Director of Marketing and Membership: LUCINDA STEWART
Membership Community Manager: NATHAN WOODMAN membership@rps.org
Membership Assistant: DEBBIE CANT
IFC - All right reserved.
COVER PHOTO
CLAUDINE HART GREEN TURTLE REVILLAGIGEDO MEXICO
Welcome to the June 2025 International eMagazine 04
What has the team been focused on?
05 INTERNATIONAL MEMBERS SURVEY
10 MY HOME
Gordon Lehany, Wellington, New Zealand.
A Scottish Photographer in the land of the long white cloud. 24 INTERNATIONAL MEMBER PHOTO PROJECTS
The Jasper wildfire, Alberta Canada – July 2024 by Theresa Bradley 40 INTERNATIONAL MEMBER
Geoffrey B. Johnson, Malaysia
46
An interview with Katherine
56 RPS Events In-person and online events
62 WHAT TO READ RPS Publications available online
66 SPECIAL INTEREST GROUPS
What is an RPS Special Interest Group (SIG) and why are they of interest?
70 INTERNATIONAL TEAM
Meet the Team
CHAPTERS OVERVIEW
See the new Chapters map! 74 CONTRIBUTIONS
Contribute to the International eMagazine!
Welcome to the June 2025 edition of the International eMagazine.
This is now the first issue of this publication since I took over the role as International Representative in March. I am very happy to be part of this wonderful magazine as editor and look forward to continuing to bring you news, events, special features and information from our international member community. Our experiences, cultures and photography are rich with contrast and variety, and so each article provides us with yet another inspiring and fascinating perspective about another part of the world.
Firstly, I would like to extend our congratulations and a warm welcome to Victoria Humphries who joined us on May 19th 2025 as the new CEO of the Royal Photographic Society. We look forward to hearing Victoria’s thoughts and plans for the RPS and its member community over the coming months and wish her all the very best in her role.
In this magazine, we present a new update from the international team which going forward, will be included in each quarterly edition. Here we detail the work on which we are currently focused, our findings from the recent international member survey completed in April 2025, and our plans for an international members forum to bring our community closer together and get us talking to one another!
In our main features, we hear from Gordon Lehany in Wellington, New Zealand who focuses on his home and the images he likes to photograph; from Theresa Bradley who covers the wildfires in Alberta Canada, the impact they have had on the local environment and how the area is starting to recover; from Geoffrey B Johnson in the Q&A and tells about his photography and the colour popping technique he uses. Finally Katherine Maguire, who is part of the international team and lives in The Netherlands, shows her photographic journey and some of the obstacles she has encountered along the way.
Please also look at the different events from the Chapters, Special Interest Groups (SIGs) or the RPS team taking place during the next quarter at https://rps.org/what-s-on/ and www.rps.org/groups
As we look to develop this magazine, as always, we welcome your thoughts, recommendations and above all your contributions. Please take look at the new contributions pages which detail how you can submit articles or content for future editions, whether it’s about an exhibition, a photographic project or where you live. Alternatively, for those short of time, you can also just submit a single image for our new Members Photo section which we will launch in the September edition. Please do get in touch if you would like to contribute. We would love to hear from you!
Finally, a thank you to Janet Haines who was the interim International Representative prior to my arrival and previous editor. Janet remains on the team as one of the article commissioners and with her knowledge of the RPS, continues to provide valuable support and input to the team. Also, to Chris Renk the Chapter Organiser for Germany who was contributing editor and undertook layout and production of previously. Chris is now turning more of his focus to the German Chapter.
With very best wishes,
Claudine International Representative International@rps.org
International Quarterly Update
It has been a busy few months for the international team. We have focused on handovers from old to new team members. I’ve come on board in my new role and spent the last few months learning about the setup and operation of the RPS, and importantly understanding more about the international community, how we communicate with you and how we can improve this.
We have focused on a number of areas: the June International Members eMagazine, the the international members survey and the set up of the international members forum.
International Members eMagazine and website
Whilst working on the production of the June edition, we have started looking at expanding the variety of features and content and will focus on this further for the September issue. Additionally, we will also see how we can develop the events section as we know you are particularly interested in what you can join online.
International Members Survey
Thank you very much for all your replies, and the useful feedback you have provided. The findings of the survey can be seen on the following pages.
International Members Forum
We will now set up the first forum for June. If you have expressed interest in being involved, you will hear from us shortly regarding a date for the first online call. There may be a number of calls to cater for the different timezones. Should you wish to be part of the forum, please email Claudine at international@rps.org.
This communications forum will act as a regular time for international forum members to come together to:
- Establish a closer network of international members
- Improve current ways of connecting together
- Increase sharing of information and experiences between internationally
- Ask any questions you may have about the RPS.
- Feedback on how you are currently served and how this can be improved
- Discuss communications methods and how we can improve these.
These types of forums require effort from all parties to establish and attend but with time we will develop a stronger online community together. We look forward to speaking with you all in June.
RPS International Members Survey - April 2025
Thank you all very much for completing the International Members survey that was issued to you in April. We had a very good response, and it has been interesting and very useful to see the feedback and comments received. Please find below a summary of the analysis and key findings together with your suggestions and recommendations for improvement.
FINDINGS & QUICK FIGURES
In total we received 128 completed surveys which is over 10% of the international member population. With this, the findings should be taken with this representation in mind.
Geographic distribution of international members
(includes Hong Kong SAR: 3)
Other countries include Japan, Mexico, South Africa, Spain and UAE
RPS Distinctions
• 66 respondents (52%) do not have an RPS distinction.
• 62 respondents (49%) have an RPS distinction.
Chapter Membership
• 79 respondents (62%) arenotin a chapter.
• 49 respondents (38%) are in a chapter.
SIG Membership
• Special Interest Groups (SIGs):
• 33%43 (respondents) are not part of a SIG.
• Popular SIGs: Digital Imaging (37), Landscape (23), Documentary (22), Travel (19), Contemporary (15), Visual Art (17).
International Newsletter
- 93% read the newsletter and rate it as follows
- Preferred content includes:
Interest in Online Events
- 51% (65 respondents) have attended an online event within the past 12 months
• Talks by international photographers or themed presentations with Q&A
- Members would like to see all events recorded for those in different time zones and staggered or repeated session options to accommodate global members.
Communications
- Some respondents feltRPS communications are infrequentor impersonal.
- Members would like a more regular international newsletter with upcoming events, member stories, and participation opportunities; clearer and personalised announcements; and a named contact for international queries to improve response and connection.
Content Preferences
- More photography from international members, not just UK-centric content
- Personal photographic stories and journey, not just final images.
- Listings of global or virtual events. Local exhibitions, meetups, or virtual gathering
Facebook Group
- Low awareness or participation. Many wereunawareof the group or do not use Facebook.
- Some privacy concernsor prefer alternative platforms such as Instagram, email.
- Members would like to see regular updates and features: behind-thescenes projects, member spotlights and Distinction successes and tips; more interactive content (polls, Q&As, photo challenges); and posts showcasing members’ work from different regions.
NEXT STEPS
The international team is currently looking at the results of the survey and feedback in further detail and our analysis will feed into our plan to improve our communications and the information that we provide to you in the future. Additionally, we will work together with the RPS headquarters team to tie your wishes with their overall strategy and plans. We will update on this further in the next issue. In the meantime, we look forward to working with you to build our international community. We anticipate that we will discuss this further in the first international forum!
Please contact Claudine at international@rps.org should you have any questions about the survey.
A SCOTTISH PHOTOGRAPHER IN THE LAND OF THE LONG WHITE CLOUD.
Gordon Lehany, Wellington, New Zealand
New Zealand, also known increasingly by its Māori name Aotearoa is “The Land of the Long White Cloud.” Located in the South Pacific, it is known for its dramatic and diverse landscapes, relaxed Kiwis, top-quality wines and the highly successful All Blacks. However, it has a rich and diverse cultural heritage shaped by both its indigenous Māori people and later European, Pacific Island and Asian influences. This mix is reflected in its language, art and traditions, creating a unique and vibrant identity.
Credit: Gordan Lehany
New Zealand’s history as a colony has left its own legacy, one of which is the presence of many typically European monuments to the early days of the European settlement. (2025, Fuji GFX 100).
We are delighted to introduce Gordon Lehany, an international member of the RPS who has called Wellington his home for the past ten years. Preferring to photograph the less obvious scenes, Gordon tells us more about this beautiful country and the inspiration behind his images.
Moving from Scotland to New Zealand a decade ago, my new home never fails to surprise and inspire. An internet search for “New Zealand landscape” will pull up beautiful, if predictable imagery. What inspires me is not those vistas, awe-inspiring though they may be, but other aspects of this fascinating place. The New Zealand of famous movies - mountains, rivers and glaciers - is of course here to experience and photograph. If that is your thing, the largely unspoilt and grand landscapes of the South Island in particular are popular subjects. However, I’ve always preferred to explore and photograph some of the less well-trodden, and perhaps less fashionable kinds of imagery of New Zealand.
New Zealand is a place of visible recent history, with surviving visual evidence from the earliest European settlers to the present. It is a country that is now modern but also industrial. Auckland is home to around 1.5 million people (and many escooters). I live in Wellington, the capital city which is also home to a vibrant artistic community.
New Zealand is now often referred to as Aotearoa/New Zealand to reflect the bicultural nature and history of this place. Although ‘Aotearoa’ currently has no official status in New Zealand’s title, in even a short time here, you will see relics and monuments of the early European settlers.
Wellington, a thoroughly modern city? Suburbs perched on hillsides, with clear skies over the harbour out to the Remutaka hills and the ubiquitous pylons decorating the landscape adorned with alien species such as Scottish Gorse. Autumn 2025. (Fuji GFX 100)
Credit: Gordan Lehany
Makara Beach, with obbligato windmills. Renewable energy is a key feature of the New Zealand economy, with wind farms another prominent element of its skylines. Autumn 2025 (Chamonix 4x5 with Schnieder Super Angulon, FP4).
Credit: Gordan Lehany
Another view of Wellington through a majestic native tree. Autumn 2025. (Fuji GFX 100, with Pentax 67 lens)
Credit: Gordan Lehany
Grand and perhaps beautiful in their own way, many were perhaps not built in a manner necessarily respectful of the existing culture here: that of Māori, the indigenous people and culture of Aotearoa/New Zealand. These colonising monuments, and other aesthetic styles introduced by settlers are perhaps not entirely to be celebrated, but are nonetheless a feature of this place, and can be documented and understood. More broadly, design elements such as building architecture and construction styles, and decorative elements such as stained-glass windows, can be both distinctively New Zealand and European.
The land on which many parts of Wellington is built, originally belonged to Iwi of Aotearoa’s Māori people. The taking of land in the nineteenth century, largely for European settlers, remains a source of dispute, along with other questionable actions of the British crown in the early days of European settlement. Wellington is a modern, peaceful, and beautiful city, but I’m struck by a sense of privilege by occupying space here, with our European styles of architecture and invasive species of plant and animal.
The beach at Napier, Hawke’s Bay looks inviting for a swim. If you venture to the shoreline, a local is guaranteed to intercept you, and warn you of the treacherous shelf a few metres offshore - periodic and tragic drownings here are a legacy of the 1931 earthquake that destroyed the city. Autumn 2025 (Fuji GFX 100).
Credit: Gordan Lehany
Late summer in Auckland, New Zealand’s most populous city - with escooter. Late Summer 2025. (Canon 5D Mark IV)
Credit: Gordan Lehany
Depopulation is an important issue for New Zealand currently. This is true in terms of the nation as a whole, with the Guardian reporting on this issue recently. However, what is also important is how rural New Zealand comes to terms with decades of migration to larger urban areas. Rural depopulation is an on-going process as farming intensifies and jobs outside the cities have become increasingly scarce over the past fifty years. The North Island has many communities which cling onto survival and many which are gradually decaying and becoming virtual ghost towns.An internet search for ‘forgotten world highway’ will give you a flavour of this.The town of Mangaweka in the Manawat¹-Whanganui region was bypassed by the State Highway in the 1970s, its wide empty streets now a monument to its former life.
Agricultural cottages in Havelock North, in Hawke’s Bay. Now bookable holiday accommodation as a complex with covered outdoor areas, although the cracked stainedglass windows and tired corrugated plastic roofing tell their own story. Summer 2016 (Pentax 6x7, FP4)
Credit: Gordan Lehany
If you would like to explore and photograph the stunning vistas of New Zealand’s Southern Alps, it is all here and readily accessible. Winter in the South Island is spectacular and a popular place to visit and photograph. However, if you do visit, you may also wish to look for and dig into the visual record of cultures and cultural change which is everywhere. There is always plenty in which to find interest.
Over the past decade I have taken many thousands of pictures. Here are a few brief snippets of some themes I have found inspiring!
Chimneys of an abandoned township near Mangaweka. Summer 2015. (Pentax 6x7, Tri-X)
Credit: Gordan Lehany
Mangaweka Village. Once a thriving town, but now with a dwindling population of fewer than 200 people. The shop fronts here are mere facades. Nobody has bought hardware at T G Taylor’s shop in decades. Autumn 2015. (Pentax 6x7, Tri-X)
Dunedin’s railway station has a few departures each day in the tourist season, but was once a busy hub with its grand staircases. Summer 2015. (Leica M6, Tri-X)
Thank you Gordon for this wonderful article and fantastic images which show a deeper view of this amazing part of the world.
Credit: Gordan Lehany
THE JASPER WILDFIRE
IN ALBERTA, CANADA
Theresa Bradley is an international member of the RPS who lives in Alberta, Canada, and a nature and wildlife photographer. In this article, Theresa tells us about her current project which documents the wildfires of July 2024, with a particular focus on the recovery of nature in Jasper National Park and the town of Jasper.
The town of Jasper, situated in Jasper National Park, Alberta in Canada is a favourite for many visitors, together with other Canadian Rockies towns such as Canmore, Banff and Lake Louise Jasper lies four hours drive from the nearest international airport, therefore so it can also be quieter than other National Parks and is a home away from home for many Albertans. As a wildlife and nature photographer living in Alberta, only a few hours from Jasper National Park, I enjoy time in the town of Jasper and the park throughout the year.
This is an introduction to a portfolio of work I am undertaking, over the next few years. I aim to document the recovery of nature in Jasper National Park after the devastating wildfires in July 2024, which became the Jasper Wildfire Complex when several wildfires merged together.
“During the late afternoon of July 22, 2024, a fire was reported near the Jasper Transfer Station. Thirty minutes later, another wildfire was reported near Kerkeslin Campground. Another ten minutes later, two more wildfires were reported near campgrounds south of Jasper. Wind gusts 20 to 30 kilometres an hour merged the three wildfires south of town into one and became too big for firefighters alone to handle.
Within the first hours after the wildfires started the combined area of the fires grew to over 6,000 hectares. With flames 30-50 m high, new fires starting up to 500 m ahead of the fire, and enormous smoke columns, all aerial and ground suppression efforts had limited success. These fires became the Jasper Wildfire.”
Jasper town, Jasper National Park, July 24, 2024. Reproduction of Image at (Parks Canada/Facebook)
Before and After:
St Mary-St George Anglican Church, Jasper, Alberta
Declared a historic resource, the church was based on a blueprint for a 14th century English Gothic church, designed by A.M. Calderon of Edmonton and built with local materials in 1928 .
The Edith Cavell Memorial Tower, named after the heroic British nurse, was added in 1932 to complete the church. In 2005, Queen Elizabeth II and Prince Philip visited the Jasper Anglican Church where the Duke of Edinburgh gave a reading to a Sunday congregation.
Both images: Courtesy of Jasper Anglican Church https://www.facebook.com/share/1Bu4QUZoiY/?mibextid=LQQJ4d
An evacuation order was issued at 10.00pm on 22nd July 2024 for the entire Jasper National Park with its population of approximately 5000 residents as well as 20,000 visitors.
The fire reached Jasper townsite at 6:40pm on July 24th and just over three hours later at 10pm, Parks Canada reported significant loss within the townsite. It was confirmed two days later that while all critical infrastructure was saved, around 32% of homes and businesses were damaged or destroyed.
While the forests have started to regenerate, the wildlife have lost sources of food and cover.
Black bears are adapted to forest environments where they find safe cover and climb trees for food. In spring, tree buds help their digestive system after a winter in hibernation.
The park was closed to visitors for almost two months. On my first trip back, signs of growth sprouting through the scorched ground and around burned trees promise new beginnings.
Geoffrey is an international member of the RPS and a professional photographer who lives and works in Malaysia. Geoffrey talks to us about his career, what it is like to photograph in Asia and techniques he uses to create his images.
Did you join the RPS directly or as a consequence of your existing membership with the Master Photographers when the two organisations amalgamated?
Ijoined the RPS a few years ago, before its amalgamation, with the intention of applying for a Distinction within my first year. However, this process has been more challenging than I initially anticipated but perhaps I am overly focused on meeting the society’s Licentiate (LRPS) or Associate (ARPS) criteria and making it over complicated. Nonetheless, through RPS, I see obtaining an RPS Distinction, achieving recognition and making connections within the global photographic community as an important personal goal.
Living in Malaysia has provided me with unique opportunities both in life and photography. By immersing myself in the local culture and working with the region’s unique natural light which is so different from that of the UK and Western Europe, my experiences have shaped my photographic approach over recent years. Furthermore, coaching both local and international students in the Asia Pacific Region has been an incredibly rewarding endeavour.
You recently showed this image from Clogherhead, County Louth on the RPS Facebook page and it was fascinating to see one feature colour popped. What made you decide to show an otherwise monochrome image with this touch of colour and why? Is this something you do often?
Yes, this is a technique I have worked on refining over the recent years, seeing the world in primarily in black and white, and pre-visualizing selective colour to enhance the narrative. By guiding the viewer’s eye with intentional colour accents, I try to emphasise key elements without compromising the strength of the composition. From the initial vision to the final edit, every detail is considered to serve the story.
In January and February 2025, I travelled to Clogherhead County Louth, Ireland, for a family emergency. With time against me and the weather offering little opportunity to create new work, I myself unable to photograph as much as I normally would. However, on an exceptionally clear day, I encountered this scene on my way to the beach as I visited my families graves for the last time before returning home. The image I pre-visualized was deeply connected to the village and the difficult days I had just spent with family. The idea of colour leading the way through a monochrome world felt particularly resonant at that moment in time.
This caption reflects the intentional use of selective colour, reinforcing the narrative I aimed to convey. Over time, this approach which combines technical precision with artistic intent, has become a definitive element of my photographic style.
CREDIT: Geoffrey B. Johnson
▲ In a Monochrome village, colour guides
It isn’t easy making a living in the UK as a professional photography - do you feel this is the same or easier in Malaysia? Is the work you undertake there different to what you did in the UK?
I have found that establishing a career as a professional photographer in Malaysia is a little more accessible than in the UK and Western Europe. This is largely due to the strong demand for photography services and market’s unique opportunities. Bespoke coaching and mentoring have proven to be valuable aspects of my work, allowing me to engage with a diverse range of clients and students. While my practice has evolved over time, the fundamental principles remain unchanged— creating compelling visual narratives and sharing my expertise to inspire and develop others in the field.
What are your two favourite images and please tell us why they are important to you?
In April 2023, I encountered this striking hydrant while on vacation in Sydney, Australia it was the day before we celebrated my wife’s birthday with a cruise around the South Pacific. What immediately caught my attention was the way it had been presented within the urban streetscape painted in vivid Emergency Red against a muted grey background. The bold contrast and intentional design transformed this functional object into a compelling visual statement, reflecting the intersection of practicality and artistic expression in an urban setting.
During a torrential tropical storm in 2021, I experienced a mix of fear and fascination as intense lightning strikes grew increasingly closer. The sheer intensity of the storm created both a challenge and an opportunity capturing the raw power of nature in a single frame. Managing exposure and timing under such conditions was no easy task, but the result was a personally rewarding image that encapsulates the dramatic energy of Malaysia’s tropical climate.
CREDIT: Geoffrey B. Johnson
▲ Nature’s powerful electric vein
As you move frequency between Ireland and Malaysia, do you notice a difference in your photography, from one country to the other? For example, the subjects you shoot and your processing choices?
While the subject matter varies, adapting to the distinct lighting conditions of Malaysia and Ireland has refined my ability to develop and confidently apply processing techniques tailored to each environment.
In the intense equatorial light of Malaysia and Southeast Asia, I consider the lighting carefully before taking a photograph, ensuring that details are preserved without overexposure. Postprocessing plays a crucial role in my workflow, allowing me to enhance the rich, tropical colours while maintaining a natural and accurate final result that aligns with my pre-visualisation.
In contrast, Ireland’s natural light presents me different creative possibilities. This allows for a more flexible approach to exposure and post-processing, ensuring that each image effectively conveys the unique characteristics of its location.
These regional differences also shape my approach to photographic coaching. In Malaysia, I focus on techniques for managing harsh sunlight, whereas in Ireland, I emphasise maximising the potential of overcast conditions and exploring low-light photography. This tailored methodology ensures that my students to develop the skills necessary to adapt and cope in different lighting environments.
geoffreybjohnson.com
Thank you very much for your time, Geoffrey, it has been great to understand more about living and working in Asia and to see a selection of your fantastic images. We look forward to seeing more in the future.
An interview with Katherine Maguire ARPS
APRS Layout Panel
Katherine’s journey in photography is a story of technical skill, perseverance and an ability to adapt to changing circumstances. This interview demonstrates her experience with capturing images, her unexpected challenges with health issues, and how she has woven those experiences into her photography.
Claudine: Tell me a little bit about yourself, your background, where you grew up, and where you live now.
Katherine: I grew up in Cumbernauld in Scotland and lived there for about 23 years before moving to the Southeast of England after graduating from Strathclyde University in Glasgow. In 1989, I moved to Edinburgh to complete a second Master's degree at Heriot-Watt University in structural engineering and computer technology which was quite a unique combination at the time and helped me to eventually move across into software engineering. Over the years, I have moved a number of times for work within the UK and eventually over to Amsterdam in 1997 where I have lived ever since. Amsterdam is home for me and I am now also a proud Dutch citizen since 2023.
Claudine: What interested or prompted you to start photography? When did you start?
Katherine: My interest in photography began in 1978 at the age of 14. It started as a hobby I enjoyed alongside my love for hill-walking. My first camera was a Zenit TTL, which I called ‘the tank’ because it was so durable. I would often drop it down mountainsides during my walks, and surprisingly, it always survived! It was a handy camera to have. I liked the combination of exploring nature and capturing it through photography.
CREDIT: Katherine Maguire ARPS
Watering the bridge
The shared
Claudine: You completed your LRPS. Could you tell us a little about this?
Katherine: I received an email to join the Benelux Chapter when I was living in Amsterdam and this led me to participate in a study group for a couple of years. The study group was incredibly helpful in advancing my skills and knowledge and I eventually submitted a panel of ten images for my LRPS which demonstrated a mix of photographic, technical and creative skills across various subjects. I initially failed when I submitted my first set of images, as some of the images didn’t quite meet the mark. However, I replaced a few and tried again, and in 2011 I successfully obtained my LRPS.
CREDIT: Katherine Maguire ARPS
CREDIT: Katherine Maguire ARPS
On the stairs to the museum
Claudine: You took an interest in HDR photography and worked towards your ARPS until you experienced a further health issue with your eyes. How did this journey lead you to achieving your ARPS?
Katherine: Over the years I became interested in HDR photography, focusing on cityscapes in Amsterdam and Scotland, and I started working towards my ARPS. However, my eyesight worsened once more and a blood vessel growing on my retina led to a permanent black spot in my vision in the top of my left eye. I had to stop riding my bicycle and driving and even walking became more dangerous. I still have to be careful when I am out and about.
The eye
CREDIT: Katherine Maguire ARPS Window on
Crossing the tram tracks
One day, during a visual migraine, the idea hit me: how could I show what I see through my photography? I started experimenting with a series of images, mixing areas in focus and out of focus. This evolved to a split view—half of the image showing how I see, and half how others see. I refined this concept into a panel with a central out-of-focus image, surrounded by in-focus ones, reflecting how my vision felt. After two to three years of work, I created a panel of images showing how I see the world using Amsterdam as the subject.
After discussions with the Benelux study group, two one-to-one review sessions, some adjustments to colour tones and overcoming some mounting issues, I submitted my final prints to the RPS in 2021. Despite feeling uncertain during the assessment day, I was surprised and thrilled to hear that I was successful in obtaining my ARPS!
CREDIT: Katherine Maguire ARPS
CREDIT: Katherine Maguire ARPS
Claudine: What are your plans photography-wise over the next few years?
Katherine: I'm currently working on a project for a potential FRPS, focusing on my experience with small fibre neuropathy which I have had since 2016. This is a condition where the small nerves in my body send incorrect signals to my brain, causing pain and numbness. I experience intense pain, especially in my feet, which can feel like they’re on fire. This has unfortunately affected my ability to work full-time since 2021.
The water tower
CREDIT: Katherine Maguire ARPS
For the project, I am taking self-portraits, I take one image with me in the picture and another without and then blend them together to represent invisible illness - something others can’t see. I have been working on this for about three years with advice from the study group, peer-to-peer group and one-to-one review sessions, and am now considering submitting it for a fellowship."
cameraaperture.nl
Thank you very much for your time, Katherine, it has been fascinating to learn about your photography and your life experiences. We look forward to seeing your successful FRPS in the future!"
On the river bank
CREDIT: Katherine Maguire ARPS
RPS offers photographers from all over the world 3 levels of Distinctions.
Licentiate (LRPS)
To become a Licentiate of The Society, applicants must show variety in approach and techniques but not necessarily in subject matter. Demanding but achievable for most dedicated photographers.
See the RPS website for for details
Associate (ARPS)
Requires a body of work/project of a high standard and a written Statement of Intent. Strong technical ability using techniques and photographic practices appropriate to the subject.
See the RPS website for for details
Fellowship (FRPS)
Our highest level of Distinction. Requires a distinctive and cohesive body of work/project accompanied by a written Statement of Intent.
See the RPS website for for details
The following International members have gained a distinction since the publication of the last Newsletter.
Associate
Minke Groenewoud – Beerda ARPS
Genre: Contemporary
Title: Transience
Date: 14 May 2025
Country: The Netherlands
Chapter: Benelux
Fellowship
Madeleine Lenagh FRPS
Genre: Photo Book
Title: Perpetual Motion
Date: 13 May 2025
Country: The Netherlands
Chapter: Benelux
Beat Suter FRPS
Genre: Photo Book
Title: Im Dialog (In Dialogue)
Date: 13 May 2025
Country: Switzerland
Chapter: Swiss
If you have recently obtained a distinction, please let us know by emailing international@rps.org
This section includes both events you can attend in person as well as events which are available online.
Location: Pelt, Belgium
RPS Benelux Chapter Programme 2025
– International Dinner on Saturday 20 September -
Sunday 21 September WORKSHOP DAY (location to be confirmed)
10:30 - 12:30 Personal Stories Photography Workshop with Carla Kogelman
12:30 - 13:00 Lunch (own costs)
13:00 - 15:00 Photographing in the streets of Pelt as part of the workshop
16:00 - 17:30 Discussion of results (exact planning subject to change on the day)
18:00 - 19:00 Drinks (own costs)
(19:00 - 22:30 Dinner together (own costs) option)
The costs for the Workshop:
RPS Members: €45,00
Non-Members: €48,00
Please register your attendance with an email (beneluxnl@rps.org) and make your payment for the event
If you wish to stay overnight, you must arrange your own hotel or B&B reservation Car-pooling can be organised from NL
See the Benelux Chapter event page, for more details and how to pay.
https://fotofestivalpelt.be/en/programme-2025-2/
The photo festival is on from 8th June – 28th September 2025 Official opening on 8th June – winners announced
This talk will explore how to evoke emotions directly via your camera, and explore some more unusual and left-field photography ideas. https://events.rps.org/en/warren-alani-inside-out-5a2NN2A5s21/overview
This is a unique platform for RPS Women in Photography to showcase their work. https://events.rps.org/en/women-in-photography-group-show-and-tell-june-2025-5a2NN2Alwqn/overview
Discover the Art of Intentional Camera Movement Photography https://events.rps.org/en/central-region-guest-speaker-or-martin-knight-june-2025-5a2NN2AMfLK/overview
Another in our Engagement Talk series - Murray Ballard
Somewhat different to most photography talks. Doug won't be focusing on a procession through his images or talking about the 'how's?' of what he does. Rather he will be delving in to the 'why's?' of what we do.
Join the Benelux Chapter Bimonthly physical study group meeting in Rotterdam the Netherlands, costing €5. Open to all; you do not need to be a member of the RPS.
Tickets can be booked via the provided link https://imagingworld.de/en/
CHAPTER AND SPECIAL INTEREST GROUPS PUBLICATIONS
RPS Chapters and Special Interest Groups (SIGs) issue their respective publications either on a monthly or quarterly basis. Please find an overview of available publications below.
What is an RPS Special Interest Group (SIG) and why are they of interest?
Special Interest Groups (SIGs) are established based on a particular genre or aspect of photography such as Landscape, Nature and Travel. To the right you can see a list of the different SIGs offered by the RPS.
Each group is funded by a small annual subscription and occasionally additional fees for talks, workshops or other activities. They are run exclusively by volunteer teams who do not charge to organise their programmes. With this, costs are kept to a minimum which provides amazing value for individuals members who wish to join.
The life blood of the RPS is via these community-based groups. You are able to engage with a wider variety of opportunities, gain inspiration and work closely with other RPS members. All SIGs are currently working towards increasing the availability of their events either by recording them for viewing later or by arranging them at times suitable for international members. Please click on the links to view what each SIG offers.
Finally, the staff team at RPS headquarters run educational workshops, provide Distinctions advice days, organise exhibitions and produce the printed magazine, The Journal. Please take a look at whats on for further information.
Schedule of Special Interest Groups
Analogue. https://rps.org/groups/analogue/
To foster community among enthusiasts and a practitioners in analogue photography; facilitating skill sharing, resource exchange, and collaborative projects; to promote appreciation for traditional photographic techniques and processes; and advocate for the continued relevance of analogue techniques in modern photography practice.
To facilitate collaboration among photographers and archaeologists, promoting best practices in the documentation, preservation, and dissemination of photographic records of archaeological sites, artefacts, and cultural heritage; and to contribute to public awareness and education about the use of photography in these fields.
To explore, discuss, and promote various forms of temporal (time-based) art, including video, film, sound, and multiple-media performances and presentations; to foster collaboration among artists, researchers, and enthusiasts; and to advance techniques, theories, and appreciation for time- based artistic expressions across diverse audio and visual disciplines.
To inspire, educate, and connect photographers exploring innovative and artistic approaches; we provide a platform for sharing ideas, techniques, and critiques, fostering a supportive community that encourages experimentation and pushes boundaries in visual storytelling and expression.
To provide a forum for the encouragement and representation of its members in the pursuit of the production of coherent bodies of photographic work that “convey ideas, stimulate thought and encourage interpretation; photographs about rather than of.
Digital Imaging. https://rps.org/groups/digital-imaging/
To facilitate learning, collaboration, and advancement within the realm of image-making in which digital photography is the principal medium; we provides a platform for discussing new technologies, sharing techniques, critiquing work, and exploring the evolving landscape of digital imaging, enhancing skills and fostering creativity.
Documentary. https://rps.org/groups/documentary/
Documentary photography seeks to capture and present truthful narratives through visual storytelling; we support photographers dedicated to documenting social issues, cultures, and historical events, fostering discussion, education, and advocacy to promote understanding, empathy, and social change through the power of documentary imagery.
Schedule of Special Interest Groups
Historical. https://rps.org/groups/historical/
To act as a forum for photographic history, from the early nineteenth century to the present day; to promote knowledge of the history of photography and to encourage the preservation of photographs, photographic equipment and documents relating to the history of photography.
To provide a forum for the exploration and understanding of the science behind photography and other imaging systems; we facilitate interdisciplinary collaboration among scientists, engineers, and practitioners to discuss and drive progress in research, development, and real-world applications of imaging systems.
Landscape. https://rps.org/groups/landscape/
To encourage the art and practice of landscape photography and advance the skills of those photographers working in this genre; and to spread understanding and enable development of these techniques through practical use and collaboration.
Medical. https://rps.org/groups/medical/
To promote the use and advancement of imaging in all branches of medical and allied sciences to support medical developments, patient-care, medical education, research and publications.
Nature. https://rps.org/groups/nature/
We seek to celebrate, conserve, and share the beauty and wonder of the natural world through photography; we foster a community of photographers passionate about wildlife, landscapes, and ecosystems, promoting environmental awareness, education, and appreciation through reliable and accurate images, visual storytelling and advocacy.
Travel. https://rps.org/groups/travel/
To promote the enjoyment of photography that captures the spirit of a place; and to encourage and support the development of the skills necessary to achieve this ambition.
Visual Art. https://rps.org/groups/visual-art/
To support and encourage all types and styles of photography that shows evidence of a personal vision or style which conveys a sense of design, emotion, mood or some meaning which encourages the viewer to look beyond the subject.
Women in Photography. https://rps.org/groups/women-in-photography/
We are not a genre! We facilitate the celebration, education and collaboration of female and female-identifying photographers. We are the discussion that drives a greater awareness of the importance of women photographers past, present and future.
Subscription fees vary but as you can read none are very expensive and represent excellent value for money.
To join a SIG first go to the top right hand corner of the www.rps.org web page and click ‘Login’. Once you are logged in you will see a screen that says ‘Welcome’ and your name. Next to this is a blue link that says ‘Join a Specialist Group’ – click on this and you find a list of all SIGs. You simply check the box next to any/all you wish to join. If you have any difficulties with this process then email membership@rps.org for assistance.
INTERNATIONAL TEAM UPDATE
Over the past couple of months, there have been a number of changes to the international team.
Katherine Maguire has joined us and is responsible for the production and layout of the magazine, taking over from Chris Renk, the Chapter Organisation for Germany. Katharine is also our international webmaster and part of the Benelux Chapter. We are delighted to present an interview with Katherine in this edition.
Janet Haines and Somdutt Prasad are our article commissioners, Sylvie is responsible for Distinctions and Christine for looks after the international Facebook page.
As part of our growing team, we are now looking for a volunteer who can serve as our content manager. The content manager would assist with the sourcing of content from our international members and manage and organise the content submissions as they come in to ensure they are complete and ready for the International Members eMagazine and the RPS website.
This person should like liaising with RPS members around the world, being part of a friendly team and have good organisational skills! Please get in contact via international@rps.org if you are interested and for further details.
The Team
CLAUDINE HART LRPS international@rps.org
I am a dual British / German national living in Basel, Switzerland since 2020. I joined the RPS in 2010 and obtained my LRPS in Professional and Applied Photography in 2012. I am now finally working towards my ARPS! I grew up in London but always travelled with my family, and for work and leisure. Since 2013, I have also lived in Australia and Singapore so I love being part of an international organisation.
KATHERINE MAGUIRE ARPS internationweb@rps.org
I joined the RPS in 2009. I obtained my ARPS in 2021, with a documentary panel “Damaged Retinas” a series of images that demonstrates how I see the world. I started volunteering for the RPS Benelux Chapter first as the webmaster and then adding the eJournal editor role. In 2024 I joined the International Support Group as Web Administrator and in 2025 became the International Newsletter layout editor.
JANET HAINES ARPS digchair@rps.org
I joined the RPS in 2003 and am Chair of the Digital Imaging Group. I have been a member of several committees, an LRPS panel assessor and an RPS Trustee for two years. I spent five years as the Benelux Chapter Organiser when I lived in the Netherlands which gave me experience of being an international member. My aim is to make the RPS member experience as good as we can regardless of location.
SOMDUTT PRASAD internationnews@rps.org
I joined the RPS in 2022. As a busy medical specialist for two decades in the UK and another decade back in India, photography took a back seat to my profession as an ophthalmologist. I started focusing again on photography during the Covid pandemic. International members often feel isolated from the main UK-based activities so I hope we can help the international members build connections together.
I joined the RPS Scottish Region in 2014 and obtained my LRPS later that year. Two years on, I decided to try for my ARPS which I achieved in 2016. In 2018, I became the RPS Scottish Regional Treasurer until my emigration to New Zealand in 2021. I gained my FRPS in documentary in 2022 whilst living in New Zealand, and so I feel I am well placed to encourage international members.
SYLVIE DOMERGUE sylvielft@gmail.com
I live in Madagascar and know only too well how isolated an international member can feel. When I discovered the RPS in 2019, I knew that I had found my haven of peace and my home of artistic creation with a team whose values I admire and who have a commitment to enable international members to participate in the great adventure that the art of photography represents.
CHRIS RENK germany@rps.org
I joined the RPS in 2013 while living in the UK. After relocating back to Germany, the German Chapter asked me to join their Group. In 2015, I became the Chapter Organiser and from 2020 onwards, we expanded our involvement in the RPS's online education programme by providing a range of online talks and workshops. This newsletter provides firstline support to German Chapter members!
Contribute to the International eMagazine!
We would love to hear from you and welcome you to be part of this online magazine!
There are many ways in which you can contribute which are detailed below but please do get in touch with your ideas for articles and content.
Future issues of the magazine will be as follows. Please note the submission deadlines - contribution received after the given dates will be included in the subsequent issue.
What can you contribute?
1. Cover Image
You can submit an image to be considered for the front cover of the magazine. The international team will choose the successful image each quarter!
Please provide:
- Max. two images
- Portrait format only
- Short description of the image(s)
- 3000px max on longest side, SRGB, image quality 8
- No watermark or text within the image. No border
- Use naming convention: FirstName_LastName_Cover_Title.JPG
- Mark your email: Fullname - For Front Cover
2.
Single Image for Photo Gallery
Please send us a single or a few images from which we can choose.
There generally 2-3 main articles in each newsletter. This could be for example, a personal photography project or exhibition you are holding.Please do get in contact first if you have any questions about the article you would like to submit.
Please provide:
- Word count: max 1000 words. Please provide in a Microsoft word document with low res images as placeholders.
- Images: include 10-15 images. 2000px max on longest side. SRGB. Please provide images separately.
- Mark your email: Fullname – Main Article
4. My Home Article
My Home is about the photography that you enjoy in the local area you call home. This could be your village, town, wider region or country. Simply, it is wherever home is to you. Tell us what inspires you in your patch - this is a fascinating way for us to learn about all corners of the world. The following questions may be useful to prompt your thoughts but feel free to omit or add as you need.
The following questions may be useful to prompt your thoughts but feel free to omit or add as you need.
- Where do you live? What is it like? What do you like about where you live?
- What do you like to photograph and why?
- Where would you recommend a visitor to your home area (country / region / state) should go to take photographs?
- And why?
- Are there any difficulties to be considered? What would it be useful for them to know before they go?
- Do you have recommendations about how they could travel to the places you suggest?
- What is the best time of year to visit?
Please provide:
- Word count: Max 800 words. Please provide in a Microsoft word document with low res images as placeholders.
- Images: include 8-10 images. 2000px max on longest side. SRGB. Please provide images separately.
- Mark your email: Fullname - MyHome
5. Member Q&A - Interview
The Member Q&A is a short interview by email about you and your photography, with 5-6 questions and a submission of 2-4 images. Please send us a quick email with a little bit about yourself and we can follow up with relevant questions for you to answer.
Please provide:
- Word count: Max 800 words. Please provide in a Microsoft word document with low res images as placeholders.
- Images: include 2-4 images. 2000px max on longest side. SRGB. Please provide images separately.
- Mark your email: Fullname – Member Q&A
6. New Member Introduction
Introduce yourself and tell us a little bit about you, where you live and your photography!
Please provide:
- Images: max 2 images: 2000px max on longest side. SRGB.
- Word count: max 200 words biography.
7. Reach Out
If you would like to get in contact with like-minded members in your location, post a reach out note!
Please provide:
- A photo of yourself: max 1000px max on longest side. Portrait only. SRGB.
- A short introduction and with whom you would like to be in touch. Max 150 words.
- Email address for contact
8. Events
Please let us know if you are:
- holding an exhibition
- know of a local exhibition in your country to look at online which may be of interest to our international community (or they can attend if they happen to be there)
Please provide for the event:
- Name, description, location, dates, website link, (contact person / email if relevant)
SUBMISSIONS
Please send your submission by email to: internationalsubmissions@rps.org
If you are sending multiple high-resolution images, please send via WeTransfer.com to internationalsubmissions@rps.org
Issue Deadline
March 1st of February
June 1st of May
September 1st of August
December 1st of November
Liability Disclaimer
The submitter of the article(s) and / or image (s) is responsible for compliance with Data Protection and Copyright Acts. The author of an article is responsible and liable for all content, text and images provided by them, including copyright. The author will be required to confirm that they hold copyright to the article and image(s) submitted. Neither the RPS nor the editor is responsible or liable for any content therein.
