RPS Landscape Group Newsletter, June 2021

Landscape Group Newsletter June 2021 Volume 6 Number 4

© Tony Worobiec

SUBMISSIONS The copy date for submissions to the next newsletter (July) is Friday 25th June 2021. Please note that it may be necessary to hold some submissions for a future newsletter.

If you have an idea for an article, please send a brief synopsis (up to 50 words) of the purpose and content of the piece. Please submit your images as jpeg attachments, sized to 72 dpi with 1200 pixels along the longest edge and borderless. Do not embed images in an email.

Please send all submissions to: landscapenews@rps.org

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June 2021 Volume 6 Number 4

Contents

Quicklinks to RPS Landscape Website

3

Editorial by Peter Fortune, RPS Landscape SIG Newsletter Editor

4

Appeal for Newsletter Articles

6

Ideas About Landscape Composition

by Tony Worobiec FRPS and Peter Fortune

8

RPS Landscape Group Instagram advert

12

Profile of Peter Fortune, RPS Landscape SIG Newsletter Editor

13

Large Format Photography IS for beginners (Pt 2, Starting to use the Camera)

16

Using Ansel Adams analogue Zone System in a Digital World

by Noel Baldewijns

20

RPS Landscape Monthly Competition for March & April 2021

23

Events

27

June 2021 Volume 6 Number 4

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QUICK LINKS TO RPS LANDSCAPE GROUP WEBSITE

Look out for the great landscape photography entered by Members of RPS Landscape Group to the monthly competitions and are now being displayed throughout the Landscape Group website.

June 2021 Volume 6 Number 4

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EDITORIAL By

Peter Fortune May, in contrast to April is proving to be very wet, and although cool, with only frosts on high ground and in Scotland. It is not the best conditions for landscape photographers, except for those of us who are extremely hardy and that group does not include me! On a recent trip to Salisbury, I was able to get some good shoots of the Cathedral which boasts the tallest spire in the UK, but the unpredictable and fast changing weather meant not straying too far from the car!

(Did I say I am a wimp?)

This the cathedral which two Russians allegedly came to visit at the time of the poisoning of the Skripals in 2018.

I can see why they might come to Salisbury. The cathedral is, to me, a photographer’s dream to photograph.

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Landscape photographers are lucky in that they do not need to have a studio or artificial lighting.

Although it is controversial, many landscape photographers get away without even a tripod. (With the latest cameras which have in body stabilisation, hand held shots can be successful at several stops below the recommended shutter speed for the lens being used. As time goes by and the camera manufacturers spend more and more money on R&D this trends are only likely to get better.

Of course the same is true for the software developers. While Photoshop and Lightroom seem set to continue as the premier items of software for Landscape photographers as well as other specialists, there are some “New Kids on the Block” such as Skylum’s Luminar. Its latest offering - Luminar AI (Stands for Artificial Intelligence) has many amazing features which can save a photographer hours in front of the computer screen. One example is its almost unbelievably smart Sky replacement where it can replace the sky in a shot with a complicated skyline in about 3 clicks of the mouse! Ansel Adams would have absolutely loved that feature and goodness knows what he would have done with it!

In this edition of the Landscape Newsletter you will find a report on Tony Worobiec FRPS’ presentation at the Landscape AGM’s day - 6th March. There is an advert for the Landscape Group’s Instagram account and part 2 of Roger Daines’ Article on using Large Format Cameras and Noel Baldewijns description of the Ansel Adams Analogue Zone System in a digital world. A review upcoming events that have vacancies at the time of writing as well as a report on the latest round of the monthly competition - May. This is a classic view of Bath. It was taken on a bright day with lots of people milling around. I had to wait for about 50 minutes to get it and even then it required some careful cropping.

Both Images © Peter Fortune

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APPEAL FOR ARTICLES We Are Perilously Short of Newsletter Articles!

It’s easy! Just submit your text (500 words) in an email and attach your jpg images. (72 dpi,1200 px along the longest edge and borderless)

If you have produced an article(s) in the past you are in no way restricted from writing another one.

Professional Photographers – this is an opportunity to showcase what you do!

Have a go!

If you need help contact

Peter Fortune landscapenews@rps.org

June 2021 Volume 6 Number 4

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IDEAS ABOUT LANDSCAPE COMPOSITION BY

TONY WOROBIEC FRPS & PETER FORTUNE

On the 6th March 2012 Tony gave a presentation to the Speakers Day and AGM of the RPS Landscape Special Interest Group held via Zoom. 137 members were in attendance and his presentation was thought provoking and full of ideas, some of which run counter to conventional thinking. This document represents a summary of his presentation.

The Rule of Thirds Tony’s first point was perhaps his most unconventional. He said that he was not a great believer in the rule of thirds. This “rule” was first codified by John Thomas Smith in 1797 and for some it has become almost an absolute command. However Tony pointed out that artists rarely follow this rule. It is important to consider other issues and it usually make little sense to have a single element featured on the thirds. In his view other concepts have more value when composing a picture. He did make reference to The Golden Section, (which of course does have credence), but it is difficult to apply in photography.

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The Golden Mean For Tony the Golden Mean is a much more useful guide to photographic composition ie dividing the image in half either horizontally or vertically and balancing the elements of the each image each side of the mean. He suggested that one shouldn't be seeking to achieve perfect symmetry, but rather a subtle asymmetry. He urged the audience to look at their book designs or album covers to see how many designers and artists use this simple compositional principle.

He also extolled the virtues of the square format, which works especially well if the constituent elements appear random and disorganised. It is as if the square format offers the discipline the composition otherwise lacks.

Counter Balance If we are to ignore the so-called "rule of thirds" some might rightly ask what should we use instead? Tony reminded us that most pictures are often quite complicated, and that it can be useful to organise the constituent elements within in the picture in order to achieve a visual balance. The good news is that we don't need a "rule " to dictate this, as our inner vision naturally recognises when the elements are in balance; it is simply a matter of trusting our innate sense of design.

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Texture Another way of composing a picture to consider the visual elements such as tone, line, shape, form, colour and texture.

With a view to the latter Tony showed us many pictures taken by the sea and commented that it was important to think about the texture of flat surfaces which are enhanced by very low light. For example, wet sand looks far better when photographed predawn or at dusk. He also showed us a picture of the wet rocks at Kimmeridge bay, where the low lighting proved especially beneficial.

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Light Of course for a landscape photographer the quality of light is really important - the "Golden Hour" around dawn and the "Blue Hour after dusk offer particularly exciting lighting conditions. Tony also urged members if required not to be afraid of using a higher ISO rating.

With modern DSLR cameras it is perfectly possible to ramp it up to 1000 or more, and providing you meter for the shadows, you shouldn't experience unacceptable levels of noise.

With respect to composition, Tony also reminded the audience that the eye always goes to the part of an image with the greatest contrast, so be aware of the light.

Colour Unless you are shooting monochrome, colour is the single most important of the visual elements. Certainly, having knowledge of the "colour wheel" and an understanding how complimentary colours react helps the photographer to temper the "mood" of the picture.

Mindful of the colour wheel, be aware that opposite colours "compliment " one another, whereas adjacent colours harmonise. Each provide their own unique response in the viewer. It should be noted that white, black and grey are neutral colours and so they don't interfere with the dominant colours within the composition.

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Some assorted issues that were covered by Tony’s talk.

•

Images with odd numbers of main elements, 1,3, 5 or 7 tend to work better than those with even numbers of main elements.

•

Leading lines take the eye into the image and can introduce a stronger sense of depth. Curving leading lines work equally as well as straight lines.

•

Much ignored by some landscape photographers, but the moon can often add a certain "mystique" to certain locations. Also, it is important to understand how much light the moon can add to a nocturnal scenario.

•

The sky can often prove to be a special ingredient within the landscape, offering a unique sense of texture and movement. Weather is also a vital ingredient to a successful landscape.

•

Daytime cloudy skies appear subtly blue after sunset, so don't ignore the possibilities of shooting a landscape after dusk on a cloudy day.

•

Most photographers process images in Lightroom, and elect to use Photoshop for the effects that Lightroom is not as good at, eg cloning and of course any process that requires layers.

•

When deciding to convert an image to black and white, or to leave it in colour, one needs to look carefully at the " tonal values". If you think that the tones are the main visual ingredient, then it makes sense to convert your image to black and white.

•

Always look for a different viewpoint - for example, when photographing a pier try looking underneath it, and not just settle for the conventional view.

About Tony Worobiec FRCS After taking a degree in fine art specialising in Painting, Tony started a career in teaching and was for 18 years the head of a large Design faculty in Dorset. He left teaching in 2002 to concentrate on photography and writing, and has to date had 17 books published. Nearly 200,000 copies have been sold world wide. Many of his books have been translated into numerous languages. As a photographer he has exhibited in many locations throughout the UK, and regularly conducts courses throughout the UK and Ireland on a variety of photographic techniques. Moreover, he is currently a tutor with the highly prestigious MyPhotoSchool.

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This is the third of the series of articles about our committee members and their photographic journeys. This month we feature me,

PROFILE OF PETER FORTUNE, RPS LANDSCAPE SIG NEWSLETTER EDITOR Q. When did you first become interested in photography and how?

I was given a Kodak Brownie 127 when I was 6 and was immediately taken with image making, not the least because I could not draw. Family and relatives professed to be impressed with my pictures even though they were less than postcard size. I continued to be interested despite the expense of buying rolls of film and paying for D&P. When at University I saved up to buy a Canon and by the time I was 30 I was using a Canon A1. In the ‘90s I was thinking of “going digital” and saw an awards programme on TV. There was a scene where the camera was looking across the red carpet and somebody was stoping and interviewing celebrities as they entered the theatre and on the other side of the red carpet the paparazzi were shooting the celebs. I noticed that about 70% of the paparazzi were using Nikon cameras, and that persuaded me to switch to Nikon when I went digital. (Today it would be Canon which the majority of the Paparazzi use.) I have been a Nikon user ever since.

Wind Power

Q. What does Photography mean to you?

I love the challenge go getting the technical side of image making right. I also enjoy the challenge of achieving a good composition for a shot. A photography book I own is full of beautiful landscape images and for each shot it lists the camera, focal length of the lens, the shutter speed, the f stop, the ISO, and the waiting time for the conditions to be perfect.

This taught me to try to be patient (and I do sometimes manage to be that!)

Q. What do you most like to shoot?

Partly because my wife, son and daughter do not like being photographed, I focus mainly on Landscapes but in the broadest sense of the word. I have taken many pictures of for example, some of churches, some street photography, some wildlife shots and the occasional candid shot of the family. I also shot my daughter’s graduation and my son’s wedding. However I love landscapes because they change but do not move!

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Q. What’s next on your photographic journey?

I have belonged to a local photographic society for many years and enter the club competitions regularly. At first my scores tended to be 12-15/20 but they have gradually crept up. At the moment I tend to score 16 - 18 with the occasional 20. I hope to continue to “raise my game”.

However it is very important to me to take the shots that I like not those that I think would impress a photographic judge! I hope to continue travelling and taking knew images of interesting places.

Whilst, of course, I do, subscribe to the “get it right in the camera” philosophy”, I hope to continuing to develop my skills with © Photoshop, © Lightroom and a third application © Luminar AI. This last software is most remarkable because it combines the editing power of Photoshop, and the cataloguing power of Lightroom, with a truly remarkable set of Artificial

Troyes old street June 2021 Volume 6 Number 4

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Q. How do you approach a shooting? Do you choose the location/subject in advance, or do you just drive somewhere and start taking pictures?

Most of my photography is away from home these days, partly because having lived in my current location for almost 14 years, I have exhausted many local possibilities. I have many guide books showing interesting places to shoot and with my wife we will choose one and pick accommodation if necessary. On the Saturday after writing this we are going to a village near Whistable in Kent for a week for example. I will choose lenses, filters, and decide to take a tripod or not and off we go. On arrival I will walk around looking for shooting opportunities. It will then be time to unpack the camera and a lens as well as whatever filters the light and the local decisions suggest.

Then it is time for the shoot. After it is finished all the images are downloaded onto an external hard drive and imported into Lightroom. when I get home I will copy the images into a folder on my desktop main frame and into my main catalog on the desktop. Them the editing begins.

When it is complete, All that remains is to reformat the memory card and delete all the images from my laptop.

Wells Cathedral

Q. What is your favourite camera?

My current and favourite camera is a Nikon Z7 for which I have a clutch of lenses. I decided that the NikonZ72 was an insufficient upgrade

All images © Peter Fortune

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LARGE FORMAT PHOTOGRAPHY IS FOR BEGINNERS! (PART 2, STARTING TO USE THE CAMERA) By Roger Daines This is the second of 3 articles; Part 1 appeared in the May Newsletter and Part 3 will appear in the July edition.

Film My colour film of choice has always been Velvia 50, but it’s hard to find now and very expensive, a pack of 10 sheets of 4x5 costs around £100.00. It Makes you stop and really think of the composition and exposure! But the resulting image pretty much negates all that concern.

Velvia is a great film for low contrast situations and brings out the colours beautifully. In high contrast situations the shadows can get blocked up and the highlights too bright, this can sometimes be seen in a sunset image.

Loading Film Holders Film holders for LF cameras hold 2 sheets of film, one sheet in each side, which must be loaded in a light tight area, either a blacked-out room or a changing bag. I highly recommend you practice loading the holders with some exposed sheet film in the light; it will pay dividends when it comes to loading in the dark. If you are using a room to load film or unload exposed film just stay in the room for 2-3 mins and let your eyes get accustomed to the dark. This is when you will see if it is “light tight”. If it’s not, then you can seal up the areas where there are light leaks before you open the film box. Film will fog with the slightest amount of light.

Changing bags are great for loading or unloading film in the field and putting the film back into the boxes. Sheet film comes in a box with three sections which allows you to have a light tight environment for the film.

The film holder has a darkslide in each side and at the top on one side is a black strip: on the other side it’s white. First thing I do with a new holder is give the white strip a number that is sequential and permanent, this way you can track your exposures. The white side also allows you to write on it the type of film you have in the holder.

The white edge of the darkslide in the holder signifies its unexposed film, or empty. After you have exposed the film you then reverse the darkslide when you replace it. The darkslide with black edge showing tells you have exposed film in the holder.

How do you know if the holder is empty? There is only one fool-proof way and that is to pull the darkslide out!

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If there’s film in the white edge side, bummer, you’ve wasted a sheet of film. If there’s film in the black edge side, then start cussing because you just ruined the best image you’ve ever captured! Pushing the darkslide back in quickly doesn’t help! When you unload film turn the darkslide, so the white strip is showing then at worst you’ll just waste a sheet of film or leave the darkslide protruding an inch or so then you know there’s no film in the holder.

Practice! My suggestion is to use an already exposed sheet of film if you have one and practice in the daylight a few times, and then practice in the dark. This will help eliminate any costly mistakes. It’s bad enough if you ruin a sheet of film before you capture an image, it’s even more frustrating to process the film and find you have ruined the perfect shot that you spent hours traveling to find and getting the perfect light and composition only to find you loaded the film back to front or didn’t seat it correctly in the notches and you have a light leak!

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Image#13 Film Notch (Velvia 50) Each sheet has a unique notch on the short side.

This will enable you to identify the film in the dark by feeling the notch. It is also important for loading into the holder with the correct orientation.

Before loading remove the darkslide and tap the holder on a hard surface a couple of times to remove any dust, clean the holder with a natural soft bristle brush to eliminate any fine dust, it’s also a good idea to use a can of air spray afterwards, but make sure there’s no damp residue. Clean the darkslide as well.

Insert the darkslide part way into the holder with the white/silver side showing to inform you that it has been loaded with unexposed film. If you have removed the darkslide from the holder you can identify the “white” side in the dark by feeling for the Braille “dimples” on the end of the strip. If you can’t feel them then you need to turn the darkslide over before inserting it into the holder. Now’s the time to put all you need in your changing bag or darkroom. Remove a sheet of film from the box and “feel” for the notch

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Open the flap on the holder and insert the film into slots either side of the holder. THE FILM NOTCH MUST BE ON THE RIGHT CORNER OF THE SHORT EDGE OF THE FILM WHEN LOADING! This will be the emulsion side of the film when you remove the dark slide for exposing. Once the film is securely in the holder, (check by tying to lift it with a finger nail, there’s a convenient hollow for your fingernail in the holder), close the flap and push the darkslide all the way in so that it locks into the flap. Indicate the type of film and ISO on the white/silver strip edge, e.g. TMax 400, writing with a pencil. You can then erase it after you’ve unloaded the film if you are going to use a different emulsion. Repeat for the other side of the holder then use the clips to lock the darkslides. For further protection after I’ve loaded the holders, I place a piece of artist tape over the top, this is triple protection from accidentally exposing film. For unloading the exposed film remove the darkslides open the flap at the bottom, lift the film with your fingernail and gently remove it from the holder. You should have your film box ready to receive the film. When you opened the box and removed the film it was in a cardboard folder inside the plastic/paper pouch. Place the film in the folder one at a time as you unload it with the same orientation, notches on the right side, this will minimise any scratching of the emulsion. Put it back in the pouch, place the pouch in the smallest section of the box, then cover it with the medium section and finally place the large top on the box. You now have a light tight environment ready to ship the film for processing or doing it yourself. DON’T MIX DIFFERENT TYPES OF FILM IN THE BOX! I hope this article inspires you to start using large format.

About Roger Daines Roger B. Daines, M. Photog, Cr. Photog, CPP, Ca.M. Photog, API, is a retired commercial photographer now living in the UK. He has numerous loan collection images with PPA, two Kodak Epcot awards, a Kodak Gallery award, 5 Fuji Masterpiece Awards and two people’s choice awards. He was a member of Fuji’s Talent Team for several years. Roger has taught at PPC’s West Coast School in San Diego, Professional Photographers of America (PPA) and Professional Photographers of California (PPC) conventions and in England, Mexico and South Korea. He is a Lifetime Member of PPA, twice past President of PPC and PPC Fellow, PPC Hall of Fame and a member of the prestigious Royal Photographic Society

All images © Roger Daines except the portrait

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USING ANSEL ADAMS ANALOGUE ZONE SYSTEM IN A DIGITAL WORLD BY NOEL BALDEWIJNS It is common practice among photographers to use Ansel Adams' zone system to deliver a balanced photo. Adams created the system to perfectly control the contrast in his black and white photos. His base rule was: “Expose for the shadows; develop for the highlights.” To create the system, he first generated the middle grey zone 5 and continued from there. Clear texture was available from zone 2 to zone 8, and his dynamic range is from zone 1 to zone 9.

To wrap up creating the scale-based system, he made a print of each zone, 11 pieces, from zone 0 (black) to zone 10 (white), which would have looked like this:

Figure 1: Posterized gradient

Creating a zone system to enhance your digital images In the digital photography age, the zone system is still in use, but on our screen, it looks different from what Adams saw in his dark room. We use gradual lighting to create a dark to light gradient today.

If you need a full scale of zone masks today there all kind of actions on the market, you can buy one, or you can easily create your own set like I did. When you create it yourself, you have the freedom to create the LM you really need.

Tony Kuyper, the first to create a digital LM, explains in his blog how to do so. In terms of my methodology, I start by creating a new document in Photoshop and draw a gradient, like this:

Figure 2: zone masks one a linear gradient

I then divide it in the AA zones, the top left numbers indicate the brightness and bottom left numbers are the RGB indication

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Now when I use the TK panel (but it could be any other panel) and create a zone 5 mask.

White is selected, dark is not, you can see that the mask starts somewhere in Zone-2 and ends somewhere in zone 8.

Figure 3: Zone 5 mask As fine art photographers, we know every detail is important, and therefore, sometimes, this methodology does not get me what I want. Let us say, for example, I really wanted something that is more focussed on zone 5 and excludes most of the other zones. This requires a zone system that is a gradient and not 11 separate blocks.

To accomplish this, I used the rulers to determine the area I want to set as my own zone 5 mask. In this case I start at zone 3.5 and end at zone 6.5. You are, of course, completely free to place the rulers wherever it suits you, based on your vision.

a. Create a L-1 mask

Figure 4; rulers define the intended boundaries of my asymmetric zone 5 To create a mask targeting this specific area, I need to • • •

block out zone 0 to zone 2.5 block out zone 6.5 to zone 10 maintain soft transitions between the zones

Three steps to creating a digital Ansel Adams-inspired zone 5 Step-1: Block out zone 0 to zone 2.5 I have created a Lights 1.5 mask with a black point 6.

BP 6 excludes zone 0 in total.

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a. Create a L-1 mask Goto:<Image/calculations> and enter the data as shown in figure 5 You can save the L1 mask as L1.5+BP6 but you are not there yet

Figure 5:create a 16-bit lights-1 b. Next, we change it to an L1 + BP6

Goto: <image/adjustments/levels Change the BP to 6 and bring the gamma slider to 0.75.

You now created a L1.5 +BP6 mask

Figure 6: from lights1 to lights 1.5+BP6

Step-2: To block out zone 6.5 to zone 10 I have created a Darks 2.5 mask. This is how I did this:

a.

Create a D1 Mask

Go to <Image/calculations> and fill in this data You now created a D1 – 16 bit mask

Figure 7 Create a 16bit D1 mask b.Change a D1 to a D2 Goto <Image/ adjustments/ levels> and bring the gamma slider to 0.5 I created a 16 bit D2 mask Page 22

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RPS Landscape Group Monthly Competition May 2021 Winners Announcement Members submitted another stunning collection of images to the Landscape Group competition during May

1st Place

Two AM and All is Well by Peter Benson I’m mainly an Urban Nightscape photographer and have been doing this since early 2014. I often return to the same area along the banks of the Thames in London, which was the case when I took this image back in March 2016. The reason I return to the same places is that I can come back with different images of the same subject matter as I have found that the height of tides and clouds has an effect on the ambient light reflecting down off the clouds or up from the river surface and plays a part in making the image different.

The image was taken from London Bridge around 2 AM in March of that year and is of HMS Belfast, which is one of the museums of the Imperial War Museum. When I first arrived in the area that night in 2016 the top part of the Shard was covered in fog and every now and then the top could be seen for a short while before it disappeared. This continued into the early hours of the morning. Had I looked at the weather forecast that day for London and it said foggy/misty for the City of London I might have not gone. The lesson for me was deal with whatever weather you have been given, good, bad and the bit in between and make the best of it. For me this image is a great reminder of that. This and a good few more images after would not have been taken if I had stayed at home and I would have missed some great opportunities.

View more of Peter’s photography www.peterfbenson.co.uk

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Comments made by RPS Landscape Members when voting for Peter's image ▪

Evocative

▪ ▪

Pleasing image, good composition and long exposure is well executed Beautiful light, and really different approach to a landscape. I loved the watercolour feel to the image too.

▪

So different to other submissions

▪

Misty atmosphere, overall colour, perfect exposure, the reflections

▪

Such an unusual sight and it conveys a real sense of a calm, misty night on the Thames.

▪

I really enjoyed this composition and ethereal night shot. The reflections added a soft colour palette to the image.

▪

An unusual view of a very familiar subject

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I would put this on my wall. Exposure and focus spot on. Would have liked to see more of the reflections but only a minor point.

2nd Place

Little Dancing Tree By Hilary Bailey Comment made by members when voting for Hilary's image

▪

Lovely, muted tones and sense of mystery.

▪

Interesting subject and beautifully processed.

▪

Very atmospheric and fairy-tale like. The beautiful subtle use of colour makes it seem as if it has been photographed underwater.

Special place. I am immediately drawn inside. The damp landscape is tangible.

▪

Beautifully constructed image, full of impact.

▪

The Little Dancing Tree image is distinguished by its muted colour scheme, and when combined with the mistiness into the distance giving depth, provides a sense of atmosphere.

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Joint 3rd Place West Woods By Paul Mitchell

View more of Paul Mitchells's photography www.paulmitchellphotography.co.uk and on Instagram

Comments made by RPS Landscape Members when voting for Paul's image ▪

I love the way the light has been caught through the trees and bluebells. Well Caught!

▪

Great light, soft muted colours which makes a serene image of calmness which I enjoy. Tim Hodges

▪

West Woods - It stood out

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Lovely morning light and three dimensional effect on leaves .

▪

The cool blues of the foreground bluebells set against the warm backlighting to the trees with the backlit foliage 'dancing' through the image makes this a very pleasing photograph.

▪

Excellent lighting and composition

▪

I like the symmetry, balance and light in this shot. The foreground/background ratio is perfect for me and the light on the trees is sublime.

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Joint 3rd Place Sacrista Beach, Lewis & Harris By Mike Lloyd

View more of Mike Lloyd's photography www.mikelloydphotography.co.uk and on Instagram

Comments made by RPS Landscape Members when voting for Mike's image ▪

I am attracted to the place and this photograph captures the essence and feel of the place well with lovely colours and uncluttered composition.

▪

The low angle and composition lead the eye through the image. Great contrast in textures all within a muted moody colour palette

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Great choice of shutter speed in the image of Scarista Beach, Lewis and Harris, where we can see the flow of water with a hint of movement and the s curve leading us through the image to the incoming waves and dark foreboding hills in the distance - Paul Burwood

▪

I immediately picked this out due to the wonderful s-shape leading the eye into the frame. Lovely long exposure effect on the water in the foreground channel, which is well lit against the dark back ground mountains. Roger Creber A beautifully composed shot that manages to be complex and simple at the same time.

▪ ▪

Stunning foreground with a wonderful s-bend winding into the image. Good use of slowish shutter speed to create an interesting pattern in the foreground water. If nit picking, I would like to see a bit more of the sky to allow inclusion of all the cloud tops. Jon Martin

▪ ▪ ▪

Leads you through the stillness of the river to the turbulence of the sky.

Really well composed and balanced with a slow shutter speed for the sea.

I enjoyed the strength of the foreground and use of sweeping curves to take you through the image.

▪

Reflects the importance to me of calm tranquility whilst remembering that life, like the water, continues to flow and change.

Makes me want to be standing there.

Wonderful Composition

▪ ▪

Full instructions about the competition be found on the RPS Landscape Group website.

Look out on the Facebook for updates

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Events Listed below are the events not sold out, cancelled or postponed at the time of writing. If an event catches your eye you can go to the Landscape Events page of the RPS website by clicking here You can then search by date for the event in which you are interested.

Cost range represents Landscape SIG, RPS Members and members or neither.

Events may be subject to Covid restrictions, check if you are not sure!

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Advancing The Art of Landscape Photography

June 2021 Volume 6 Number 4

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