AVs on which the authors would like some feedback and we saw three very different but all interesting AVs. Alastair Taylor and Ian Bateman gave some very good feedback and some suggestions on how they might be developed.
arrangements for
this year
Mike Pill
On using AI for voiceovers
Introducing his talk
We then saw a direct comparison between HD and UHD (4K) and Edgar Gibbs took to the stage to explain how it was all going to work. He distributed a questionnaire which he had produced on which the audience were invited to give their thoughts on what differences, if any they saw between the various ways of projection.
The same AV was shown three times:
1. AV made in HD (1920 x 1080) and shown by a HD projector
2. AV made in HD and projected by a 4K projector which upscaled the original to 4K
3. AV made at 4K (3840 x 2160) and projected using a 4K projector
We then watched a different AV in the same three ways. The responses were surprisingly different! It was apparent that those people sitting nearest the screen saw more of an improvement than those near the back.
It was generally felt that the 4K projector upscaled the original HD file very successfully and that only a small difference was discernible between that and when the AV was created in 4K, if at all.
The point was made that the difference is much more noticeable when the comparison was made on a highly detailed 4K television rather than when projected onto a screen..
On balance it was felt that yes, the 4K was better, especially for those close to the screen, but the most important aspect of watching any AV is the AV itself ‒ does it communicate, is it interesting etc and this is what really matters.
Like Adrian, I would like my AVs to be shown at their very best and I have been making them in 4K for a while now. Having recently purchased a 65inch 4K TV, I can thoroughly recommend that route for showing in the home.
No doubt more results will be announced in due course, but the above I think summaries the
Howard Bagshaw, giving perhaps some indication of what his talk would cover?
views, bearing in mind that on most questions we didnʼt all agree. Of course, differences in our individual eyesight may also have made a difference.
Next on the schedule was a talk by Mike Pill on using AI programs to create a voiceover. This was a very interesting session which was new to many people. Mike explained the explosion of programs now available for producing artificial voices and how they had
improved significantly in recent months. One of the most interesting ways he explained is to record your own voice and apply a new voice type to that so that it retains the emphasis and style of delivery which makes the result far more realistic.
After lunch we saw a selection of AVs by various AV workers all shown at their best on the 4K projector. I should mention here that we used Adrianʼs 4K projector which is a BenQ W2710. This is not a ʻFull 4Kʼ projector as by clever technology it upscales the video so that it looks almost identical,
The Audience
but at a significantly lower price. It certainly looked extremely good on the day.
Howard Bagshaw completed the rest of the afternoon, firstly with a look at using video in AV sequences and the advantages and some of the pitfalls of doing this. With most cameras now being able to record in high quality video as well as stills, this is certainly an area which we will see more of in the future.
In the final part Howard explained how the AV ʻDancing with Dandelionsʼ was made. This was created with Jeff Mansell and has
been extremely successful in many AV festivals. Many people had probably seen the AV already, so it was fascinating to hear and see just how it started and was developed into the final version. As always with Howard, he gave us so many brilliant insights into how he creates his wonderful AVs and I am sure that everyone went away with lots of ideas.
Ian Bateman then concluded the day and thanked all the people who had helped make the day a success. Mike and Howard for their talks and Edgar for the comparison section, Malcolm Imhoff for the projection, Alastair
Setting up, or were they just chatting?
for the comments and of course most of all, Adrian for all his work.
I had a really important job on the day, I turned the lights on and off. What would they do without me!
Martin Addison FRPS
By Andrew N Gagg FRPS
I think ʻKing Krakʼ finally hit his stride when he was awarded the Cavendish Prize for a short film and shown at BIAFF 2017. It was immensely gratifying to find
that he had stepped out of the AV genre for a few moments and become a little star in a different spotlight!
Of course, itʼs not really right to say that King Krak was the star, because the real hero of my tale was the crafty old cobbler (played by yours truly in three-day stubble and an old night shirt). The King was merely a salty, harassed old monarch with too many daughters and a serious dragon problem.
The idea for this daft piece sprang from a short stay in Krakow which happened to coincide with their annual Dragon Festival, commemorating an ancient folk tale that featured an ingenious way of eliminating unwanted lindworms.
Having latched onto this idea quite early in our holiday the notion quickly took shape and I started taking photographs around the city to help illustrate my story. Naturally these included pictures of the beautiful city itself, as well as blingy jewellery and dopey-looking mannequins in a shop window.
Returning home, Castell Coch and a few other storybook locations (plus a gormless-looking sheep I met on one of my walks) furnished further material.
Tongue firmly in cheek, the script wrote itself ‒ I think it was all done in a day ‒ but I canʼt say the same of the production, which took me many months, enjoying executing the graphic style that had arrived in a flash of inspiration at three oʼclock one morning.
The rest, as they say, is history or maybe just a fairy story. Iʼd had such fun venturing into the world of Polish folk legend and the result missed (narrowly I believe) earning me a second Fellowship ‒a fairy tale with a not-quite perfect ending, but the BIAFF prize more than made up for that!
Watch the AV here.
International Festivals
Challenge 321 March Annual
IAC Peter Coles Int AV Comp, UK March Annual
Adelaide AV Fest, Australia March Biennial FIAP
Trophée de Paris, France March Annual FIAP
Port Elizabeth CC (PECC), South Africa April Biennial FIAP
La Coupe Lumiere, France April Annual
Jurassic Coast Int. AV Salon, UK May Annual FIAP
APS International AV Salon, Australia August Biennial FIAP?
RPS International AV Festival UK November Biennial FIAP
Pomeranian Diaporama, Poland November Annual FIAP
San Donato, Milanese, Italy November Biennial FIAP
AV Makers of South Africa November Annual
UK National Festivals
RPS National AV Festival September Biennial
Great Northern December Annual
UK Regional Festivals
Midland Counties - Midphot (MCPF) January Annual
North and East Midlands (NEMPF) March Annual
Western Counties AV Comp (WCPF) April Annual
Irish Photographic Federation (IPF) October Annual
Southern Counties AV Comp (SCPF) October Annual
East Anglia Federation (EAF) October Annual
All dates are approximate and may change. Details will be available later
Robert Albright (Jury Chair) Hon FRPS
Robert gained his FRPS in AV in 2002 at the 25th anniversary of The RPS AV Group. He went on to receive the HonFRPS distinction in 2017 when he became the RPS President for which he served a two year term.
He has judged the RPS International AV Festival when it was held at the Royal Agricultural College and the RPS National AV Championship at Sutton Bonington. He is the current Chair of the Photographic Alliance of Great Britain (PAGB) AV Awards assessments and was previously Chair of the RPS Slide-Sound Distinctions Panel.
Robert has judged AV competitions in Australia, Italy and the UK and most recently in 2024 the Irish International National
Championships ‒ after a very bumpy flight! He has twice won the Gold Medal at the RPS NAVC, the Silver Medal at the RPS IAVF as well as Gold Medals at the European Championship (Belgium), the Great Northern AV Festival and the IAC Geoffrey Round/Peter Coles AV Competition.
Robert assesses AV in the context of literary story-telling, art history, the history of photography since 1827 and film history from 1890. The production must aim to engage, inform, move emotionally, to entertain or to amuse. His pet hate is the use of the word ʻsequenceʼ as this implies part of a scene in a film or a string of images with no meaningful content.
Jean Paul has been passionate about photographic film since 1975 and he has created, with varying degrees of success, around thirty AV Productions, or Slideshows as he likes to call them. He has shared this passion by writing two educational books on slideshows:
"Slideshows: An Art, a Hobby, a Passion"
"Create Your Digital Slideshows".
He has organised “the Paris Trophy” with Michel Paret for 21 years, and chairs the Objectif Image association, which is very active in the audiovisual field.
Jean Paul is interested in the projected image in all its forms and visits many contemporary art exhibitions where you can see a huge number of very interesting video works from a creative perspective. He also enjoys wandering around museums.
He is particularly sensitive to originality and creativity and likes to be kept on the edge of his seat from the beginning to the end of a AV production.
Rigor, thoroughness of work, technical cleanliness are also criteria to which he attaches great importance.
Jill Sneesby Hon MPSSA, MPSSA, FPSSA(Dux), AV-FPSSA, MFIAP, ESFIAP, FPSA
Jill is a club, salon & honours judge and has travelled extensively to judge many international events including the HIPA Awards in Dubai, the Emirates Photography Competition in Abu Dhabi, the Al Thani Awards in Austria, the FIAP Nature Biennials in India as well as numerous international events in China and the Adelaide Audio Visual Festival in Australia. Jill is delighted to add the RPS International Audio Visual Festival to her list
When she is not called on to judge she often enters and has achieved considerable success both Internationally (Wildlife Photographer of the Year & Natureʼs Best) and Nationally (Fuji, Getaway & Agfa Awards) as well as
on the salon circuit. Her most notable win being of the Toyota Landcruiser in the Africa Photographic Awards.
Jill has been awarded honours in prints, slides and audio visual and was the first person to achieve the MPSSA. Internationally she also achieved her FRPS and MFIAP in nature prints and her FPSA and was awarded the Hon CPA and Hon FIAP.
For Jill, the magic of Audio Visual is the ability to use images, sound and AV techniques to share emotions and to tell the story.
Winner
Gold medal
Takecho Park
Adrian Battersby
Silver Medal
Best South African Entry
Thoughts on Reflections
Nellian Bekker
Certificates of Merit
A Motherʼs Reflection
Cambridge Remembered
Reflections
The City Reflected
Acceptances
Greenhouse Reflections
Iʼve known Some Boats
Love Remembered
Reflecting Life
Reflections in a Shop Window
When I can See Mum Again
Tom Bayford South Africa
Malcolm & Jenny Gee UK
Maria OʼBrien IRL
Carilyn Hope NZ
Ger Sauer NL
Sophie Paugan France
Linda and Edgar Gibbs Wales
Sheila Haycox UK
Alan Lyons IRL
Luc Miteran France
First Prize
Gold Medal Stop Brendan Gillan
Second Prize
Silver Medal Disconnected Francesca Gernetti and Carla Fiorina
Third Prize
Bronze Medal To Grow Philippe de Lachèze-Murel
Jury Prize
The City Stands
Jean-Louis Terrienne
Best Screenplay Award and Audience Award
Albino
Robert Albright
Soundtrack Award
Euterpe & Co
Christian Brion
Documentary Award
The Children of the Island of the Levant
Jean Jack Abassin
Image Award Under the Snow
Jany Fejoz
Open Category
FIAP Gold Medal
I Kissed A Lot Of Frogs
Cathy Fordham England
Open Category
PAGB Silver Medal
Disconnected
Carla Fiorina & Francesca Gernetti
Italy
Open Category
PAGB Bronze Medal
The City
Mike Pill England
Open Category
Judge's Award (Dave Gibbins)
Jurassic Medal
If….
Adrian Battersby England
Open Category
Judge's Award (Lorenzo de Francesco) Jurassic Medal
Parallel Stories
Michel & Michèle Paret France
Open Category
Judge's Award (Christine Widdall)
Jurassic Medal I REMEMBER
Pinardi Gabriele & Parmiagani Ennio Italy
Open Category
Highly Commended FIAP Ribbon Sweets
Triangolo Magico Multivisione Italy
Open Category
Highly Commended FIAP Ribbon Down With The Curtain
Daniele Ferretti Italy
Open Category
Highly Commended FIAP Ribbon Remember
Peter Warner England
Music, Poetry & Song
1st Place FIAP Gold Medal
Close to the forest floor
Marcel Batist Netherlands
Music, Poetry & Song
2nd Place PAGB Silver Medal
Dreaming of a Summer Meadow
Martin Addison England
Music, Poetry & Song
3rd Place PAGB Bronze Medal
Art or…
Marcel Batist Netherlands
Music, Poetry & Song
Judge's Award (Dave Gibbins)
Jurassic Medal
Shoes
Lynn Middleton-Flynn England
Music, Poetry & Song
Judge's Award (Lorenzo de Francesco) Jurassic Medal
Standing with Giants
Alan Tyrer England
Music, Poetry & Song
Judge's Award (Christine Widdall)
Jurassic Medal
In the City
Martin Addison England
Music, Poetry & Song
Highly Commended FIAP Ribbon RAINBOW OF THE NIGHT
Alia Naughton Australia
Music, Poetry & Song
Highly Commended FIAP Ribbon ENGLAND
Keith Brown England
Music, Poetry & Song
Highly Commended FIAP Ribbon Plaza de España ~ Seville
Scott Antony England
A.I. Competition
1st Place Jurassic Gold Medal
Sur-rèal-isme
Group DAL81 Italy
A.I. Competition
2nd Place Jurassic Silver Medal
Land of Ice
Alia Naughton Australia
AI Competition
3rd Place Jurassic Bronze Medal
AI Nightmare!
Andrew Gagg England
AI Competition
Judge's Award (Dave Gibbins)
Certificate
You Must Decide
Adrian Battersby England
AI Competition
Judge's Award (Lorenzo de Francesco) Certificate
ImMondo
Roberto Rognoni & Mario Costa
Italy
AI Competition
Judge's Award (Christine Widdall)
Certificate
Reis naar de Oost (bontekoe-gb)
Andre Hartensveld Netherlands
Best Photography
Jurassic Medal
The City
Mike Pill England
Best Sound
Jurassic Medal
I Kissed A Lot Of Frogs
Cathy Fordham England
Best Newcomer
FIAP Bronze Medal
Foppa 14
Roberto Rognoni Italy
Audience Vote
Will be Called for Againʼ
Richard Brown UK
Most Successful FIAP Entrant
FIAP Pin
2 Acceptances & 2 Awards
Marcel Batist Netherlands
AV News is the journal of the RPS AV Group and is free to all members.
If you are an RPS member, but not part of the AV Special Interest Group, a small extra payment on your annual subscription to join the group will give you the opportunity to read this publication and also to take part in regular events, both live and on zoom organised by the group.
The AV News offer
• The ability to interact with content - live links to websites and AVs.
• Articles to inspire you to create, exploit new technologies, and develop new skills.
• Hear about AV competitions, events happening across the UK and internationally.
• … and much more as we develop the future direction of the journal - informed by your feedback.
• Cost has been a key factor - it is important to provide value for money for AV SIG members. Page limitations posed by a printed publication do not apply - content is not limited by printing constraints.
• We also needed to exploit the interactive capabilities of the technology - we are, after all, a technology focused specialist group of practitioners.
You have the option to download a PDF version of the journal giving the option to print, if you wish, or read on your PC/tablet at your leisure.
Live links are retained in the PDF version, with QR codes to scan from the printed version. Contributions welcome…
Are you engaged in an interesting project? Have you explored the use of new and emerging technologies? Are there any events in your area that you want to share with the AV community as a whole? We will be interested in hearing about them.
Contact the editor (Ian Hosker) on aveditor@rps.org
The second online edition of AV News will appear early August.
If you are not a member of the RPS AV Group and would like to read this, you can take out a subscription to the AV News magazine by writing to the AV Group Treasurer at avtreasurer@rps.org. An annual subscription for three issues costs £10.
in an
One of the most often asked questions which AV lecturers are asked is ʻHow can we use music in our AV without falling fowl of the law?ʼ
There are basically four ways:
Write the Music Yourself
This is probably not an option for most people but perhaps you could get a friend to write it for you.
Use Royalty Free Music
There are many websites which offer royalty free music, which means that the copyright owner has waived their rights to royalties by licensing the use of the music with its purchase price.
Use Creative Commons Music
This is a rapidly expanding area of music licensing, where an artist freely publishes music for public use in the hope that their work will eventually become better known.
In the UK, there is a long-established method for obtaining permission to use copyrighted music in amateur productions, covering both AV and video.
Two music industry bodies, the Mechanical Copyright Performance Society (the MCPS), and the British Phonographic Industry (the BPI), issue licences allowing the use of music from legitimately purchased sources to be used in amateur (ie specifically not professional) productions. The MCPS licence protects the rights of the composer, and the BPI licence protects the rights of the publisher.
You may have noticed the variation or absence of music credits at the end of AV sequences ‒ it all depends on the source of the music used.
A peculiarity of the IAC licences (specifically the BPI licence) is that the name of the performing artist must not be credited in the AV sequence, though the name of the piece of music can be (though this is not mandatory).
If you choose to use ʻRoyalty-Freeʼ or Creative Commons music however, details of the source of the music are usually a requirement of the licence. Whatever you use, itʼs essential to read the licence agreement to ensure that you are complying with its requirements.
This is a synopsis of a longer and more detailed article by Ian Bateman which is on the RPS AV Group website, click on the image below.
The RPS Audio Visual Group caters for the interests of photographers who enjoy and make Audio Visual productions. The AV Group is a friendly, caring and sharing community.
Audio Visual, or AV as it is known is a fantastic way of showcasing stunning photographic images linked to a sound track ‒ music, song, poetry, words, sounds, or a combination of these. A particular feature of an AV production is the third image, that wonderful moment when one image dissolves into the next.
The Magic of Audio Visual
Exclusively digital these days, AV productions combine projected photographs and possibly video with a sound track giving you the
opportunity to combine projected photographs with sound and narration and it is an interesting way of presenting your work and ideas.
We can offer you advice, encourage and support members through education, competitions and distinctions, as well as showing you how to make an AV.
Why not browse around our web pages.
To find out more, click on the links opposite.
We also have a Facebook page called AV News and to access that please click here.
Mission & Vision
Resources, Links, Make An AV
Events & Talks
AV News Online
Distinctions
AV Clubs UK
International AV Festival (IAVF)
National AV Championship (NAVC) Committee
AGM's
George Pollock Award
Dobson Henry Award
AV Judges & Lecturers
News Articles
Landscape Into AV
Archival AV News e-xtra
1 Minute AV Challenge
AV Examples
Membership & Useful Information
If you have enjoyed reading this publication, please pass it on to anyone who may be interested
If you are not on our mailing list for AV World, please email the editor at the address in page 2 of this publication