Page 1

NEWSLETTER May 2019/vol 4/ No 4

Llandwynn Island by David Smith LRPS

CONTENTS 2 3 4/7 8/11 12/14 15 16 17 18/20 21

Editorial Committee News B&W conversion by Paul Gallagher La Gacilly Photo Festival by Mark Reeves Woodland Photography by Lizzie Shepherd Members Gallery Good Picture Symposium What’s on Landscape Group Events Events and bookings details

Submissions The deadline for submissions to the next newsletter is Friday 21st June, 2019. 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 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 the images in the email. Please send all submissions by email to:

Page 1

NEWSLETTER May 2019 / VOL. 4 / NO. 4

Editorial Welcome to the May edition of the Newsletter—a little shorter than recent editions. Many landscapers find woodland photography difficult., and simply steer clear. Some find woodlands inspiring— though challenging. This edition sees Lizzie Shepherd giving us her wisdom, and how she separates the order from the ’chaos’. See page 12-14 Another prominent landscaper is Paul Gallagher, who, you may remember, gave the first presentation at our conference in Malvern. Towards the end of his presentation, Paul showed us how he uses lightroom, or Adobe Camera Raw, to convert to Black and White. Paul’s method was in stark contrast to another presenter who demonstrated a more conventional method of conversion. When Paul finished, a number of you asked me if it would be possible to get a written summary of his method so that you could adopt the same procedure. I’m pleased that Paul agreed and his paper is on Page 4-7

Mark Reeves, Professional Events Manager, has written an interesting piece about a Photography Festival in France. See pages 8-11 Meanwhile, I’ve included details of the RPS Good Picture Symposium. It’s more about the science of photography, rather than landscape—but some of you may be interested. Page 16 There’s plenty to read and choose from , whether it is field trips, or workshops. Keep sending me your reports and images. All contributions are appreciated.

Mick Rawcliffe,

Page 2

Newsletter Editor

NEWSLETTER May 2019 / VOL. 4 / NO. 4

Committee News Message from the Chair

May 19 Vacancy - Secretary of the Landscape SIG Janet Stott has decided to step down from the secretary role for personal reasons. I would like to thank Janet for volunteering. The committee are now keen to recruit a volunteer to fill this role. The role is one of the three mandated by the RPS for the committee to operate. The role primarily involves setting up and minuting meetings. The role is primarily administrative not photographic and the key duties are to Arrange an annual schedule of SIG committee meetings and ensure that all committee members are informed of the schedule Make suitable arrangements for the holding of all SIG committee meetings – whether these are online or face-to-face Compile agendas for all committee meetings and circulate these approx. one week in advance of each meeting Ensure effective minutes are recorded at all meetings and distribute draft minutes to all committee members within one week of each meeting Arrange an annual general meeting in accordance with the group’s constitution and relevant society procedures in conjunction with the chair Organise nominations and elections to the committee in accordance with the group’s constitution and relevant society procedures If you feel that you are able to take on this role the please contact Richard to have a discussion of what the role entails. Richard Ellis

Page 3


NEWSLETTER May 2019 / VOL. 4 / NO. 4

Converting to Black and White by Paul Gallagher There are many ways to convert a raw file from your camera into black and white but some make more use of colour information than others. The following is what I had a to show in a very brief window of opportunity at the RPS Landscape Group AGM some months ago.

Fig. 1


If we begin by opening your raw file into Lightroom or Adobe Camera RAW (both have the same functionality). See Fig 1. Begin by taking a look at your histogram and deciding your initial adjustments such as exposure, shadows and highlights etc. Page 4

NEWSLETTER May 2019 / VOL. 4 / NO. 4

For this image of Yosemite, I balanced the sky with the foreground by increasing shadows and bringing down highlights after an initial raising of the overall exposure. I followed these adjustments by adding a little clarity as lowering highlights and raising shadows has the effect of flattening your image so clarity will help separate out the mid-tones. Fig.2 Next, I navigated to the HSL Tab (Hue/Saturation/Luminance) and opened up this dialogue box. Clicking on Saturation, I then decided to saturate the dominant colours of the scene which were Blues and Aquas in the sky, and yellow and greens in the valley. Be careful not to push these colour channels too far as we must remember we are only making initial adjustments here.


After saturating the chosen colours in the scene, I then clicked on the Luminance Tab and my next decision was how I could use my newly saturated colours to my advantage. Firstly, I decided to lower the luminance of the Aquas and Blues and in doing so I was darkening the sky and also making the white clouds stand out. Next, I turned my attention to the Luminance of the yellows and greens. I chose to raise the luminance of the yellows and greens as this would accentuate the essence of sunlight hitting the trees in the early evening. See Fig 3

Page 5

NEWSLETTER May 2019 / VOL. 4 / NO. 4

After making these first adjustments I then opened my image in Photoshop. Now it was time to see the image for the first time in black and white and commit to converting the file. To convert the image, I went to the “Create new adjustment or fill layer� at the bottom of the layers palette which is represented by a small black and white circle. I then clicked in the icon which presented me with a drop-down menu and I then clicked on Black and White. See fig.4

Fig. 4

When you do this Photoshop creates a new layer and you are also presented with a new dialogue box which looks very similar to what we have already seen. Also, as this dialogue box appears you will see your image convert to black and white at the same time. Do not be too disappointed if the image looks flat and a little lifeless as this is the early stages as a black and white image. Page 6

NEWSLETTER May 2019 / VOL. 4 / NO. 4

Although this next stage may feel like you are repeating yourself with the same sliders you are not! What we are seeing here is a black and white image with all the powerful colours we created earlier in the process, latent in the background and ready to be brought into action in wonderful tones of grey. Now we must follow the actions of what we did previously by sliding to the left (Darkening) the blues and cyan’s (This is not an error. For some reason, they changed the name from Aquas to Cyans as you leave one programme and go into another!) As you do this you will see your blue sky rapidly darken behind the white clouds. Secondly, it is now time to slide the yellow and green sliders to the right and in doing so you will lighten your trees and the sunlight will appear as wonderful highlights in your image. All of the above is dependent on the level and intensity of colours in your image and other colours may be present that you can consider. Also, it must be remembered that this is the first step in an exciting journey into the world of black and white. You now have the foundations of a great photograph and the fine adjustments can be made in whatever way you please resting in the knowledge that you made the most of the colour image in the first place. All images Š Paul Gallagher

Page 7

NEWSLETTER May 2019 / VOL. 4 / NO. 4

A report from La Gacilly Photo Festival by Mark Reeves LRPS Nestled in a wooded valley of the River Aff in south east Brittany, lies the pretty village of La Gacilly. By French standards, it’s fairly unremarkable in the way that so many little villages are, but it is picturesque to the point that, if it were in England, it would be a firm fixture on the itinerary of Shakespeare-country coach tours.

IMAGE #1 - Stone houses line a cobbled street in La Gacilly Although the name La Gacilly means nothing to most people, that of its most favourite son is a household name. Yves Rocher, founder of the eponymous multinational cosmetics company was born in the village and was mayor of La Gacilly from 1962 to 2008. In 2006 Yves’ son Jacques Rocher, who later succeeded his father as mayor of La Gacilly, founded the Yves Rocher Foundation with its mission to “cultivate a greener world by assisting environmentally-conscious men and women to implement concrete preservation initiatives”. Jacques is not only a passionate environmentalist but also a lover of photography. It was these twin interests that led him to also found the La Gacilly Photo Festival. Tiny though La Gacilly is (population 4,000), its free festival of photography – now in its sixteenth year – annually draws renowned photographers from around the world and an estimated 380,000 visitors.

IMAGE #2 – Viewing images in the park

Page 8

NEWSLETTER May 2019 / VOL. 4 / NO. 4

The festival quite literally takes over the whole village for several months during the summer. Most of the images are presented on large weather-proof displays mounted outdoors throughout the village; lining its narrow streets and leafy river bank as well as paths through the adjoining parkland and woodland. The larger ones are hung on the sides of buildings.

IMAGE #3 – Large scale images by Patrick Tourneboeuf hung on the side of a building La Gacilly really is a photographer’s dream. The quality and sheer volume of work on display are breathtaking, as I discovered for myself on my first visit two years ago. My partner and I then returned again last year and we plan to visit for a third time this summer. Who knows…. we may well make it into an annual pilgrimage! Reflecting its founder’s commitment to sustainability and the environment, the La Gacilly Photo Festival has, since its birth, been highlighting the major environmental and societal challenges related to globalisation. So not only does the festival present top quality photographic works but it also provides much food for thought. Some of the most memorable portfolios that I have seen at the festival have covered such themes as trophy hunting in Africa, deforestation, high density housing, the melting of polar ice and the vast waste produced by our consumerist society.

IMAGE #4 – A visitor views an image from the series “Ice” by Philippe Bourseiller

IMAGE #5 – An image by Olaf Otto Becker depicting a bushfire lit to clear land in Australia Page 9

NEWSLETTER May 2019 / VOL. 4 / NO. 4

Last year, the images that made the most lasting impact on me were a series of awe inspiring landscapes taken in Bolivia as part of a work by Croatian photographer Majaz Krivic entitled Lithium Road.. Lithium Road documents the lithium extraction industry in Bolivia. With the threat of irreversible man-made climate change upon us, the need to de-carbonise our economy has never been more urgent. A major component of bringing about such a radical change is, of course, the growing switchover from petroleum-powered transport to electric vehicles, a change which is driving a dramatic increase in demand for lithium. Lithium is highly soluble and it is estimated that up to half of the world’s reserves of lithium are to be found in the naturally occurring brines of the Sala de Uyuni in Bolivia. Covering 4,000 square miles – four times the size of Derbyshire – it is the industrialisation of this vast white salt flat that is dramatically captured in Krivic’s work. As for me, I am really looking forward to the next La Gacilly Photo Festival. This year it runs from 1 st June to 30th September and features three themes; A L’est du Nouveau (the new east), Renaissance (rebirth) and Nouvelles Frontieres (new frontiers). Mark Reeves LRPS

Images 1-5 © Mark Reeves

Acknowledgements With thanks to photographer Matjaz Krivic and Matt Shonfeld of Institute (artist management agency) for kind permission to use Matjaz’s images. For more of the Lithium Road series, with documentary narrative, see Further information La Gacilly Photo Festival - Yves Rocher Foundation -

IMAGE #6 – Trucks driving across the Sala de Uyuni (c) Matjaz Krivic/Institute Page 10

NEWSLETTER May 2019 / VOL. 4 / NO. 4

IMAGE #7 – The lithium brine is left in the sun for many months to evaporate (c) Matjaz Krivic/Institute

IMAGE #8 – Miners load their truck with lithium salt (c) Matjaz Krivic/Institute Page 11

NEWSLETTER May 2019 / VOL. 4 / NO. 4

Embracing the chaos of northern woodland by Lizzie Shepherd

For as long as I can remember, I’ve loved spending time in woodland. It’s such a magical environment in which to go for a wander. Whilst the trees within may be the stars of the show, the accompanying sights, sounds and smells of the flora and fauna, are what complete the experience. That word ‘experience’ is such an important one – to make sure we really enjoy our photography and get the most out of it that we can, first we have to enjoy and truly appreciate what we are experiencing.

Next, and far harder to achieve, is learning to see – finding ways to pick up on every little detail in a richly complex environment. I’ve lived in Yorkshire for 20 years now and I think in my earlier years here, I had a vision of what I felt woodland photography ‘should’ be. I longed for the pristine beech woods of the south: perfectly spaced tree trunks, an elegant canopy and pristine understory. It was only when I opened my eyes and really taught myself to see – to notice every little detail – then I came to embrace and truly appreciate the wonHanging on - Guisecliff

derfully chaotic nature of our northern woodlands.

It’s easy to feel overwhelmed. You may be surrounded by a plethora of lovely trees, but where on earth do you start when it comes to making a picture? I find it helps to walk around a little, take time to get a feel for the location, then perhaps just sit or stand for a while and just observe your surroundings. It’s amazing how patterns start to emerge. Try looking for relationships between some of the trees. So often they are there – we just need to find them. Perhaps they take on the characters of a couple having a little chat or a dance; or it might simply be that you find echoes and repetition of graphic patterns that help you to visualise an image. Hodge Close—Birch Page 12

NEWSLETTER May 2019 / VOL. 4 / NO. 4

A good case in point would be this pair of birch trees, perched on the edge of a magical cliff-side woodland, and at their most picturesque in autumn. Sadly one of them has recently fallen, but I’ve always thought of them as twins. They seemed to exist and move in absolute harmony – waving, dancing – see it as you will. Even if you think in more rational (dare I say) or pragmatic terms, then you can see how many patterns are echoed here, with the trunks forming two very strong Y shapes, and these then repeated in the upper branches. This relatively graphic main structure contrasts beautifully with the more sinuous twigs and their jewel like leaves.

Guisecliff twins Birch trees never cease to impress me, for the incredible shapes they form, their jewel like leaves, the varying tones of their bark and their flexibility and durability. They seem to be able to thrive almost anywhere and their ability to regenerate is wonderful to see. Nowhere is this more evident than in the Nordic countries, where heavy and prolonged snowfall over the years, often gives rise to an exotic variant the ‘bendy birch’. Sometimes it’s hard to see what makes one birch bend and rondane - birches

yet all his companions are standing there, straight as can be. It does give rise to fantastic scenes though, often richly anthropomorphic and hugely rewarding to photograph.

If you are one of those people that tend to see human characteristics in trees, then you may well find this helps you to make sense of some of the potential chaos. Here in Yorkshire, we have a number of woods with ancient, characterful and somewhat scruffy oak trees. They are amazing places to visit, particularly when you consider what these trees may have witnessed over the centuries. They are, however, fiendishly difficult to photograph. Often you are reliant on conditions – mist, fog and snow are fantastic to work with, helping you to isolate and emphasise those trees you find most characterful.

Page 13

NEWSLETTER May 2019 / VOL. 4 / NO. 4

These oaks are deep in a woodland just on the edge of the Yorkshire Dales. I feel as if I’ve gone back in time when I go for a wander here, treading in the footsteps of elderly giants! Each visit, I notice yet more branches have fallen and the understory grows increasingly untidy. Still the dancing oaks remain, seemingly oblivious to the destruction all around them! Often I return empty handed, photographically speaking, but every so often, such as on this foggy winter’s day, wonderful little cameo scenes reveal themselves. Whatever the outcome, the experience is undiminished.

Oak Dance—Nidderdale Of all trees, oak and beech are my favourite species to photograph in winter, largely because of their tendency to hold onto some of their dead leaves – a phenomenon knows as marcescence. Here, in a small woodland just outside my village, the splash of warmth from the retained beech leaves is crucial, both to the composition and to the appeal and emotion of the image. The fog was unusually dense for this hilltop woodland that morning, so helping me to simplify the complex and potentially distracting backdrop, whilst allowing the main protagonists to shine.

Marton Woods—Winter Yet nothing quite beats woodland in spring – the incredible excitement of seeing trees, flora and fauna bursting into life, invigorated and filled with incredible scents, sounds and colours. In particular, I find the fresh, soft and luminous green of young beech leaves irresistible. I’ll see out areas where they are at their most vibrant and aim to give them a starring role in my image – perhaps, as here, shooting through a lower section of the Marton Wood—Spring

canopy so creating a soft framework for my composition.

I think once you become more comfortable photographing in woodland, then, as much as anything, you rely on instinct, on finding ways to capture the mood and spirit of these special habitats. At times, all the rules go out of the window. You have to accept that you’ll need to cut things off – it’s impossible to show every tree in its entirety. You may need to include patches of white sky within your composition; you’ll almost certainly have to accept a degree of complexity, even slight disorder, at the edges of your frame. These are just some of the compromises you may have to make – but so long as you are aware of the possibilities, you can work with these constraints, you can embrace them, and you can still find ways to create a balanced, compelling and unique image. All images © Lizzie Shepherd Photography. Page 14 NEWSLETTER May 2019 / VOL. 4 / NO. 4

Members' Gallery

Ynys Llanddwyn at Sunset by David Smith LRPS

Highfield Farm, Upper Booth by John Patterson LRPS

Page 15

NEWSLETTER May 2019 / VOL. 4 / NO. 4

GOOD PICTURE 2019 – “Imaging Revealed”

Following the success of the previous sixteen Good Picture Symposia, the Imaging Science Group of the Royal Photographic Society is organising another in its series of tutorial seminars, open to all, on selected technical aspects of Digital Imaging. The aim of these lectures and discussions is to provide imaging practitioners, keen amateurs and students with insights into Digital Imaging and provide some tools and guidelines for assessing cameras and software thus improving output.

Location: University of Westminster, Regent Street, London Date: Saturday 14th December 2019, 10am – 4pm (Note: There is full disabled access to this meeting)

Charges: £74.00

Concessions: £42.00 (Students, Retired, Un-employed)

Includes buffet lunch plus morning and afternoon tea, coffee & biscuits (Continuing Professional Development documentation will be supplied if required) Contact:

Apply Directly to the Organiser: Dr Mike Christianson E-mail: (please note recent change of e-mail address) Phone: 01753 890 480 Mobile: 07814864921

Programme Dr Anthony Kaye ASIS FRPS

Artificial Intelligence in Photography for Photo Enthusiasts

Independent Imaging Consultant

Dr Jonathan Crowther

Imaging the Skin – UV, Visible and IR

JMC Scientific Consulting Ltd.

Oliver van Zwanenberg

Measuring Camera Performance from Natural Scenes

University of Westminster

Gary Evans

Images as the Language of Science

Chairman, RPS Imaging Science Group

Rex Waygood BSc MSc

An Exploration of Colour Spaces in Photoshop

RPS Digital Imaging Group

James Mann FRPS

Automobile Photography Through the Ages

Professional Photographer

Dr Alan Hodgson ASIS FRPS Trustee

Page 16

Characterising the Colour Response of Cameras RPS

NEWSLETTER May 2019 / VOL. 4 / NO. 4

What's On Landscape Photographer of the Year 2018

A selection of exhibitions & events which may be of interest to landscape group members

10th Epson Pano Awards Open for entries

Amateur and professional photographers are invited to submit entries for a $50000 prize pool. Dedicated to the “Take a view” craft and art of panoramic photography, this competition is the largest of its kind. You can choose between Nature/ The Exhibition is on tour of major Rail Stations Landscapes or Built Environment/Architecture. There is still plenty of time to see the Landscape Photographer Open until July of the Year as the exhibition moves around England and land. Freely accessible during station opening hours. Provisional timetable for Network Rail Stations 2019

Birmingham - 21 May to 9 June Victoria - 10 June to 24 June Paddington - 25 June to 9 July Reading - 10 July to 27 July See here for details

National Trust seeks image for the Handbook.

Conferences, Fairs and Festivals

The National Trust is looking for a cover image for the Members’ Handbook 2020 Next year also marks its 125th Anniversary. Both amateurs and professionals can enter with the theme ‘places that make you feel good’.

None to report

The competition runs until 1st September

Page 17

NEWSLETTER May 2019 / VOL. 4 / NO. 4

Landscape Group EVENTS

How to be a "road warrior" with Lightroom 10th July 2019 London

Fraserburgh and the North East coast

How do you work on high resolution photos away from your home or office? How do you transfer high resolution photos from your camera to your phone or tablet? And then back to your main computer?

09 June 2019 Inverness

If you have ever asked any of these questions, then this the seminar for you!

See here for full details

This will be an informal outing arranged by the RPS Scottish See here for details Northern Group to which members of the Landscape Group Adobe Lightroom are invited to join up with Highland based members with phers local knowledge.

see here for details

for landscape photogra-

7th July 2019 West Midlands Julian Rouse LRPS, an Adobe Lightroom expert who has

The Landscape Photographers Calendar Workshop delivered many successful courses for the RPS, will lead the with Tony Worobiec FRPS workshop. There will be a maximum of 8 delegates, to en09 June 2019 Bristol

sure a good level of personal attention.

see here for details The purpose of this course is to inspire the participant to recognise that each month in the year offers wonderful op- Portfolio review day portunities for taking great photographs. It aims to be as 20th July 2019 Northallerton broad as possible, and features not just pastoral landscape, but recognises that landscape should also embrace agricul- This is an opportunity for you to have a selection of your landtural, coastal, industrial and urban locations. scape images reviewed by professional landscape photographer and Adobe Lightroom expert Mark Banks. See here for details see here for details

Glasgow long exposures 22 June 2019

Devils Dyke and the Fulking Escarpment 29 August 201 West Sussex

The focus of the workshop is to capture some of the iconic Visit the beautiful South Downs in an area protected by the architecture around the city using long exposure techniques National Trust. Capture light as it sculpts the shape of light and fine art styles. over these magnificent hills and find plenty of new compositions as you pass over each individual hill along the South See here for details Downs way.

Exploring infra-red photography 23 June 2019 Ingleton, Yorkshire

See here for details

Heather moorland and big vistas

30 Aug and 6th Sept - FULLY BOOKED Explore the mysterious world of Infrared photography with a specially converted infrared camera for you to use along See here for details with screw in IR filters that you can use on your own cam- The Cabrach and Dufftown era. 01 September 2019 Inverness Join professional photographer Colin Jarvis for a day devotThis will be an informal outing arranged by the RPS Scoted to IR photography in the Yorkshire Dales. tish Northern Group to which members of the Landscape See here for details Group are invited to join up with Highland based members with local knowledge. For details of all Landscape Group events listed above and of additional workshops and events of interest to group members, please visit the Group’s events page Page 18

See here for details

NEWSLETTER May 2019 / VOL. 4 / NO. 4

South Pennines Moorland

Long exposures on the North Somerset coast

06 September 2019 Littleborough

9th October 2019- FULLY BOOKED

A day on a dramatic but easily accessible stretch of the Pen- See here for details nine Way on the moors between Littleborough, Lancashire, and Ripponden, West Yorkshire. There are two easy circular Long exposures on the North Somerset coast II walks, either side of a pub lunch. See here for details 10 October 2019 FULLY BOOKED

Lighthouses of Anglesey

See here for details

7th September 2019

West Cornwall Coastal Exploration – Day 1

North Wales

The day will incorporate using ND filters, (graduated and 2nd November 2019 stoppers) for traditional landscapes and for long exposure photography, and Infrared photography. The tutor, Colin On day one we will be exploring some well-known locaJarvis will bring spare sets of Lee filters for participants to tions such as St. Michael’s Mount and Land’s End, as well as lesser known beaches. There will be opportunities to shoot use. large vistas, use long exposure techniques (assistance availSee here for details able) and to explore the intimate landscape.

The Mountains and Waterfalls of North Wales 8th September 2019

See here for details

Autumn weekend in the Surrey Hills / North Downs Fully booked

The workshop will begin with a visit to the iconic Llyn Padarn lone tree, then travel through the Pass of Llanberis to 02 Nov 2019 - 03 Nov 2019 Guildford Llyn Gwynant,to Tryfan with expansive views over the Gly- See here for details ders to Llyn Idwal and the Devil’s Kitchen. Then to the Ogwen falls,with tremendous views of the Llyn with Tryfan in Autumn colours and waterfalls of Wensleythe distance. It really is a magical view with lots of composidale tions to choose from. The day will end at around sunset.

2nd and 9th November 2019- FULLY BOOKED

See here for details

See here for details

Dawn shoot in the South Downs

West Cornwall Coastal Exploration – Day 2

20th September 2019

3rd November 2019


West Cornwall has some of the most dramatic coastal scenA chance to capture the South Downs at dawn under the ery on Britain. We will be exploring different locations on guidance of a professional tutor. each day photographing the dramatic cliffs, beautiful The event will visit a nature reserve in the heart of the beaches and heritage architecture of the coast. South Downs National Park, a stunning area of hills conSee here for details verging together between Lewes & Brighton. See here for details

Eskdale & Wasdale 28th September 2019

Lake District

This will be an informal group meet to photograph locations in and around Eskdale and Wasdale. Some are well known , some not so well known. Planned locations include Devoke Water, (and boathouse) Stanley Ghyll waterfall and Wasdale. There are iconic views towards Wasdale Head, including the lesser known boathouse. See here for details

Page 19

Could you host an event? If you know of a promising and photogenic location in your area, and you would be willing to organise an informal session for other members of the Group, please email to We welcome all volunteers and would very much like to hear from members in all parts of the UK.

NEWSLETTER May 2019 / VOL. 4 / NO. 4

Autumn weekend in the Surrey Hills / North Downs Cuckmere Haven and the Seven Sisters - FULLY BOOKED 07 December 2019 East Sussex 2/3rd November 2019 FULLY BOOKED See here for details

See here for details

Autumn colours and mist - FULLY BOOKED 7th November 2019

DIG Thames Valley: Capturing the Moment - landscape and sports photography

See here for details

17th November 2019


Capturing the Moment - a day of landscape photography by Hugh Milsom FRPS MFIAP EFIAP/D1 and Pat 08 November 2019 North Yorks Broad ARPS EFIAP/B, and sports photography by Peter MilJoin Mark Banks for a day of sheer indulgence and learn som EFIAP/S BPE 3* how to take the most exquisite autumnal images. See here for details

Autumn Colour - Thorp Perrow Arboretum

See here for details

Winter in Glencoe

Autumn colours and waterfalls of Wensleydale

12 January 2020 - 18 January 2020

9th November 2019 - FULLY BOOKED

A tutored week capturing glorious Glencoe in winter.

See here for details

See here for details

Cawdor Woods and Findhorn 10th November 2019

Moray Firth

This will be an informal outing arranged by the RPS Scottish Northern Group to which members of the Landscape Group are invited to join up with Highland based members with local knowledge. See here for details

Grasmere autumn colours I (four days) 11th-14th November 2019 Lake District This 4-day workshop will suit landscape photographers from beginner to advanced - with tuition provided by professional landscape photographer, Mark Banks throughout the workshop. Mark will also be assisted by Landscape Group Events Manager and landscape photographer, Mark Reeves who will be helping organise the event and providing transport to all locations. See here for details


Introduction to Night Photography

16 November 2019 Bath Explore the wonders of nighttime photography during this creative, hands-on and revealing evening photography workshop. See here for details

Page 20

NEWSLETTER May 2019 / VOL. 4 / NO. 4

Event categories The categories below aim to help members understand what is on offer at any particular landscape group event. They are also a guide for potential event leaders who might be worried that their photographic skills are not sufficiently strong for them to lead an event. Group A – Field trips where the guide has a good knowledge of the location (e.g. good viewpoints, good subjects, good times of day, tides if relevant etc.) and will have ideas about what to do in case of unhelpful weather or light conditions, but does not wish to offer any advice on photography skills or techniques. Group B - Field trips where the trip leader has a good knowledge of the location (as in Group A) but is also willing to offer general technical support and advice to inexperienced photographers. The leader is NOT expected to be an expert in anything but should be sufficiently experienced to pass on knowledge of the basics. Group C - Field trips that focus on a particular technique – such as long exposures or photographing at night. The leaders of these events will primarily offer advice about technique and location knowledge will be sufficient to enable participants to learn and practice the technique(s) concerned. Group D - Workshops that primarily focus on skills or technique and where location is irrelevant or is a secondary consideration. These may take place indoors or outdoors. The workshop leader may have limited knowledge of the location but will be experienced and skilled in the topic of the workshop.

Booking Confirmations A few members have contacted us because they were unsure as to whether or not they were booked on an event. Here is a brief guide to how you can check this for yourselves. When you book a landscape event through the RPS website, the system should send you a confirmation email. If you have not received it and want to check if you are booked on an event, then login to your account on the RPS website, select the tab labeled events and tick the box for events you are booked on. Any events you have booked will show up in orange.

Page 21

NEWSLETTER May 2019 / VOL. 4 / NO. 4

Profile for Royal Photographic Society