4 September 2025
Editor
Martin Addison FRPS martinaddison22@gmail.com
AV World is designed by Martin Addison and Andrew N 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.
Cover design by Andrew N Gagg
Enterfrom15thSeptember2025 Seepage32fordetails
Welcome to the late summer issue of AV World e-xtra!
Summer is slowly drawing to a close, and September marks the start of the new Camera Club and AV Group season.
In this issue you will find details of the various AV events that will take place, not least of which is the RPS International AV Festival. This is the first time that the festival will be a hybrid Zoom/Live event, so please support it by entering, and coming along to Worcester if you can.
Ian Bateman FRPS MPAGB AV-EFIAP
Iʼll also take the opportunity to post a shameless plug for the Jurassic Coast International AV Salon. This is a teaser ‒ more information will be released over the coming months.
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.
To book, visit:
https://rps.org/groups/audio-visual/events-and-talks/
September 2025
17th September ‒ ZOOM ‒ 1930 to 2100
AV Group Pre Season Chat ‒ Meet the Committee, launch the winter programme, work in progress, future ideas
Everyone Welcome ‒ Join us at:
https://us06web.zoom.us/j/82861433497? pwd=oocKc9IEQfkVwZ9BCoobpZ4YiKJpBo.1
Meeting ID: 828 6143 3497
Passcode: 792747
Join us for a catch up on all things AV
8th October ‒ ZOOM ‒ 1930 to 2130
AV Group Members Talk ‒ An evening with Richard Brown ‒ a masterclass in the skills of documentary AV production
12th October ‒ LIVE ‒ Times TBA
Joint AV Talk with AV/DI Groups at Greyfriars Community Centre, Ringwood, BH24 1DW
Ian Bateman FRPS MPAGB AV-EFIAP APAGB presents a full-day workshop on producing AV sequences using a variety of software including the latest AI audio tools.
18th October ‒ ZOOM ‒ Times TBA
Engagement Event with AV/DI Groups to launch joint project
1st November ‒ ZOOM ‒ 1930 to 2130
Showcase of entries from the RPS AV Group Summer Challenge
17th to 20th November ‒ ZOOM ‒ 1900 to 2200
Showing of RPS IAVF Entries on four consecutive evenings
22th November - LIVE ‒ 0930 to 1700
RPS International Audio Visual Festival (IAVF) Gala Show and Results
Announcement at Worcester University
14th December ‒ ZOOM ‒ 1400 to 1600
AV Group on-line Christmas Party and Winter Solstice Celebration (Winter Themed AVs)
January 2026
10th January ‒ ZOOM ‒ 1930 to 2130
AV Group Members Talk:
RPS President Simon Hill CPhot HonFRPS will talk about his work as a documentary photographer and his collaborative work on producing a film on the North East mining Industry
February 2026
7th February ‒ ZOOM ‒ 1400 to 1630
AV Group Members Talk:
An Afternoon with Malcolm and Jenny Gee. An opportunity to rerevisit and enjoy some their award winning AV Productions, and learn about their creation, with an additional insight into how they put together their wonderful sound tracks and create fantastic visuals
28th February ‒ ZOOM ‒ 1400 to 1630
“Soundscapes” and “The Shipping Forecast”. Revisit the story behind the joint project of the RPS AV Group and Landscape Group. Enjoy a tour around the distant corners of the British Isles
21st March ‒ ZOOM ‒ To be confirmed
AV Group Members Talk: AVs from the Archives
2026
19th April ‒ LIVE - times tbc
AV at the Film Factory
Live AV, inspiring speakers, 4K projection, cinema seating, surround sound, easy motorway access.
The Leigh Film Factory, Spinners Mill, Leigh, Lancashire WN7 2LA
9th May 2026 - ZOOM - 1400 to 1530
DaVinci Resolve with Martin Addison FRPS
A demonstration on using DaVinci Resolve for AV workers.
Martin will demonstrate the basics of the programme and this is intended for those who have never used or have just started using the program.
The session will also include finished examples of AVs created in DaVinci Resolve
Subsidised by the RPS Audio Visual (AV) group, the North West AV day 2026 will be held at the Leigh Film Factory on the 17th April 2026.
Nestled in the heart of Leigh, Lancashire, the Film Factory is a boutique cinema that punches well above its weight. With just 115 seats, it offers an intimate yet luxurious viewing experience̶each seat plush and inviting.
The projection facilities are nothing short of cinematic: true 4K resolution paired with 7.1 Dolby Digital Surround Sound ensures that every AV is delivered with breathtaking clarity. Whether you're screening a polished production or debuting a new AV sequence, this venue elevates the experience to professional heights.
The upcoming event, generously subsidised by the RPS AV Group, makes this high-end experience remarkably affordable.
For anyone passionate about audio-visual storytelling, the event at the Film Factory isnʼt just a venue̶itʼs a stage for your next masterpiece and a place where a warm welcome and advice will freely available from a range of like minded AV experts and enthusiasts.
• Its a chance to meet and talk to some of the country's top AV workers.
• The day will be a mix of AV shows, talks and advice on all topics AV.
• Tea, coffee and excellent biscuits will be available.
• Parking is free and the venue is conveniently near the motorway network for those not living locally.
Furthermore you donʼt have to be a member of the RPS to come along either.
5th October 2025 ‒ LIVE
East Anglia Federation (EAF) Annual Competition at Foxton
11th/12th October 2025 ‒ LIVE
42nd IPFAV National Championships and 10th Open AV Competition, Dublin
26th October 2025 - LIVE
Southern Counties AV Comp (SCPF) at Blandford Forum
21st November 2025 - LIVE - Duke Street Church, Sutton Coldfield B72 1RJ
ʻAn Audio Visual Journeyʼ AV show in aid of Macmillan ‒ Arranged by Malcolm Imhoff. You need to book in advance with José Currantjosecurrant@gmail.com
21st to 23rd November 2025 - ZOOM
Pomeranian Diaporama, Poland
November 2025 - Dates tbc - ZOOM
AV Makers of South Africa
17th January 2026 ‒ LIVE ‒ 0930 to 1700
East Midlands AV Competition and Talk from Alastair Taylor ARPS, DPAGB/AV, AV-AFIAP at Leicester.
24th January 2026 ‒ LIVE ‒ 0930 to 1700
Midland Counties Photographic Federation (MCPF) MidPhot AV Competition at Burton on Trent
28th February 2026 - LIVE - 1000 to 1600 at Dorchester Camera Club
Ian Bateman FRPS MPAGB AV-EFIAP APAGB presents a full-day workshop on producing AV sequences using a variety of software including the latest AI audio tools
February 2026 - Dates tbc - ZOOM
Challenge 321
7th/8th March 2026 - LIVE
IAC Peter Coles International AV Competition at Thorpe Astley Community Centre, Leicester
March 2026 - Dates tbc - ZOOM
Trophée de Paris, France
March 2026 - Dates tbc - LIVE
North and East Midlands (NEMPF)
18th April 2026 - LIVE
Western Counties AV Comp (WCPF) at Woodbury
25th April 2026 - ZOOM
All acceptances and awards from the 7th PECC International AV Festival
April 2026 - Dates tbc - ZOOM
La Coupe Lumiere, France
23rd/24th May 2026 - ZOOM
Jurassic Coast International AV Salon, UK
13th June 2026 - LIVE
Jurassic Coast Int. AV Salon, UK Gala Show at Woodbury
ACCORDED PAGB PATRONAGE No. 2025-020
To be held on Sunday 5th October 2025 at The Foxton Village Hall, Hardman Road, Foxton, Cambs. CB22 6RN Commencing at 9.45am
Assessed by two top A-V judges
Ian Bateman FRPS MPAGB AV-EFIAP APAGB and Clive Tanner FRPS MPAGB FIPF AWPF APAGBs
Rules and entry forms will be available by the end of February 2025 on the downloadable documents page of the EAF website – www.eaf.org.uk
Continuing a tradition, I have used the Worcester coat of arms as the motif for the background for the RPS International AV Festival, in the same way that we use the owl in Leeds and the cariatids in Cheltenham. The black pears of Worcester have quite a history and Copilot tells me this:
"The black pears on Worcesterʼs coat of arms are steeped in local legend and historical symbolism. They represent the Black Worcester pear, a hardy cooking variety with deep roots in the regionʼs identity.
One of the most enduring stories dates back to 1415, when Worcestershire bowmen are said to have carried banners depicting a pear tree laden with fruit at the Battle of Agincourt. The poet Michael Drayton even referenced this in his poem about the battle: “Worʼster a pear tree laden with its fruit”.
Another key moment came in 1575, during a visit by Queen Elizabeth I to Worcester. The city authorities reportedly transplanted a pear tree heavy with fruit to the Foregate in her honour. So impressed was the Queen by the treeʼs abundance and the fact that the fruit had not been picked, she is said to have granted Worcester the right to add three black pears to its coat of arms.
Today, the black pear remains a proud emblem across Worcestershire̶ from the cityʼs crest to the county cricket clubʼs badge. Itʼs a symbol of resilience, heritage, and a touch of royal favour."
Andrew
N Gagg
We had a brilliant day running the EAF AV Workshop on the 17th August! After months of planning and fine-tuning the syllabus to suit everyone, from complete beginners to seasoned AV creators. Dick, Jill and I were thrilled to finally bring it to life.
A massive 59 people attended the workshop and were treated to a fantastic day. We kicked things off with a warm welcome and introductions, followed by a short presentation I gave on the range of software available for creating AVs. From there, we moved into showcasing AVs submitted by some of the participants. Each author had the opportunity to introduce their work and share a bit about their creative process before their AV was played. Afterwards, Dick, Jill and I offered constructive feedback, tailored to each skill level. Every AV was a joy to watch, and the variety of styles and approaches made for a truly inspiring session. The feedback was well received and sparked some great conversations.
After a quick comfort break, Jill led a hands-on demo of PTE Studio, walking everyone through the essential settings and setup. Attendees were encouraged to ask questions throughout, and it was fantastic to see so much engagement and curiosity.
Following lunch, Jill delved into more advanced features of PTE and treated us to a selection of AVs covering a wide range of subjects and genres. It was a wonderful way to round off the day, full of creativity, learning and shared enthusiasm. It was a long day with the seminar running slightly over and finishing at 5:40 pm. This reflects on the fact everyone was enjoying the seminar so much, asking questions and engaging with each other.
Thank you to all hosts and participants for making this such a great day.
Alison Jenkins ARPS DPAGB CPAGB/AV BPE1*
By Ian Bateman FRPS MPAGB AV-EFIAP APAGB
Ghost Town ‒ an AV fifty-five years in the making!
To begin at the beginning, as Dylan Thomas once wrote, the impetus for this AV came in 1969. I was a pupil at Bridgend Boys Grammar Technical School, and a notice went up that there was an opportunity to go on an educational cruise aboard the SS Uganda, visiting various places in the eastern Mediterranean. The cruise would take place the following year in November 1970.
Me at school aged 14
The cost was £70 for the two-week cruise, meals and all travel. It sounds a bargain now, but it equates to over £1550 at todayʼs value. This was paid in weekly instalments over the year, and was funded by doing a paper round, plus contributions from supportive relatives in the Rhondda Valley.
I was already keen on photography, and took with my precious Kodak Instamatic 133, and one cartridge of Kodachrome-X slide film. With this I duly documented the places we visited, though sadly it never occurred to me to also photograph the five schoolmates who went with me!
The slides I stored away in a wooden box, which has moved house with me more times than I can remember!
They would have remained forgotten had it not been for one thing ‒ the cruise itinerary changed at the last minute to include a stop at Famagusta in Cyprus. The Uganda anchored off-shore, and the shipʼs tenders ferried everyone to Varosha, the tourist area of Famagusta. We spent the day on the beach and spending the last of our holiday money in the shops. A perfect end to the two-week cruise!
Four years later a war broke out in Cyprus, and the Varosha district of Famagusta was completely cut off by the Turkish army. All of the inhabitants were evacuated, and even after Cyprus was partitioned, Varosha remained a prohibited zone. It has been deserted ever since ‒ the largest ghost town in the world.
However, a few years ago the Turkish Government decided to open up the crumbling buildings to tourists, and it is now possible to cross the border from the Greek side into the Turkish side and wander through part of the abandoned city.
So in 2024 we booked a weekʼs holiday in Cyprus, with the express purpose of visiting Varosha. The day trip also included a stop at Salamis, an impressive Roman city, and Famagusta itself. I took a picture of a post-box in Famagusta, purely for the novelty of it being yellow in colour. When we went to Varosha in the afternoon, there were many more, but in a state of decay after fifty years of neglect. The invasion took place in July 1974, and the town would have been full of holidaymakers. It occurred to me that the postboxes were probably all full of postcards, untouched since they had been posted. I made this the opening scene of my sequence, with postcards disappearing into the post-box never to be seen again.
The invasion took place in July 1974, and the town would have been full of holidaymakers. I made this the opening scene of my sequence, with postcards disappearing into the post-box never to be seen again.
The buildings are largely still standing, but in a perilous state of decay. Although you can walk down the roads and side streets, it is forbidden to actually enter the buildings.
To get to Northern Cyprus from the south involves a coach trip to a border crossing point where all passports are thoroughly examined, though not stamped. We had a guide from the south, but at the border a second guide from the north got on. He was there to make sure that our southern guide did not make any seditious remarks about the Turkish occupation!
I took many photos of the decaying buildings, and when I was making the AV I couldnʼt decide whether to let them remain in colour or convert them to mono. In the end I did both, with each image initially shown in colour before dissolving to black & White.
For the soundtrack I used some of the music of the era, with a different piece accompanying the images of Varosha. By chance, in early 2024
Click for video: https://youtu.be/ WT8t3i8CkMQ?
Elaine and I had gone to see a concert by Puddles Pity Party, who was making a rare appearance in London. Iʼm sure that 99% of you wonʼt have heard of Puddles, but he records cover versions of songs in his very distinctive style. At the concert he did a version of Black Sabbathʼs “War Pigs” in a minor key, turning it from a heavy metal anthem into a melancholy ballad. Donʼt be put off by his clown make-up and Pierrot costume!
I also decided to weave two themes into the sequence. As well as the story of Varosha, I
also documented the fate of the SS Uganda. In the early 1980s she was requisitioned as a hospital ship in the Falklands War. After this, she served as a storage facility before eventually being sold for scrap.
Since including this AV in my setlist, Iʼve been amazed by how many people have fond memories of her and her sister ships the Devonian and the Nevassa. Invariably at the end of my shows, itʼs this AV that people come up to talk about!
As the two themes make the sequence a bit long, I have also made a shorter version focusing on just the Varosha story. This was made specifically for a “European” themed event put on by San Donato Milanese Circulo Photografico, with Lorenzo de francesco narrating the re-written script. This version isnʼt on YouTube, but the original one is.
Click link to see the AV sequence: https://youtu.be/dVAjhOGjf7g
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.
Festival News ‒ Edition 3
Welcome to the Third Edition of Festival News.
We are getting close to the date when you can send your entry for the 26th International Audio Visual Festival (IAVF). We very much look forward to receiving your entry and remember that old saying “You have to be in it to win it!” Will your entry be a prize winner? There is only one way to find out!
The key dates for entering the IAVF are as follows:
15th September 2025 Earliest date entries can be submitted. 6th October 2025 Latest date entries can be submitted.
Please visit the IAVF Website at https://rps.org/groups/audio-visual/iavf/ for further updates and to download the various forms.
Entries must be sent to the Festival Director at avtreasurer@rps.org to arrive by no later than 23:59 GMT on the closing date of 6th October 2025.
Entries may be sent either by post or via an online file-transferring platform such as WeTransfer.
Entries not received by the closing date will not be considered. No entries will be returned. If you do not get an email confirming receipt of your entry by 7th October 2025, please contact the Festival Director.
Your CD/DVD/Data Transfer must contain the following files:
1. Your completed entry form which is shown at the end of the “Information for Entrants 2025” document and available at: https://rps. org/groups/audio-visual/iavf/ The file names must include your name and surname e.g. Entry Form from Tom Jones.doc;
2. FIAP Identification Sheet for your AV productions available at https:// www.fiap.net/upload/files/1522521146-8cfc2.pdf The file name to include your name and surname e.g. FIAP Fiche from Tom Jones.doc
3. Your AV production. The file name to include your name and surname plus the AV productionʼs title and duration e.g. Opera House by Tom Jones 3m20s.mp4;
4. Portrait(s) of author(s) (512px wide x 768px jpg high). The file name to include your name and surname e.g. Portrait of Tom Jones.jpg;
5. Poster for your AV production (800px wide x 600px high jpglandscape format). The file name to include your name and surname plus the AV productionʼs title e.g. Opera House by Tom Jones.jpg;
6. Proof of payment with your name as reference
With this being a Royal Photographic Society led event, there will be various RPS Medals and Ribbons.
The IAVF has been award FIAP patronage and with that comes the usual
Gold, Silver and Bronze FIAP medals as well as ribbons for Honourable Mentions. For those entrants seeking FIAP Acceptances, the Judges will agree which AV productions have reached the standard for acceptance. There will be various other ribbons and awards for different aspects of AV production.
Judges will decide the following awards. These will be announced, and presentations will be made at the Gala Presentation on Saturday 22 November 2025
Top of Festival Awards:
RPS Grand Prix Trophy and RPS Gold Medal; FIAP Gold Medal.
Recognition Awards:
ʻPhotographyʼ would receive an RPS Silver Medal;
ʻProductionʼ would receive a FIAP Silver Medal;
ʻSoundʼ would receive the FICS (Fédération Internationale des Chasseurs de Sons/The International Federation of Soundhunters) Medal.
Two Bronze Medals will be available for the Judges to award them at their discretion for attributes such as script, video, concept, humour, innovation, creative imagery, natural history, documentary etc.
The George and Doreen Pollock Medal:
This medal will be awarded in line with the RPS AV Group's requirements i.e. to be awarded to a first time entrant who had not won any other award in a previous Festival/Competition.
The Martin Fry Medal:
To be awarded to the best interpretation of a song.
Highly Commended and Commended Awards:
There will be 6 RPS Ribbons and 6 FIAP Ribbons for Highly Commended, and 6 RPS AV Group ribbons for Commended.
Acceptances:
In order to comply with FIAP requirements, the Judges will agree which AV productions have reached the standard for acceptance.
During week commencing 17 November, on four consecutive evenings, Monday to Thursday, there will be an on-line show of all IAVF Entries. The precise timings will be announced once the number of entries and their duration is known. We anticipate a show from 1900 to 2200 (latest) with a suitable comfort break mid-way through the evening.
This approach will allow the audience, who might be anywhere in the world, to see all IAVF entries and make their own minds up on the main runners and riders. There will of course be an audience vote for each evening session. We know that some participants will want to watch all four evening so there will be an overall audience vote open to those who attend the whole of the on-line show.
Entrants will get to watch the Zoom shows as part of their entrance fee with a modest charge for others. We will let you know how to book in the next edition of Festival News but in the mean time please put the dates in your diary.
The results of the Festival will not be made known until the Gala Show which will include the showing of all the award winners plus a selection of accepted entrants. We hope to show as many of these as possible during the day which will be from 1000 to 1700 on Saturday 22 November 2025.
The whole day will be £15 per person, so we hope to see great turnout for what will be an enjoyable day. Refreshments and car parking will be included in the price.
We will let you know how to book in the next edition of Festival News but in the mean time please put the date in your diary.
Finally
Please visit the IAVF Website at https://rps.org/groups/audio-visual/iavf/ for further updates and to download the various forms.
Alastair Taylor ARPS DPAGB/AV AFIAP/AV Festival Director avtreasurer@rps.org
21-23 November 2025
Szczecin (Poland)
Conditions of entry and the entry fiche are on the following pages.
The Pomeranian Meetings with Diaporama is a contest organized according to the rules established by FIAP (the International Federation of Photographic Art) no 2025/……….. Stowarzyszenie Twórców Fotoklub Rzeczypospolitej
Polskiej [ The Polish Republicʼs Photoclub Association of Authors ] no 543/2025 Szczecinie [the Pomeranian Dukes' Castle in Szczecin] (hereinafter referred to as the Contest)
1. Digital diaporamas, with any style or theme pattern, can be submitted to the Contest.
1. The Contest is run in two categories: - classical diaporama (the permeations do not contain any motion element) - photocast (motion and film sequences are permitted).
2. One author may present maximum 3 works. The Contest may be participated by all authors - both those associated and non-associated.
3. In order to take part in the Contest you must send us your application and diaporamas, meeting the technical requirements no 5 sections 3, 4) by 31 October 2025.
4. The diaporamas and applications (5 section 4) are to be sent via „WeTransfer” to the e-mail address: dia@zamek.szczecin.pl
5. Neither participation in the Contest, nor presentation of the works entitle the authors to remuneration.
1. Each diaporama must be original work of the participant or a living coauthor(s).
2. You may submit only such diaporamas, which have not been in the Pomeranian Meetings with Diaporama yet.
3. Submission of diaporamas to the Contest means that the participant has
obtained all necessary permits and licenses for using any author materials contained in his or her diaporama.
Before submitting a work to the Contest, the participant shall obtain a permission from authors of the pieces used in creation of the submitted diaporama, or a permission from a collective copyright management organization (e.g. Stowarzyszenie Autorów ZAiKS) for the Contest participant's use of the works used in creation of the submitted diaporama. In case a third party lodges a claim against the Contest organizer regarding violation of their copyrights or personal rights, the participant shall indemnify and protect the Contest organizer from any claims in that respect, and shall satisfy all justified claims raised by that entity.
4. Unless the author stated otherwise, works submitted to the Contest will be displayed within the scope of the diaporama art promotion, during shows organized by other entities the Contest organizer will conclude proper cooperation agreements with and promotions next editions The Pomeranian Meetings with Diaporama. In this respect, the participant shall grant all necessary authorizations and licenses. For the given authorizations and/or licenses the participant will not receive any fee.
5. The organizers shall not publish on the Internet any diaporamas received for the Contest without the author's clear permission.
6. One's participation in the event shall be deemed as his or her full acceptance of these Regulations, as well as of the FIAP Regulations. The Contest shows will be held in the "Zamek" Cinema hall, at the Organizer's seat.
7. The Contest and all its fringe events are non-commercial and the Organizer does not charge the audience with any fees.
1. The Organizer is the participants' personal data administrator. The Organizer processes the following personal data of the participants: first and last names, e-mail addresses, contact addresses, telephone numbers, authors' portraits sent in by the authors for them being published in the catalogue (hereinafter referred to as "the Data”), in accordance with the regulation of the
European Parliament and of the Council /EU/ 2016/679 of 27 April 2016 on protection of natural persons in relation to personal data processing and on free flow of such data, repealing directive 95/46/EC (EU Official Journal L2016 no 119 s.1) (hereinafter referred to as „RODO”). The Organizer's contact data: ul. Korsarzy 34, 70-540 Szczecin, e-mail address: zamek@zamek.szczecin.pl, numer tel. +48 91434 83 11.
2. The Data Protection Inspector, appointed by the Organizer, will be available at: the Pomeranian Dukes' Castle in Szczecin, 70-540 Szczecin, ul. Korsarzy 34, e-mail: iod@zamek.szczecin.pl, tel. no: +48 91 434 83 11. The Organizer does not appoint any representative in the meaning of RODO.
3. The Data will be processed in order to: run the Contest and determine the winners and grant them the prizes, based on art. 6 section 1 letter e of RODO, in conjunction with art. 1, 3 and 9 of the act of 25 October 1991 on organization and running cultural activity, in the context of the necessary processing for pursuing a task in the public interest.
4. The Organizer will retain the Data for the Contest duration, and after its completion, for a period necessary for fulfilment of the duties imposed by the Organizer on the basis of the generally binding law regulations, as well as till the time limitation set for any claims resulting from participation in the Contest.
5. The Data will transferred to the following entities: users of the websites [www.zamek.szczecin.pl, and the Zamek's FB profile], entities authorized based on the generally prevailing regulations, entities authorized based on agreements concluded by the Organizer, the participants, Fotoklub RP and FIAP, participants of the events where the works will be displayed, the Contest jury, the entities mentioned in par. 3 section 4 hereof, including participants of the events listed there, FIAP, Stowarzyszenie Twórców Fotoklub Rzeczypospolitej Polskiej, the Ministry of National Culture, and the person the personal data concern.
6. The Organizes shall not transfer the personal data to any third countries or international organizations.
7. The personal data will not be used for making decisions, based exclusively on automated data processing, including profiling, bringing some
legal effects to the participant or having any other significant impact on him or her (art. 22 RODO).
8. The rights the Participant has in relation to processing the Data by the Organizer are stipulated in chapter III of RODO. At all times the Participant has the right to: (i) demand an access to the personal data, (ii) demand correction of his or her personal data, (iii) demand limitation in the personal data processing, (iv) file a protest against processing of his or her personal data (especially, by sending an e-mail to: iod@zamek.szczecin.pl); (v) file a complaint to the President of the Personal Data Protection Office. Because of the basis of the processing, the participant has no right to: a) demand removal of the Data, b) demand transferring the Data; c) withdraw his or her consent to the Data processing.
9. Delivery of one's personal data is not a statutory obligation, but it is necessary for the person's participation in the Contest. Failure to deliver the data makes for a basis for rejecting their works from the Contest.
1. All diaporamas brought for display must meet the requirements set forth in the FIAP projection regulations (documents: ”Standarisation of AV sequencesʼ 2011” and 2013/314 AV-E).
2. The time set for presentation of one diaporama shall not exceed 12 minute. There is no limit for the number of images (slides) in one diaporama.
3. Technical characteristics of the diaporamas: picture resolution min. 1024x768 pixels, - max. longer side 2048 pixels, sound in MP3 (recommended) or WAVE, a standard, self-starting file, the full-screen mode, in the EXE format (prepared in such recommended programmes as: PicturesTo Exe, ProShow Gold, Wings Platinum, MObjects, Lanterna Magica, or an mp4 or avi file (compression H.264 ‒ 1080/25fps), prepared for a transfer to a PC hard disc.
4. A complete application form (to be downloaded from zamek.szczecin.pl) must contain the above mentioned files, marked in accordance with the following standard.
5.1. Diaporama- file exe/mp4/avi „FIRST AND LAST NAME_DIAPORAMA TITLE”.
5.2. Author's picture - file jpg 600x800 pixels „AUTHOR'S FIRST AND LAST NAME”.
5.3. Application form „AUTHOR'S FIRST AND LAST NAME_DIAPORAMA TITLE”.
5.4. Short biography - file txt/doc „AUTHOR'S FIRST AND LAST NAME _RESUME”.
5.5 General context of the work - max. 5 sentences - in case the soundtrack is in a foreign language - file txt/doc „ DIAPORAMY TITLE_CONCEPT”.
5.6 The diaporama title poster/slide - file jpg/bmp 1500x1100 pixels „DIAPORAMA TITLE”.
5. The diaporamas will be displayed with a projector with 2048x1080 resolution.
1. A Jury team, appointed by the Organizer, composed of representatives of artist unions, photographer associations and experienced authors, will evaluated the works and distribute the prizes.
2. Jury composition:
� Małgorzata Dołowska AFRP, zdfp‒ director of the Fotografia Dla Przyszłości Foundation; President of FRP
� Dorota Kycia EFIAP, ESFIAP, AFRP, HonPESGSPC ‒ FIAP liaison officer.
� Cezary Dubiel - EFIAP /d3, AV-AFIAP, AFRP
� Bodek Macal - President of the Szczecińskie Towarzystwo Fotograficzne (STF)
� Beata Bogusławska - AFRP, Contest Commissioner, employee of the Theater and Film Department at Pomeranian Dukes' Castle in Szczecin, President of the Fotoklub Zamek Association;
3. In case more than 20 diaporamas have been sent in, the Jury will hold a preselection review in order to qualify the works for the final Contest presentation.
4. In the Jury's assessment, the most important criteria include: artistic value, photographic techniques and skills, editing, construction of the narrative, composition and original approach. The Jury will also pay attention to compliance of the Contest works with the definition of diaporama, as a work coherent in its thematic, pictorial and musical layers, and application of appropriate communication techniques.
5. The Jury's verdicts will be final and unappealable, requiring no further explanation.
1. The following prizes will be awarded during the Contest:
1.1 Honour title of "BEST AUTHOR SALON FIAP”.
1.2 FIAP medals (gold, silver, bronze).
1.3 Fotoklub RP medals (gold, silver, bronze).
1.4 Zamek Książąt Pomorskich medals (gold, silver, bronze).
1.5 FIAP honorary mentions “Blue Ribbons”.
1.7 Special prizes and mentions.
1.8 Audience award
1.9 All Participants of the Contest will receive a catalogue (electronic version).
2. The Jury has the right to make a different division of the prizes or refuse to award some chosen ones.
1. The Organizers will deliver the projecting and sound equipment.
2. If the author expresses his or her will to arrive to the Contest, the Organizer may help in finding some accommodation, but all the related costs shall be borne by the author.
3. The Contest office is located at the Zamek Książąt Pomorskich in Szczecin, entry A, room 108.
4. Members of the organization crew, members of the jury and their relatives are not allowed to take part in the contest.
1. The Organizer reserves the right to change the dates of the Contest for reasons being beyond the Organizer's control. All such changes will be consulted with FIAP and Stowarzyszenie Twórców Fotoklubu Rzeczypospolitej.
2. Dates:
Applications - final date of entry 31.10.2025
Contest and special displays 21-23.11.2025
Jury's meetings 21-22.11.2025
Gala show 23.11.2025
Information about results (by e-mail) 01.12.2025
Distribution of the catalogue (by e-mail) & prizes 20.12.2025
1. All diaporamas taking part in the Contest must meet all the FIAP regulations and definitions, as specified in item II.2 DOC FIAP 040/2023 and in FIAP Red List" FIAP 040/2023
2. The very fact that the participant reports his or her works/files to this event under the patronage shall be understood that he or she agrees with and accepts with no exception or objection the following rules:
2.1 All parts of each delivered picture must be shot by the author, who must be in possession of the original, not retouched version of the picture and all the image components used therein. Moreover, the author must hold all the copyrights to each picture delivered and to all its components.
2.1.1. It is recommended that EXIF data of individual files, and in case of collages - files with components of each of the images, be kept in order to facilitate their possible inspection).
2.1.2. Neither the participant, nor their representative acting on their behalf, must interfere in EXIF or in original data in the files transferred to the saloons.
2.1.3. The Participants must store and keep untouched and unchanged all metadata, RAW files or original, not retouched JPEG files of individual images the diaporama is built of (as well as those made directly before and after transfer of the images) for a possible future motivation inspection, without expiry, imposition or limiting the FIAP action.
3. All submitted works may be rendered for the FIAP inspection for compliance with the FIAP regulations and definitions, even if the applicant is not a member of FIAP.
3.1. If necessary, those participants, who are under investigation, will have to present a valid identity card or a passport in order to prove their identity. If such identification documents are not available, other official documents have to be presented.
3.2. Each author, whose picture raises any suspicion as to compliance with the FIAP regulations or definitions, may be requested by the Organizer of the FIAP Ethics Service to deliver an original file (a file containing the data recorded by the camera matrix, which is a RAW file or an original, not retouched JPEG file), as well as files of pictures taken directly before and right after the picture under suspicion.
3.3. In case of a dispute regarding compliance with the FIAP regulations, the lack of access to the data discussed in item 1.3) may be result in punishing the author in accordance with the rules and sanctions stipulated in the FIAT document DOC_033_2021. This applies also to all case of refusal to cooperate or present some files required.
3.4. Before any sanctions are imposed pursuant to chapter II DOC_033_2021, the Board of FIAP will inform the author on the accusations and ask him or her to deliver a written explanation within one month.
3.5. Then, the Board of FIAP will issue a discussed decision, which will be sent to the author by registered mail.
3.5. Each case of incompliance with the FIAP regulations, hereinafter referred to as "the matter", will be reported by FIAP to the Operational Member in the country the author comes from. This will be done by sending a detailed summary of the situation to the FIAP liaison officer, along with all necessary guidelines or requirements concerning actions and/or investigations the Operational Member is to take.
3.6. The Operational Member shall send FIAP a comprehensive report within 30 days, and the author's name will be placed on the "Red List" ("Red List" is a document providing names of people, who are forbidden to take part in saloons organized under FIAP patronage. This list is presented to organizers of FIAP saloons and FIAP Liaison Officers.)
3.7 FIAP distributes the "Red List" as FIAP INFO, and has it updated regularly by the FIAP Ethics Service.
3.8. People, whose names are placed on the "Red List", have a limited access to the FIAP events, or, case dependent, are totally banned in all FIAP actions.
3.9. Along with documents approved officially by FIAP, the FIAP Patronage Service will send the "Red List" to organizers of FIAP events and FIAP Liaison Officers. Updates to the List are sent in subsequent e-mail messages.
4. It is unacceptable to change the title of a previously accepted diaporama, entering a FIAP Contest, and its re-submission to the Contest.
5. Before the Jury meeting, names of all the Contest participants must be referred to the names shown on the FIAP "Red List". In case works created by people recorded on the "Red List" have been submitted to a FIAP event, that person's works will not be admitted to the Contest.
6. Pictures created by artificial intelligence are strictly prohibited. All parts of the image must be photographed by authors themselves who own the copyright for all submitted works. All persons who will break the aforementioned rules will be permanently excluded from the contest
Statement
Authors taking part in the Contest are required to sign and send back a scan or a photo of the following document with their own signature. I hereby expressly agree to FIAP document 040/2023 « Conditions and regulations for FIAP Patronage » and FIAP document 038/2023 « Sanctions for breaching FIAP regulations and the Red List ». I am particularly aware of chapter II « Regulations for International photographic events under FIAP patronage » of FIAP document 040/2023, dealing under Section II.2 and II.3 with the FIAP participation rules, the sanctions for breaching FIAP regulations and the Red List.
Zamek Książąt Pomorskich w Szczecinie ul. Korsarzy 34, 70-540 Szczecin tel. 91 434 83 11, fax 91 434 79 84, email: dia@zamek.szczecin.pl www.zamek.szczecin.pl
Contest Commissioner: Beata Bogusławska - employee of the Theatre and Film Department at Pomeranian Dukes' Castle in Szczecin tel. 91 434 83 34, e-mail: dia@zamek.szczecin.pl
Contact for entry form:
email: dia@zamek.szczecin.pl
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
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.
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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.
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.
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