RPS-Benelux Chapter eJounal - Volume 25 - Winter 2021

Page 1





The Royal Photographic Society Benelux Chapter Copyright The copyright of photographs and text in this eJournal belong to the author of the article of which they form part, unless otherwise indicated

VIEW FROM THE RPS BENELUX CHAPTER ORGANISER A BIG ISSUE We are sad to announce that this is the final issue of our eJournal in this format.This is the Twenty-Fifth Edition since 2015 – a huge milestone! The first issue had 14 pages growing to this one with 150 pages! Our membership has also grown from 35 in 2015 to around the 50 today. The objective of the eJournal has been a success! Editor Armando Jongejan FRPS has been involved since the beginning, with Dawn Black ARPS as proof-reader and we would like to give them both a very big THANK YOU for all the work which has been put into the making of a very successful eJournal. They say you should stop good things at a high point and this is certainly the case here. We don’t know how to maintain the high level of excellence so we will pause with this last issue. Please enjoy the interview by André Bergmans at the end of this issue (pages 144-150). In our AGM next year, we want to hear from our members on what they want. If a volunteer would like to step up and make a new eJournal, or what could be an alternative, all ideas are welcome! So please think about it and if you can do something for our Benelux Chapter. Further news: André Bergmans, Secretary and Didier Verriest ARPS, Joint Organiser BE, are both stepping down at the end of the year. We are grateful for all the time, energy and work they have put into being part of our team. Thank you!

Cover photo © Hendrik J. Hunter Bob’s fight

Editor & Designer eJournal Armando Jongejan Proof reading Dawn Black Webmaster André Meyer-Vitali Liability Disclaimer The author of an article is responsible and liable for all content, text and images provided by them. Neither the RPS Benelux Chapter nor the editor is responsible or liable for any content therein Photo Requirements 3000 pix long side and quality 8 no watermark or text in the photo and no borders around the photo

We continue with Jeroen Dorrestein LRPS as Treasurer, André Meyer-Vitali ARPS as our webmaster and yours truly, Carol Olerud FRPS as Organiser. If you are interested in joining in with our team, please email us. It would be fantastic if a person from Belgium, (or any other country), joins us. Every three weeks we still hold our Study Groups, we switch between Zoom sessions and physical meet ups at Het Palet in Rotterdam. The next one is a Zoom session on 7 th December where we invite everyone to attend! A physical meeting follows on 11th January 2022. More info under Events on the website at Benelux Chapter. During the Contemporary Genre Print Assessments on 27 th October, I am proud to say I achieved my Fellowship Distinction, it was a long journey but worth it. Especially, the Benelux Study Group helped me and so did the unofficial Fellowship Peer Support Group Zoom sessions. Richard Brayshaw FRPS gave me invaluable 1:1 advice as well. So, I’d like to take this opportunity to thank everyone. Pages 124-131 have my Statement of Intent, presentation layout and a few photos. To see the full panel, go to my website.

Please enjoy this last very BIG ISSUE and thanks to all who have contributed over the last six years! Carol Olerud FRPS











PEAT Bo Scheeringa an interview by Armando Jongejan FRPS






The RPS Benelux Chapter INTERVIEW

Bo Scheeringa “The photo book PEAT tells the story of the importance and the beauty of Irish peatlands and the transience of ancient Irish turf cutting traditions.”


© Bo Scheeringa - Traces of turfcutting by machine



an interview with Bo Scheeringa by Armando Jongejan FRPS One of the great things about Social Media is

situations to photograph without timidity and

that you meet photographers that you normally

hesitation. Without this training I would never

don't meet in person. I met photographer Bo

have dared what I do now, it is now the most

Scheeringa on Facebook quite some time ago. I

normal thing for me to do, to approach people I

saw very good photo work of Ireland passing

want to photograph.

by. It sometimes reminded me of Jill Freedman’s work in the photo book 'A time that was’ from

The second important thing I learned is to

1987, which is exclusively black and white. Bo

photograph from a basic feeling, your own basic

Scheeringa’s work distinguishes itself from this

feeling, that way your own style and approach

having spent a year (June 2019 - June 2020)

will automatically show up in your photography.

working on her photo book 'Peat', published in

It is important to discover what that basic

October 2021 containing many colour images in

feeling is for you. For me this is melancholy and

addition to black and white.

desire. Feelings that everyone experiences from time to time, for me they are a common thread

Bo's book was partly realised by using

in my life but also a great source of inspiration!

crowdfunding on 'Voor de Kunst' site. Bo has collected no fewer than 155 donations, which

As a landscape photographer you have a

means that the photo book is now available

great passion for Groningen in the

through Komma publisher, Dutch bookstores

Netherlands and Ireland. How did that

and her own website. All the more reason to


interview her!

I really love the landscape of the province of Groningen in the Netherlands. Because the

Bo, you studied at the Photo Academy in

landscape is so wide, you always see a lot of sky

Groningen, what did it bring you?

that is constantly changing and with it the light

About 15 years ago, the silent, spacious, ever-

on the landscape. When I visited Ireland for the

changing landscape of my direct surroundings

first time, I was immediately captivated by the

in the province of Groningen in the

beauty of the vast peatlands. Standing on a hill,

Netherlands, inspired me to photograph with

surrounded by green sloping mountains, I

more attention. This initially resulted in

looked down, watching shadows of the clouds

beautiful pictures for postcards, but more and

gliding across the landscape. Amidst this

more I felt the need for deepening my work. I

overwhelming space I was touched by the

studied at the Fotoacademie for three years,

mystical energy of this breath-taking scenery.

where I learned to look at photography at a different way.

There is a lot of 'space' in your landscape photos. You often show a lot of the

Of course I learned at the Photo Academy how

environment in your landscapes. For what

to apply the technique and how to work on a


project basis but two other things were most

This vastness and the space give me a feeling of

important to me. While working on the study

freedom and security. I believe that everything is

assignments I experienced that doors opened

connected, we are part of nature, and we are all

for me. People were almost always willing to

connected to everything by a loving universal

contribute to a photo. It was groundbreaking

energy. It makes me feel puny realising that the

for me, to approach interesting people or


river will still flow and the wind will still blow

Moreover, burning the peat again releases high

when I'm gone.

CO2 emissions.

When I’m in that wide and spacious landscape,

Ireland's bogs have become a natural historical

it is very easy for me to feel that connection. I

monument of great international value. With the

find it very inspiring; I am always trying to

Irish ones, the last remaining raised bogs in

express this through my photos.

Europe are in danger of disappearing; elsewhere in Europe all of them have been

In your series of portraits it is different,

mined, including in the Netherlands.

why? I am looking for reflections of my own inner

Burning peat does not contribute to reducing

world, in my models and the landscapes I

CO2 emissions. How have you depicted this

photograph. In my landscape photography I

in your photographic work? How did the Irish

find it in the vastness and the space but to find

react to this part of your project?

these reflections in people I have to get close,

I don’t criticise or express an opinion. I just

literally and figuratively.

observe and notice there is also a downside to the turf cutting.

About your report you made in Ireland. You

Peatland and turf cutting has always been

focused on the landscapes, the sheep and

important for the Irish and is part of their life

peat. The people who use it. What attracted

and culture, cutting and using turf is a deep-

you to this?

rooted tradition, an undeniable part of Irish

My first trip to Ireland was in the summer of

rural life, as is agriculture. In Ireland the

2013, I noticed that, traditionally, many Irish in

alternative for turf is oil, which is very expensive.

the countryside in the North West, are still

The thing is, in western Ireland people live next

cutting turf and use it as fuel. During one of my

door to the bogs and own them. Even with all

walks during that first stay in Ireland, I met a

kinds of machinery turf cutting still is hard

family loading sods of turf on a trailer. I asked if

labour, but it’s no way near the old manual way.

I could take a picture and they willingly stopped

You have to work for your fuel but otherwise it’s

to pose. This authentic, nostalgic image of this

free. So with no affordable alternatives available

family and the whole thing about peat

many people in Ireland will stick to their

extraction never let go of me after that, and this

centuries-old tradition as long as possible.

photo turned out to be the birth of my photo project PEAT. In June 2019, I left to go to Ireland

A lot of my pictures of the vast peatlands in

for a year, to live in a cottage near a secluded

North-West Ireland show a beautiful wide

bay in Ballycroy, County Mayo, amidst extensive

natural scenery, with sloping mountains

peatland and the mountains of Ballycroy

merging into a vast peat landscape and,

National Park to work on the project.

depending on the season, showing different

I started to delve into the subject and

shades of green or brown. However, taking a

discovered turf cutting has a downside also:

closer look, you see the traces of turf cutting:

peat is an ecosystem capable of absorbing and

the encrusted drained peat, the holes, the

storing large amounts of carbon dioxide (CO2).

trenches, the gullies and the walls. I

When peatland is exploited for peat extraction,

photographed the beauty of this mysterious

it no longer absorbs CO2; on the contrary, it

landscape but also the use of it, showing the

becomes an enormous emitter.

battered black peatland of a bog and the


distinctive scented white peat smoke that blows

You have also included appealing portraits in

through almost every Irish village or country

your book and in some interiors, it seems


that there is poverty. Is this true? How did you experience life in County Mayo and

The photo book PEAT tells the story of the

County Sligo in Ireland?

importance and the beauty of Irish peatlands

When we see a peat-fired stove we may

and the transience of ancient Irish turf cutting

associate it with poverty, this is not always


correct. In our eyes it is old fashioned but in rural Ireland it is still very common.

Some people in Ireland say a long-term scheme

I did however see several people living a simple

should become available whereby landowners

life, as a sheep farmer and maybe owning a few

receive compensation to care for their bogs and

cows too, and yes, it is true, there is less

if they have invested in turf cutting machines

prosperity in the countryside than in the urban

they should be granted to reclaim these costs

areas. This is caused by a lack of employment,

through a one-time subsidy from the EU, to

which is why many young people are leaving this

break new ground to make a living.

region, and the old stay behind. What I found striking compared to The Netherlands, is that

This subject is now more topical than ever,

residents in the countryside the age of about

given the recent IPCC report and the climate

50+ seem to be a generation behind in terms of

goals that have to be achieved and the need to

digital development. In The Netherlands most

stop using fossil fuels in the foreseeable future.

grandfathers and grandmothers have a smartphone, email address and a Facebook

In your book you alternated colour photos

account and do their banking online. In rural

with black and white images. Why do you

Ireland this is not the case. Sometimes time

sometimes choose colour and other times

seems to have stood still in these rural areas,

black and white?

this is in stark contrast to modern prosperous

Initially I wanted to use black and white photos

cities like Dublin and Cork.

only, to emphasise the authentic atmosphere of the whole process of the turf cutting and the

What is your next project and why did you

use of it. I was inspired in this by the book

made this choice?

about The Outer Hebrides of Scotland by Paul

Working on the project PEAT was very intense


for a couple of years. I do have a lot of new

However, this Irish landscape with all these

ideas but have decided to hold off on this for a

beautiful shades of green and brown also calls

while, so I can't and don't want to say anything

for colour photographs. That's why I chose a

about it yet.

combination of both. Broadly speaking, I am telling the story of the turf cutting through black and white images and frame this story with colour photos of the landscape where it all takes place.


© Bo Scheeringa - Pages 8-9 - Peatlands National Park © Bo Scheeringa - Page 10 - Easky bog


The photo book is for sale through the website of Bo Scheeringa. You can order it (signed). With Christmas just around the corner, this might be a nice addition to your collection!

Book specifications Photography and text Bookdesign Publisher Language Size Hardcover and pages Images Price

Bo Scheeringa Wout de Vringer uitgeverij Komma English (with Dutch QR code) 24x 30 cm 192 113 € 64,-

© Bo Scheeringa - Rural sheepfarmer



© Bo Scheeringa - Page 14 - Cutting by Slean © Bo Scheeringa - Page 15 - Turf stacks © Bo Scheeringa - Pages 16-17 - Sitting close to the turf fired range © Bo Scheeringa - Pages 18-19 - Turfsmoke in Bangor Erris (County Mayo) © Bo Scheeringa - Pages 20-21 - Getting the turf home



The RPS Benelux Chapter PHOTOBOOK

Abbot’s Blessing Due to the COVID-19 pandemic, there were no invitees in the church during the Abbot’s blessing. The ceremony was broadcast live


© Armando Jongejan - “Only a few permanent employees of the abbey sat in the pews at a good distance from each other”



When I visited the Sint Adelbert abbey in

A Book is published by the abbey

Egmond-Binnen, The Netherlands for the first

The abbey has published a book of this special

time in 1995, Brother Gerard Mathijsen was the

event in an edition of just 100 copies.

43rd Abbot of the Abbey of Egmond. During his

It is a book with 27 photos and 64 pages,

Abbacy, a lot has changed. A major renovation

size 30x30x1cm hard back.

of the abbey took place, the abbey shop and

Text in Dutch and English.

the candle factory building were expanded and

If you have questions about the book, contact

a conference room with a reception and


exhibition space was realised in the backyard to receive visitors. Brother Gerard, who has now passed the age of 80, did not want to make himself available for another term after having been Abbot for 36 years. With his resignation, an Abbot election was required to be held. 44th Abbot was chosen On Monday, June 22, 2020, Brother Thijs Ketelaars was chosen by the capitulants, the monks who are attached to the abbey by perpetual vows, as the 44th Abbot of the Abbey of Egmond. Subsequently, the Abbot’s blessing by Abbot President Maksymilian Robert Nawara took place on Wednesday 24th June 2020. Due to the COVID-19 pandemic, there were no invitees in the church during the Abbot’s blessing. Only a few permanent employees of the abbey sat in the pews at a good distance from each other. It felt unreal to be able to make this photo shoot in an almost empty church, but it also made it special. The ceremony was broadcast live. On one of the choir stalls a laptop was placed, connected to a webcam. In this way, interested parties could still participate in this special service. It was strange to see the laptop on the choir stalls. You can also say that it was a contemporary solution.


© Armando Jongejan - Sint Adelbert abbey - church


© Armando Jongejan - left Abbot President Maksymilian Robert Nawara and right Brother Thijs Ketelaars, the new abbot


© Armando Jongejan - the Abbot’s blessing of Brother Thijs Ketelaars by Abbot President Maksymilian Robert Nawara


© Armando Jongejan - Abbot Thijs becomes the shepherd's staff


© Armando Jongejan - church


© Armando Jongejan - “It was strange to see the laptop on the choir stalls. You can also say that it was a contemporary solution”


The RPS Benelux Chapter PHOTO FESTIVAL

Photo Festival Pelt “We counted nine nationalities: American, Dutch, Belgian, Serbian, Scottish, Swedish, Australian, French and Portuguese – truly International indeed!”


On Saturday and Sunday 18 - 19 September 2021, a group of us from the RPS Benelux Chapter spent one or two days in Pelt. We also had a group of ‘guests’ which was great! Some of us stayed overnight in various locations or just drove up and down for the day(s). Arranging this weekend was a bit of a challenge with so many changes due to COVID-19 and trying to get speakers even at the last minute we had to accept that Janet Haines ARPS could

Janet had won the Bronze Award

not come over from the UK for this reason. Going back into a quarantine just was not feasible for her. We were really looking forward to a reunion. Janet had won the Bronze Award for Amateurs, so Jeroen Dorrestein LRPS collected it on her behalf. We had Pieter van Leeuwen from the Netherlands give a Documentary/Street photography workshop on the Saturday. It was so much fun! We were challenged to go outside

The President of the Pelt Festival Carine Van Gerven joined our meetings too

of our comfort zone and be a nonphotographer. Eleven of us spent a few hours in the streets of Pelt working on this concept. (Published in the previous eJournal) We then had about 30 mins to select our five or six best photos out of camera (no editing) for discussion. Under pressure! But this led to success. The results were great! Humour and surprises. All participants enjoyed themselves. We had excellent weather so the mood was very good. The day ended with a lovely dinner and we counted nine nationalities: American, Dutch, Belgian, Serbian, Scottish, Swedish, Australian, French and Portuguese – truly International indeed!

© pages 33 - 35 photos by Carol Olerud FRPS

Start photography workshop with Pieter van Leeuwen Ended with a lovely dinner



© Carol Olerud FRPS

Day 2 began with the awards ceremony

After lunch we gave our presentations to a small

presentation. The Mayor of Pelt, Frank Smeets,

group of people. Jeroen Dorrestein LRPS began

was in attendance as well as a few jury

with explaining what we do in the Benelux

members and the Photo Festival Committee

Chapter, our Study Groups and workshops etc.

were there. All winners and honourable

We followed this with a presentation I gave on

mentions of both Professional and Amateur

Distinctions which Janet had provided for us –

levels were awarded certificates and a large

many examples of fantastic successful Panels at

print of their photo.

all levels. We then, at the last minute got a

There was a prize for best young photographer

speaker, Zvezdan Mancic from Belgrade, Serbia

and best creative photographer and best

to talk about contemporary photojournalism in

Corona Photo too (www.fotofestivaloverpelt.be)

the Balkans.


We saw many examples of terrific photos. Zvezdan is also the President and instigator of Vizualizator a Photo Festival in Belgrade. “Serbia has a lot of Pulitzer Prize and WordPress winners. The International Photo Festival Vizualizator is well known in the Balkans. The organisation as well as the photo festival play an active role in the world of documentary photography.”

From left to right: President Carine Van Gerven, Carol Olerud FRPS, Mayor Frank Smeets and Jeroen Dorrestein LRPS

Zvezdan could have talked for longer, but we also had Armando Jongejan FRPS lined up to give his presentation on ‘Monk’s Life’. An impressive look inside the Sint-Adelbert Abbey in Egmond-Binnen (NL) where Armando has had many years access. He’s accepted there with his camera, which gives him the fantastic opportunity to document life inside the Abbey. Black and White classical style photos of a brilliant quality. Armando has made several books of life inside the Abbey.

Jeroen Dorrestein LRPS began with explaining what we do in the Benelux Chapter

After the very interesting presentations, we closed the weekend here with tired but satisfied faces. ‘Thank yous’ were given all around and people soon scattered and went back home. Enjoy a few of the photos with impressions of the weekend and some results of the workshop. The International Photo Festival in Pelt is a twoyearly event, so let’s start thinking about 2023!

Zvezdan Mancic from Serbia Armando Jongejan FRPS from the Netherlands



How do you see the world around you?

Today’s Assignment:

About changing your perspective

By background


What you see is not objective, your neighbour

By motivation

Looking for relevant pictures

sees other things.

By situation

You are in ‘workshop’ mode

Fill in the dots, using anything but a photographer!

From top to bottom © Bart Tielens – I am a Refugee from Syria © Carol Olerud FRPS – I am a City Planner – Looking for Green © Jan Janssen – I am My Mother with Bad Eyesight © Joaquim Capitao – I Cannot Ride a Bicycle


From top to bottom © John Roeleven – I am Homeless © Marcel Borgstijn – I am a Time Traveller © Nina Noordzij – I am New in Town – A Tourist © Rudi Theunis – I am a Rubbish Collector © Ton van der Laan LRPS – I am a Dog


WORKSHOP PIETER VAN LEEUWEN - RESULTS by Katherine Maguire ARPS - I am in a Wheelchair After a year and half of Covid-19 and

me to become dizzy and I needed to use a cane

meetings via Zoom, it was great to meet

as a support.

everyone in person again. Pieter van Leeuwen set us the task during the Pelt workshop, to

My pictures focused on the view from the

forget what we like to photograph as

wheelchair, things that may hindered the user

photographers and create a different persona

and difficult surfaces. At the end of the

that does not applied to you.

workshop, we had to pick our best five images, this was hard to do just using the screen on the

Then walking around Pelt taking photos

back of your camera. So not all the images

through the eyes of your chosen persona. For

chosen on the day have survived the final cut.

me, the pictures were taken as if I was going

Overall, the workshop was very enjoyable and

around Pelt as wheelchair user.

well worth it.

So, I took pictures by bending down in order to shoot them from about waist height, which is something that I find difficult to do, as it causes

© pages 38 - 39 photos by Katherine Maguire ARPS



Pieter van Leeuwen, in his Benelux Chapter Pelt

I chose a theme of fear – a person constantly

weekend workshop, pushed us out of our usual

interpreting their environment as threatening.

photographer’s perspective by having us

On what turned out to be a cheerful, sunny day

imagine we were someone or something else.

in Pelt, this was a stretch for me in the short

With that assumed transformation, we were to

time we had, but it did help me notice details

walk around Pelt and photograph what that

and potential images I would otherwise have

new identity would notice or find important.


© pages 40 - 41 photos by Sue Goldberg LRPS


The RPS Benelux Chapter DISTINCTIONS

A successful F-panel “Stress energy travels inwards, and needs to come out”. J.H. Psychotherapist


© Ken Holland FRPS



“Stress energy travels inwards,

Counselling had attempted to uncover my

and needs to come out”.

stress, like opening the layers of an onion, but I found it difficult to verbalise my feelings. While

J.H. Psychotherapist

exploring Hannahs I realised that the images I was making were revealing those layers. Each successive, deeper, layer - corridors, rooms,

Making these images has helped me to

offices, games, artefacts and personal

positively re-evaluate the trauma of ending my

belongings - seemed to mirror my emotions.

teaching career due to stress. My final day,

My panel arrangement represents that “onion”.

walking through the building where I had loved

From the outer edges to the centre my troubles

working, was overwhelmingly sad. Memories of

become more profound.

the silence, loneliness, and emptiness still remain.

Surprisingly, Hannah’s sad departure helped to

heal my trauma. Using photography to convey A few years later, I enjoyed working at Hannahs

my anxieties through visual metaphors has

- a charity for disadvantaged young people. It

encouraged me to work mindfully, valuing every

was positive and full of high spirits: but the

moment, and to use silence and time positively.

buildings were closed and sold. I felt compelled

I now appreciate that the process of

to photograph it soon after. I worked

photographing, and later releasing inner stress

respectfully, often in semi-darkness, as if in

while editing and creating intimate prints, can

mourning. Hannah (and her iconic ducks) had

be more therapeutic than using words.

left home: the tap was turned off and her spirit gone.

255 Words


Fellowship presentation plan - during the assessment, the name and membership number are not visible (anonymized)


© Ken Holland FRPS

WHEN HANNAH LEFT HOME article and photos by Ken Holland FRPS


Hannah’s was a charity set up to provide help

approaching Tessa Mills FRPS and Armando

for young people with special needs. A short

Jongejan FRPS - two members of the

drive from my home, I loved to visit and

Contemporary assessment panel - for initial

volunteer there. I ran photography courses, I

advice on whether it was worth applying, I was

helped to document the way of life, and I

surprised by, and extremely grateful for, their

enjoyed art, music, drama, good food and fun.

kind words of encouragement. As a result I had the confidence to go ahead with the panel.

When it closed and the building was sold without much warning I was distraught, almost

After many months of more photographing,

bereft, and felt drawn to photograph what was

selecting from over 400 images, making test

left behind before the old building was emptied.

prints, arranging and re-arranging the layout,

I started immediately after closure, and

my panel began to take shape. What had started

returned on many occasions. I was trespassing,

as a very personal and intimate project was

and had to work thoughtfully, quietly and

becoming a body of work which I hoped would

unnoticed by security staff. Photography was

meet the criteria for a Fellowship, and be

not easy in semi-darkness, and without a tripod.

subject to the close scrutiny of virtual strangers.

A mirrorless camera, with very effective shake-

Would they understand my explanation, would

reduction, helped immensely.

they appreciate the layout, will my most intimate thoughts be conveyed through images

As I worked, the photographs I was making

clearly enough for them to understand my

began to remind me of the days shortly before I

thinking, will my statement of intent work well

ended my teaching career a few years earlier,

with the images, and, most of all, is the work

due to stress. After a while, each individual

distinctive? All of these doubts ran through my

image appeared to echo the thoughts which I


had at that time. I then decided to continue the project, with a view to making prints. Gradually,

Finally I booked two Zoom 1:1 advisory sessions

the individual images became visual metaphors

with Richard Brayshaw FRPS, a panel member.

for my thoughts, and I began to see more with

The first meeting was very positive. I was

each visit.

advised to change a couple of images, to revise the layout slightly and to clarify one point in my

I have led many photography courses, and soon

statement. I made those changes, and at the

I began to wonder if I could use this project for

second session was told that, apart from re-

a course on using photography as therapy. I

writing one phrase in my statement, I should go

realised that making the images, and printing

ahead and make the prints and mount them,

them was far more useful for my stress than

and send in my application. The 1:1 sessions

the stress-counselling sessions had been.

were extremely helpful, and I would strongly encourage anyone thinking of applying for a

I have been an Associate of the RPS for thirty

distinction to take advantage of them. The only

years, and a member of the Contemporary

slight issue is, of course, that print quality

Group since its early days, and had often

cannot be assessed on screen, and I was made

wondered whether to apply for a Fellowship.

aware of this.

I wasn’t sure whether this project was a suitable one for a Contemporary submission. After


I used to enjoy teaching darkroom printing, and in these digital times, I am still a very particular and careful printer. It took three months of painstaking work, involving many test prints, before I was happy with the quality, but in the process of making each print I felt my stress being released. Much earlier I had decided to make quite small prints to emphasise the intimacy of my work, I printed them on a paper that emulates a darkroom print, and mounted them in large pure white mounts, again to emphasise the intimacy and to encourage viewers to look closely. When I felt I could do no more in terms of quality and presentation I knew I had finished the panel and it was ready for submission. The whole project took over two years. Has it helped me? Yes, in many ways. My photography has moved to another level: I now look at potential images in a much more considered and mindful way; I have slowed down much of my image making; I now ask myself: why am I making this photograph? I also have a more considered and quiet approach to working on a project. The most important aspect is that, for me, photography has been much more effective at helping my stress than counselling was.

© Ken Holland FRPS



© Ken Holland FRPS


© Ken Holland FRPS


© Ken Holland FRPS


© Ken Holland FRPS Pages 54 - 55 | © Ken Holland FRPS


The RPS Benelux Chapter RPS PROJECT

Frontiers: Peri-Urban Although you may not know the term, you will probably be familiar with the peri-urban interface or landscape


© Paul Schot ARPS



I was not familiar with the term 'peri-urban

summer months. Many of the RPS regions and

interface' – are you? And yet, when I read the

groups are collaborating on a project that

invitation from Stewart Wall MA ARPS,

considers the peri-urban landscape. The East

coordinating this photo project, it immediately

Midlands and Central led project was a sub-

captivated my imagination.

project of this RPS effort. The project wanted to 'showcase the photography of members of the


Royal Photographic Society'. It aimed to 'look at

Although you may not know the term, you will

the concept of the Peri-Urban Interface'. The

probably be familiar with the peri-urban

project was designed 'to give all participants

interface or landscape. You may remember – as

freedom to create work without boundaries or

I do from my Dutch perspective – that when you


were younger you took trips outside of the city or vice versa going into the city when you were

All in all three dozen photographers, all

living in a rural area. Remember what it looked

members of the Royal Photographic Society,

like? You would see unbroken pastures, vistas

from all over the UK and Europe, contributed

that stretched to the horizon or across

their work to the project. The project was

meadowed and forested hills. Those views are

coordinated by Stewart Wall MA ARPS, who

now harder to find. Built-up areas, such as new

brilliantly performed his role as facilitator of the

housing estates, offices or huge modern

project, helping to bring all the differing ideas

windmills creep into the areas surrounding the

and contributions to fruition. His introductory

cities, gradually taking them over, sometimes

online presentation and the online meetings he

purposefully leaving green oases in between

organised, as well as the Facebook page he

buildings, sometimes isolated forerunners of

created provided excellent tools to get to grips

more urbanisation to come in otherwise

with the project and keep up the momentum.

pastoral surroundings. Instead of looking out on green fields with cows and rows of water


filled ditches when driving along the motorway,

Looking at the photographs that were shared on

I can now only see rows of utilitarian buildings,

the Facebook page of the project I believe the

small industries, car dealers and giant

goals that were set are achieved. The

warehouses. The infrastructure for these areas

participants produced attractive photographs,

slices up the landscape with the required roads,

showing many different approaches and a wide

bicycle paths, rail connections and asphalt

range of ideas on the essence of the peri-urban

parking areas. Of course the meadows are still

interface. Although many were critical of

there, but they are hidden from the eye by the

developments, some stressed the current

urban build-up. This patchwork, this interlacing

positive aspects of this frontier area. Carol

area of urban elements and the rural

Olerud FRPS, the chair of the RPS Benelux

environment, at best just mixing but often

Chapter, shows the use of the Nedereindseplas

clashing, is the peri-urban interface.

as a recreational area and a peaceful place to walk around. The Nedereindseplas, between the


cities of IJsselstein and Nieuwegein in the

The 'RPS East Midlands & Central Region Led

Province of Utrecht, began as a sand mine in

Frontiers Peri-Urban Interface Project' took

1932 for the building of the A2 Highway and

place over the August and September 2021

later also for the development of the City of


Nieuwegein in the 1970s. In the past it had been

The photographs of Armando Jongejan FRPS,

an illegal dumping ground for chemicals,

editor of this e-Journal, were taken in ski areas

hospital refuse, including radioactive materials,

in Austria, where he photographed the facilities

barrels and human rubbish, but today it is

that in winter are busy with winter sports

transformed into an area where you feel nature

enthusiasts. But now in summer an eerie quiet

is close by.

has descended on the installations. I cannot help wondering what their future holds. Will

Apart from Carol, three other photographers of

they forever remain as silent signposts of better

the Benelux Chapter contributed to the project.

days, now that man-induced climate change

André Bergmans made a photographic

may ban the snow from these mountains

documentary showing the current threats to


the traditional Dutch windmills, a treasured element of the national heritage. Although

Stewart Wall MA ARPS, the much to be

1,000 of the 10,000 in use in 1850 are still

complimented coordinator of the project, is now

standing, many of them cannot be used

putting together a photo book of all the

properly because they are hindered by the

contributions. I am looking forward to receiving

encroaching urbanisation.

my copy of it.

Paul Schot ARPS portrayed the Amersfoort Foodcourt. Well outside the city, separated from the suburbs by the dominant A28 motorway, it shows the advancing consumerist urbanisation in a, until recently, rural area.


CAROL OLERUD FRPS The Nedereindseplas

This peri-urban area was once a sand mine, then a dump and now is a recreational area centred by a large double-lake. Swimming is forbidden as the water is toxic. A fake ski-piste and a bicycle racetrack have been built around the periphery. Today people enjoy the nature here obliviously.

© Carol Olerud FRPS


© Carol Olerud FRPS



Windmills in the Dutch landscape

The quality of the direct environment of a windmill (the windmill biotope) is always under threat of urbanization. In my photo documentary I describe Dutch windmills that often used to be in the open landscape but now are in an environment affected by ongoing urbanization.

© André Bergmans


© André Bergmans


PAUL SCHOT ARPS Amersfoort Foodcourt

Amersfoort Foodcourt, named for the city. In fact well outside it, separated from the suburbs by the dominant motorway A28, in a till recently rural area. The grass immediately near the buildings is manicured, with remnants of the peri-urban environment still visible. Lorries pass en route to the co-located warehouses.

© Paul Schot ARPS


© Paul Schot ARPS



The ski areas in Austria are well known by winter sports enthusiasts. During the summer months some lifts and cable cars are open for hikers and bikers. The unused facilities between the villages in the valley and the top lift stations makes a surreal impression.

© Armando Jongejan FRPS


© Armando Jongejan FRPS


The RPS Benelux Chapter INTERVIEW

Bob’s Fight “Photographing him over a longer period of time, made me see who he really is”


© HJ Hunter



Hendrik J. Hunter an interview by Armando Jongejan As we all know, it’s easy to contact

Bob spends most of his time repairing the walls

photographers, because we meet them for

and roof of his house instead of pursuing his

example on Facebook and other Social Media

passion for painting and reading. He is ironing

platforms. That is how I met Hendrik J. Hunter.

his clothes and cleaning the floor but

I saw several of his projects on Facebook and

unfortunately the results are poor. Ever since I

visited his website.

met him he has had no water running out of the tap, but recently it was fixed.

Hendrik is based in Maastricht, in the south of The Netherlands. He studied photography at

Bob is a sympathetic, art-loving and intelligent

Forum Beeldtaal and the Fotoacademy. His

person, always willing to share his deep

autonomous projects were published in British,

scientific knowledge of the natural, physical

Belgian and Dutch newspapers: The Guardian,

world with me.

De Standaard, De Morgen, De Volkskrant, Trouw, De Limburger, and magazines like

Bob was married and has four children. They

Dodho, Focus and Pf. He is a storyteller, studied

never visit him in his house but he was invited

literature and had a professional career in

for a baby party at his daughter’s house (P73).

journalism and commercial writing before he became a documentary photographer.

Underneath his fight for better living conditions, lies his wish to be accepted and respected like

We spoke about his recent projects including

other citizens, instead of being ignored as a

flooding in Wallonia in Belgium, and the impact

social outcast. I want to see how it is going for

of Brexit on young adults in the United

him. He is getting older. Does he stay in his own

Kingdom. One of his first, long-running series is

home, or is he moving to another place? And

about Bob, battling with his decaying home.

what would it be like for him? I want to keep

Parts from this series were recently exhibited at

following these developments.”

photo festivals in Aachen and Hamburg. If you want to know more about the series of Hendrik: “I met Bob in 2014, somewhere on the

Bob, or about Hendrik J. Hunter, just visit

streets in my hometown. I asked him if I could

the website, or contact Hendrik by email.

photograph him. He said “you don’t know me, so you are not able to make a photo of me.” That was an answer I was not expecting. He accepted my invitation to get to know each other better. Over a few beers in a cafe he told me his life story. Since then I regularly visit him in his dilapidated house with my camera.

Pages 70-71 and 74-75 | © HJ Hunter


© HJ Hunter


© HJ Hunter


© HJ Hunter


© HJ Hunter


© HJ Hunter Pages 80-81 | © HJ Hunter


© HJ Hunter


© HJ Hunter


© HJ Hunter




Farm Security Administration The resettlement process had to be documented from beginning to end, starting with documenting the life of struggling families to the new and happy life in the new towns


© Russell Lee - LC-USF33- 011551-M3


A PICTORIAL RECORD OF AMERICAN LIFE IN THE 1930s (PART 2) by André Bergmans In the previous issue of the Benelux Chapter


eJournal (Volume 24 / Autumn 2021) I described

The photos in this panel are all from Lot 1192,

the overall mission of the Farm Security

taken by Russell Lee. The documentary is about

Administration (FSA) and showed some images

former sharecroppers, just before moving from

in the genre of applied photography to support

their shacks to their new homes. The captions in

the New Deal policy. In this article I show three

my selection mention: Southeast Missouri

projects that are related to the challenge of

Farms, La Forge project, Missouri. The La Forge

resettlement of deprived families.

Project in Missouri was started by the FSA and developed a whole community, including

The FSA actually started as the Resettlement

homes, schools, community centres, and a

Administration (RA), which was established in

store. It resettled one hundred families, 60

May 1935 to relocate struggling families to

white and 40 black, on six thousand acres.

planned communities. From the start there was

Russell Lee is described as a photographer with

a need to justify the work of the agency and

a feel for the classes and cultures in America. In

hence Rexford Tugwell created the Historic

my personal selection he has photographed

Section and hired Roy Stryker to lead this

both a black and a white American share

photographic unit. The resettlement process

cropper family under similar circumstances. We

had to be documented from beginning to end,

see poor but proud people, respectfully

starting with documenting the life of struggling

photographed, trying to make a living and

families to the new and happy life in the new

working towards a better life. The ladies working


in the field are almost pictured as heroines which is enhanced by the low camera position.

SUMMARY Out of the 170,000 FSA images that are kept in the Library of Congress only a few became iconic. Even the famous work of Walker Evans (‘Let Us Now Praise Famous Men’, 1941) was not initiated by the FSA but by Fortune magazine. Walker Evans took leave to work on this project, which in the end become a personal project. But I hope that I have demonstrated in the two articles on the work of the FSA that studying

those images that did not become famous or iconic is very rewarding and useful.


© Russell Lee - LC-USF33- 011554-M4


From top to bottom © Russell Lee - LC-USF34- 031144-D © Russell Lee - LC-USF34- 031155-D


From top to bottom © Russell Lee - LC-USF33- 011529-M1 © Russell Lee - LC-USF34- 031142-D © Russell Lee - LC-USF34- 031143-D

© Russell Lee - LC-USF33- 011421-M5 © Russell Lee - LC-USF34- 031151-D © Russell Lee - LC-USF34- 031161-D



The captions of the photos describe a less

For his first assignment in 1935, Arthur

picturesque quality of life. Apart from

Rothstein was sent to Corbin Hollow in the

mentioning that these people are about to be

Appalachian Mountains to photograph people

resettled, the captions, as context, describe

that needed to be resettled. Resettlement had

them as: poor, without work and income,

to happen because of the establishment of the

primitive and backward and having many

Sheshandoa National Park. In an interview with

children but not much livestock. It is unlikely

Richard Doud (New York City, May 24, 1964),

that this information was provided by the

Rothstein describes that he was in a cabin on

people in the photo (as Arthur Rothstein did not

top of a mountain trying to get to know the

know them well) nor is it likely that they had

inhabitants of Corbin Hollow and taking some

given permission to add these captions to the

pictures using the unobtrusive camera

images. For example the caption: Virgie Corbin,

technique. Before he went out, he had

Blue Ridge Mountain Girl. This girl who is about

discussions with Roy Stryker about what to

sixteen has the mentality of a child of seven. She

photograph. In the interview Rothstein

has never advanced beyond the second grade.

mentions the value of these photos as these

This project in the Sheshandoa National Park

people would lose the ‘picturesque quality’ of

was heavily challenged in a documentary by

life in the mountains. My selection of images is

Time but defended by James Deutsch in the

taken from Lot 1419.

Journal of American History, June 2012.

Page 92 | © Arthur Rothstein - Children of Charlie Nicholson who is being resettled on new land Page 93 | © Arthur Rothstein - Mrs. Dodson and one of her nine children


© master-pnp-fsa-8a01000-8a01900-8a01985a


From top to bottom © Arthur Rothstein - Road to Corbin Hollow from Skyline Drive © Arthur Rothstein - Detail of cabin construction


From top to bottom - all photos - © Arthur Rothstein One of the Corbin boys Mrs. Eddie Nicholson, who goes to the nearby resort to beg Back porch of a Blue Ridge Mountain home

Man from Nicholson Hollow with one of the few horses Virgie Corbin, Blue Ridge Mountain Girl Two of the Nicholson children and their only cow



site and also President Roosevelt has an official

Greenbelt is a city in Prince George's County,

inspection trip. In 1937 we already see

Maryland, United States, and a suburb of the

completed houses, bus stop, schools, a post

city of Washington D.C. It is the first and the

office, theatre and stores. The next year, 1938,

largest of the three experimental (and

shows the beginning of family life in the new

controversial) New Deal Greenbelt Towns.

community. While Arthur Rothstein is photographing the school; Marion Post Wolcott

The Greenbelt project had to be promoted as

is apparently brought in to photography family

part of the New Deal program. This is where the

life in a way that would fit into any women’s

photographers came in to document the

magazine. The project is finished in 1939 when

project from the early beginning and create

Marion Post Wolcott covers the swimming pool

photos that could be widely published in the

and the medical centre while Arthur Rothstein

media. The results are clustered in the

again had his focus on the school.

collection of the Library of Congress under the label: Lot 1361. If you study this lot of photos,

If we look at the photos that have been

you can observe the progress of the project.

produced, we recognise that this has one

In 1935 Carl Mydans takes images of transient

purpose only; to promote the Greenbelt New

workers clearing land while Arthur Rothstein is

Deal project and the ideal American way of life

selected to cover the visit of some important

in a brand-new model community. It did not

officials. In 1936 winter delayed the project.

really matter who would make the pictures as

Resettlement officers are visiting the building

the assignment and the objective were clear.

© Carl Mydans - Construction at Greenbelt, Maryland


© Carl Mydans - Surveyor at Greenbelt, Maryland, working in a model community planned by the Surburban Division of the United States Resettlement Administration


From top to bottom © Carl Mydans - Resettlement truck at Greenbelt, Maryland © Carl Mydans - Workmen unloading tile pipe, Greenbelt, Maryland


© master-pnp-fsa-8a01000-8a01900-8a01985a


Page 99 | © Carl Mydans - Workmen unloading tile pipe Page 100-101 | © Carl Mydans - Construction at Greenbelt



The RPS Benelux Chapter 2021 THEME

COVID-19 These photos and SOI’s could be the start of a bigger project and what about making a panel for a possible Associate Distinction?



by Carol Olerud FRPS

Carol wrote for this Theme in one of our


newsletters “It could not be avoided after such a


long time in Lock-Down during 2020 and 2021,

During our Study Group Zoom Sessions every

so it seemed appropriate to consider using this

three weeks, we saw many faces from

as our yearly theme. Many of us where very

everywhere including non-RPS Members. With

isolated, not taking photos, so to encourage a

the RPS strategy in mind, it seemed correct to

positivity, why not see how we could interpret

include everyone for this theme.

what was happening into a photographic view?” Our June Study Group session was about So, starting with a Statement of Intent, the

‘Photographing in Times of Corona’ and we

below ideas were put:

looked at the first results. Very impressive!

• What you have seen on your walks • The feeling you have • Subjects you normally don't photograph, like flower macros or insects found in your back garden or landscapes, cityscapes etc. • Inside your home • Observations or documentary style photos

about Covid-19 in your town or city LET YOUR IMAGINATION RUN FREE The aim of this Theme is to also write your Statement of Intent (SOI), this is just as important as your photos, if not the most important. Keep it short and simple. No more

than 50 words at this stage, just a few sentences.

© Carol Olerud FRPS

The following pages are the results and we are happy to see a large number of you have sent in your work. These photos and SOI’s could be the start of a bigger project and what about making a panel for a possible Associate Distinction?



Ten to Ten Curfew in my neighbourhood Going outside just before curfew in the darkness

Photographing like this was out of my comfort

to capture light in homes. Are people sitting

zone, risking being caught and capturing my

there? Do they see me? A bit of voyeurism for



Ten to Ten




My bubble and community Just like everyone, lockdown dramatically

Despite all the restrictions my community found

affected my family, friends and local community.

new ways of connecting, meeting, working, and

We were isolated, keeping our distance from

celebrating. Slowly the restrictions are being

each other.

lifted and life is returning to a new normal.

Birthday party


Wear a F mask



The fear of the virus Covid-19 dominated the

For me, these three items tell the whole story.

world. My head was almost bursting with images

1. social distance

that I wanted to photograph. Everyone made

2. medical service under stress

images of people but I used the pears as a

3. redemption by the vaccine

symbol of the world's population.

Michaelangelo Covid




During the coronavirus pandemic I visited

“We bury love; Forgetfulness grows over it like grass:

columbaria and made small series about objects

That is a thing to weep for, not the dead.”

that were left behind after the urns had been removed. Inspired by a text suggested by Hector Epelbaum ARPS.

Alexander Smith



JAN ROS ARPS Alblasserwaard

I adhered to the rules of the 1,5 meter society

With my compact camera Fujifilm X100F always

during the Corona lock-down and bought an

in my bicycle bag, I have recorded my wonders of

electric bicycle. Cycling through my own living

my own residential area.

environment, I rediscovered the Alblasserwaard.




I am a journeyman photographer, mostly wandering around cities - making images when ever and where ever I can - if something catches my eye then I photograph it! Empty streets just make things a little more difficult!



KATHERINE MAGUIRE ARPS Limited photography

During the first lockdown March 2020, my photography was limited to what I could see from my balcony. Cancelled hospital appointments, diagnosis uncertainties, and not knowing how covid-19 would affect my illness, meant I would go outside purely for exercise only. Contact with people was kept to a minimum.




Corona was a unique experience for everyone.

Following lessons meant sleeping a bit longer

Never before did we have to change our lives so

and on the street the mouth cap made

quickly and drastically. We found a solution for

breathing sometimes difficult.

not being able to hold each other.




To avoid the crowds at the height of the COVID

Perhaps in keeping with the mood of the times, my

pandemic, my day-time walks towards the park had to

paths became bleak, eerie or even surreal.

be shifted to pre-dawn.




Dozens of wild orchids During this pandemic, I became more aware of my immediate surroundings. My loved ones, my house, my garden. The dozens of wild orchids (protected from the mowing machine since last year) became a photographic subject. The bizarre shapes, colours and complexity gave me these photos, which I also used in a garden exhibition.

Pages 122-123 | 6/11, 7/11 and 2/11



The RPS Benelux Chapter DISTINCTIONS

A successful F-panel “Maybe I can help others by sharing my own pain and sadness and get that conversation going”


© Carol Olerud FRPS



18 DAYS – A TIME OF GREAT SADNESS Talking about death is still very much a taboo.

It was awful. Having these photos helps me deal

It’s emotional and if you haven’t been touched

with my grief and puts some perspective on it. It

by the loss of someone close to you, it’s quite

is now many years ago, gradually I have

possibly frightening.

accepted that he is no longer with us. It has

taken me some time to get this far, that I can My intention with this panel surrounding the 18

share this body of work. I really feel it is

days my father fought for his life in the

important, especially in the times we have been

Intensive Care unit at the hospital, is to try and

in. Many families could not visit their loved ones

break open a conversation. To remove the fear

and could not say their farewells. I can’t imagine

and get the idea out there that death is a part of

how hard that was!

life, the great circle of life.

Maybe I can help others by sharing my own pain Watching someone very dear to you struggle to

and sadness and get that conversation going.

live, get all the medical assistance available to

Death is peaceful in the end. A part of life. The

him and then realise he is losing the battle is

end of life.

extremely difficult. 299 words I brought my camera in at every visit. We were

limited to the amount of family members that were permitted to go in at a time, so we took it in turns. My sisters and I got very good at reading the instruments measuring his vital signs. There were many tubes with medicine and food being pushed into his body to help him.


Fellowship presentation plan - during the assessment, the name and membership number are not visible (anonymized)


© Carol Olerud FRPS


© Carol Olerud FRPS


© Carol Olerud FRPS


© Carol Olerud FRPS


The RPS Benelux Chapter EVENT

Chris Renk “In the course of the 1980s, the requirements for an attractive design of underground stations gradually increased. Bright, light-flooded rooms were to counteract the feeling of oppression underground”


© Chris Renk - Escalator, The Underground Station Sankt-Quirin-Platz, Munich



Chris gave an inspiring Zoom Presentation earlier in 2021 which gave us the idea of planning and organising a weekend photography event. Date in mind will be May 2022. Please enjoy the following article and be inspired too! UNDERGROUND ARCHITECTURE Alongside the S-Bahn, the Munich U-Bahn is the most important means of public transport in the Bavarian capital of Munich. Since the opening of the first line on 19 October 1971, a network with 103.1 km of tracks and 96 stops has been created. When the first underground stations were put out to tender in the mid-1960s, the interest of many architects in participating in their construction was relatively low. Underground architecture, characterised by simplicity and functionality, was considered uninteresting and unprofitable. In the course of the 1980s, the requirements for an attractive design of underground stations gradually increased. Bright, light-flooded rooms were to counteract the feeling of oppression underground. With these requirements in mind, renowned architects then set about creating true architectural gems. But, unfortunately, most of these gems were not accessible to the population. Every day, around 1.9 million people use the Munich underground, whether for work, shopping or cultural activities.

© Chris Renk - The Underground Station Sankt-Quirin-Platz, Munich



On the way there, they are so engrossed in their

Eleven oversized lamps shine in red, yellow and

smartphones or a hurry that they fail to notice

blue and bathe the station in a warm and

the beauty of the architecture around them,

unusual light. Together with the rough walls, this

which is why RPS member Chris Renk set out to

station radiates an ambience that could be

capture this beauty and make it visible to

found in a similar way in New York.

others. From a glowing rainbow to a labyrinth of walls, Chris takes you on a ramble through

The Candidplatz underground station shines for

Munich's underground stations, where many

several reasons: Firstly, it is located directly in a

visual highlights await you.

curve, and secondly, it is painted from front to back in pretty much every colour available to a

The Westfriedhof underground station

impresses with its cool industrial chic. It is not for nothing that it is one of the most popular photo motifs in Munich's underground primarily because of its innovative lighting. The lighting concept was created by designer Ingo Maurer, who also designed the lighting at Münchner Freiheit station.

© Chris Renk - The Underground Station Westfriedhof, Munich

painter. Welcome to the rainbow country! No wonder, since the station, like the square above it, is named after the artist Peter Candid, who, among other things, helped design the Residenz. The colourful mix on the walls runs from north to south across the entire platform.


The ceiling is no slouch either: it was designed

The rear walls of the underground station are

in the shape of a "hat" for a large main water

covered with small metal pyramids that reflect

channel and also provides a particular accent.

the light in several directions. The result is a visual experience of a special kind.

The extension of the U2 to Messestadt Ost has given Munich a whole series of really great

In a district that for many years was, and in

underground stations. Probably the most eye-

some cases still is, a social hotspot, one might

catching is the Josephsburg station in Berg am

not expect a jewel of underground architecture.

Laim, which opened in 1999. It has walls painted a rich red, a chequerboard pattern on

However, the planners have succeeded in

the floor and colourful glass panels on the

creating a light-flooded building made of high-


quality materials that is not at all reminiscent of the dreariness of a large housing estate.

On the mezzanine floor of the Olympia-

The most outstanding part of the station,

Einkaufszentrum underground station you will

however, is the lenticular reflector construction

come across lots of sparkling stainless steel.

on the ceiling of the high platform hall.

© Chris Renk - The Underground Station Duelferstrasse, Munich Pages 138-139 | © Chris Renk - The Underground Station Candidplatz, Munich


Dülferstrasse, one of the most colourful

Besides the actual underground station, there

underground stations in Munich. In the south-

are of course plenty of other motifs to

eastern platform area, the platform hall has a

photograph. On the one hand, there are the

considerable height. In the lower area of the

light compositions in the various statues, which

rear track walls, there are rainbow coloured

are also true works of art on their own. As an

patterned glass panels here, in different widths.

example, I show a shot of the Gern

To be able to photograph the platform hall, I

underground station, where nine light pyramids

had to resort to a panorama shot. Even with a

provide the illumination. The photo shows the

14-24mm lens, I could not capture the

fluorescent tubes of one of the light pyramids,

composition in the picture.

taken directly below the lamp.

The St.-Quirin-Platz underground station is

On the other hand, there are many staircases

architecturally unique and equally unusual for

and other contractions that also lend

the Munich underground because it is open to

themselves as motifs. As an example, I show the

the side with a large "eye" and an elaborate

escalator at St.-Quirin-Platz, which with its

shell-shaped roof construction made of glass

diffuse light conditions looks like the connection

arches over it. The platform walls are made of

from hell to the sky.

bored piles left rough and untreated. Similar to the Wettersteinplatz, the platform ceilings are

There is of course so much more to photograph,

covered with reflective aluminium panels to

here you see a selected amount of work by

enable the generous spatial effect in these parts

Chris to whet your appetites.

of the platform as well. PHOTOGRAPHY WEEKEND IN MAY 2022 The platform is spanned by an imposing ceiling

We, the Benelux and the Germany Chapters are

construction made of white aluminium panels

wanting to organise a photography weekend

that absorb the light from the two light bands

event in May 2022. Chris is willing to show us

and reflect it back onto the platform. Like a

around and kindly offers his support. There are

bird's wing, it spans the entire length of the

weekend deals for train travel to Germany,


including accommodation. This is a perfect opportunity for us!

The walls are covered with blue mosaic tiles

Please let us know if you are interested and

framed with longitudinal triangular stainless-

want to join in by emailing beneluxnl@rps.org.

steel bands. The bright red line band of the U2 has been impressively incorporated into the

More information to follow once we know

station design here and serves as a colour

preliminary numbers but we really hope


everyone is keen to attend.

In this station, this composition does not immediately reveal itself to you, because you do not notice this shape as an ordinary passer-by. I, for example, only became aware of the winglike shape after half an hour of searching for the best angle to shoot from.


© Chris Renk - The Underground Station Wettersteinplatz, Munich Pages 142-143 | © Chris Renk - The Underground Station Am Hart, Munich


The RPS Benelux Chapter INTERVIEW

Armando Jongejan “I discussed this with Janet Haines ARPS and Richard Sylvester LRPS, organisers of the Benelux Chapter at the time. The Chapter was revamped in those days and we felt the need to connect and involve our members.”

AFTERWORD, AN INTERVIEW WITH ARMANDO JONGEJAN FRPS by André Bergmans Sad but true… our editor of the Benelux

world-wide. Quite a few other chapters have

Chapter eJournal, Armando Jongejan FRPS, will

taken bits and pieces from our template and

‘retire’ after six years and 25 issues of the

way of working to shape their own journal. Also,

journal. The Chapter Committee was informed

it proved to become a platform for our own

in June about the fact that this year’s Winter

members to show their work and a nice and low

issue would be his last eJournal. This brings an

threshold way to introduce new members to the

end to a remarkable venture that did not get

group. In essence each new member gets an

unnoticed in the overall RPS community. For

invite to show their work.

that reason I interviewed Armando. With you another member of the ‘editorial The first question that comes to mind is a

board’ will retire; someone who probably has

short one. Why?

run out of red pencils by now…

We are referring to the year 2015, when the

You are referring to Dawn Black ARPS. When

Chapter had no Zoom meetings, just ‘physical’

living in the Netherlands she was a member of

meetings in Belgium, the Netherlands and

the Chapter but she moved back to Scotland.

Luxembourg. The eJournal did start for a reason

She had a pivotal role to correct the text and

and with certain objectives in mind for example

especially our ‘version’ of English. Most (Dutch)

to connect the members of the Chapter. I am

people think they speak English good enough

convinced that we reached the objectives that

but the reality is quite different. As the eJournal

we had at the time. Last but not least it is a time

had a wider community of readers with English

consuming, but rewarding, activity but takes

as a native language Dawn had to keep us on

away time that I could have invested in my own

track regarding the quality of the language that

photography. I do have some serious backlogs

was written. It helped that she knew the Chapter


and she does understand photography. Her role cannot be overestimated.

Taking about the objectives of the eJournal: what were these at the time?

The eJournal started with a modest 14 pages

I discussed this with Janet Haines ARPS and

and ended with over 70 pages in issue 24.

Richard Sylvester LRPS, organisers of the

This final issue has 150 pages! What

Benelux Chapter at the time. The Chapter was


revamped in those days and we felt the need to

To a great deal this was my own enthusiasm but

connect and involve our members. Also, one of

also the Chapter members discovered how to

the objectives was to inform our members

use the platform. There were also changes in

about the work of other photographers and

the policy of the layout as we adopted a more

each other’s work. In other words: share

modern look and feel with more space for text

knowledge, our work and get introduced to the

and images. We have to keep in mind that

work of other inspiring photographers.

modern readers require a short and crisp approach and images are more important for

Are you happy with the results?

this eJournal than text.

Yes, in all modesty, I am. Besides the previous

For that reason I made this volume with several

objectives it proved that the eJournal also

articles made by our Chapter members and with

became a showpiece to the wider RPS and the

a lot of their photographs. This is a special

outside world. We have about 1.500 readers




Taking about content… what was your

editing which is also very useful as I edited quite


a few books also for others. For example to

Keeping the original objectives in mind the

create the book on Rockin’ Rotterdam project.

eJournal is owned by the members of the Chapter. So, each issue contains articles on

What are you going to do with all the spare

activities of the Chapter, like Rockin’ Rotterdam,

time that becomes available all of a sudden?

and distinctions work of members of the

That is something that will solve itself

Chapter. More and more articles were

automatically. I do have a backlog in most of the

published on general topics in photography like

areas of photography I am interested in. To start

photographic history and photographic

off with the backlog in editing the holiday

techniques and collecting analogue cameras by

albums of the family. I take great pride in those

Eddie Maes LRPS. We managed to bring famous

and invest as much time in editing them as I do

names to start with Hellen van Meene HonFRPS

with my professional photographic albums.

in the Spring 2017 issue. This was followed by

Furthermore, I do have a lot of unpublished

many others: Willem Wernsen, Simon Roberts

work that I have to reinvestigate and publish. It

HonFRPS, Erwin Olaf, Martin Parr (Magnum),

is for example interesting to reinvestigate older

Stephan Vanfleteren, Bieke Depoorter and Carl

work and compare it with recent work. And it is

De Keyzer (both Magnum) just to mention a

time for sharing, something what I think is

few. So, we aimed at a mix of members work

important to do. Sharing experience with other

and work of the famous photographers that are

photographers is key to the mission of the RPS

inspiring examples.

as well. Last but not least I gradually have to ramp up to a period of my life when all time is

What is the core business of an editor?

mine, retirement. Quite a few years to go still so

Before I can answer that question, I have to

enough time to prepare.

make clear that I was not only the editor in the technical sense i.e., a person concerned with

Any advice to the Chapter Committee

the layout of a journal. My main activity was

regarding the future eJournal?

identifying, chasing and acquiring content. The

I do not have any advice here. An eJournal is not

ongoing question was: ‘What content is

a goal in itself but a tool that is the result of

interesting for our members?’ Especially in the

where the Chapter wants to go. In the

beginning it was a challenge to get the right

considerations at the time, we arrived at the

content at the right time. Later it became a bit

conclusion an eJournal might help us in

easier, hence the growth of the journal. I also

revamping the Chapter. The Chapter Committee

observed that an article like the one about the

needs to consider again: Where do we want to

night photography work of Patrick van Dijk, can

go? Who do we want to be? Does a journal fit in?

lead to a workshop which again leads to an

If so, in what format, frequency and with what


content? So strategic choices first; practical consequences second. Times have changed if

What was the big takeaway for you doing

we only look at the use of Zoom during the

this work as an editor?

pandemic. That will change the way we work as

The joy of doing this in the first place. I could

a Chapter as well and permanently. The Chapter

use and expand my network and acquire

Committee and the membership can consider

content. I had quite a learning curve in technical

these questions during the AGM in 2022.


AFTERWORD Thanks Armando to having this interview with you. Looking back and looking into the issues of the eJournal over time it proves that none of the content is really outdated and I advise our readers to consult and enjoy: https://rps.org/ chapters/benelux/journals/ May I finish with a personal word. We have been working a lot together to start with publishing Rockin’ Rotterdam ‘the book’. Also, when I started to be a regular contributor to the eJournal we had many conversations. Thanks for your co-operation and without a doubt we will meet in another capacity. On behalf of the Chapter: thank you very much; we owe you a lot.


© Armando Jongejan FRPS - Winter

Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.