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Cover photo
Kinderdijk, Carol Olerud FRPS
Views from the Benelux Chapter Organiser – eJournal Issue 10 Winter 2025
I can’t believe we are in this season and the end of the year is near! Time is passing way too quickly.
Once again we have a wonderful edition to share with our members and friends of the Benelux Chapter. Thanks go to Katherine our editor and to Sue who has very quickly proofread and checked all the English upon her return from a trip away! Much appreciated to you both!
I recently watched an interesting zoom talk about Water by Bill Ward, British actor and photographer. It resonated with me very much and I will try the technique of ICM in waves next time I go surfing! Belgian photographer Stephan Vanfleteren has also done such a project; his work can be seen in the MSK in Ghent, Belgium until 4th January 2026. I will go see it very soon and I can’t wait. I love the sea!
Water was the latest theme of the Talk-Walk-Talks initiative, to be precise, Inland Waters. We, the Chapter, went on our walk and on our water-taxi ride to Kinderdijk, in NL at the end of September. We had fabulous weather! Our last Talk is on 18 November where we will select our best photos, so you have to be patient and wait for the Spring eJournal 2026 for our results!
Going on these walks together is really fun to go out and do. We meet up for a day with our gear, laugh and chat and take our photos! Join us next time!
Inside this eJournal you will be able to read about our Personal Stories Workshop led by Carla Kogelman, in the ‘Lens op de Mens’ Fotofestival in Pelt, Belgium. Ten participants joined in for an intense day. We learnt a lot about each other through photography and I expect everyone went home richer for it. The Fotofestival will be on again in two years and we will be ready for it!
A huge congratulations to Felicity Handford ARPS, who completed her MA in Photography at the Falmouth University, UK, a two year part-time online course, she has gained her Associate by Exemption. Read about her journey inside.
We continue with our Study Groups, online and in person, alternating every month, usually on the first Tuesday. So, check our events and join in where you can; we are friendly people, sharing our photos and projects. Everyone is Welcome!
Carol Olerud FRPS Benelux Chapter Organiser
The RPS Benelux Chapter Weekend
Carol Olerud FRPS
Photographing in the Nord-Pas de Calais mining basin
Joaquim Capitao
Visiting the Photo Exhibition of Erwin Olaf Armando Jongelan-FRPS
20 RPS Benelux Chapter Personal Stories Workshop
The Hill House Helensburgh
Katherine Maguire ARPS
Introducing our newest members
The RPS Benelux Chapter
“Lens
Fotofestival Pelt
Carol Olerud FRPS
The
The RPS Benelux Chapter Weekend (20 – 21 September 2025), in Pelt, Belgium during the Lens op de Mens International Fotofestivaal was again a great event.
Some of our members arrived early, on the Friday, some more arrived on the Saturday, so we could join in with the International Dinner and already explore the streets and see some of the many photos in all the expositions! Committee members of the Festival joined us for the dinner, as did Carla Kogelman. It was a nice way to introduce ourselves before the workshop, which was planned for the next day, Sunday.
On Sunday morning we all met up in the A-Blok at 10:30am. There were ten of us which is a nice number.
Carla gave us an introduction about herself and her photography which was really interesting. After about an hour we then went on to show our own printed portfolios one by one. Carla listened to us talk and share our work, proceeding to give us all individual assignments. We were asked to do something we normally don’t photograph, outside of our comfort zones! This led to some funny moments, but we were all happy to go out and do it.
Then it was lunch time; we had reserved a table at a café near the Church. After lunch we drifted off to go and do our various assignments. We’d given ourselves an hour max to do this as lunch was quite nice and took a little extra time!
By three o’clock we all were back at A-Blok, selecting our 5-7 photos in an hour, for the results. Little to no editing was done, and we then presented our work by beamer. A couple of us could also share the work on their tablets. Carla gave some good feed-back and we were done in time, by 5:15pm. We all had a final drink at the café before heading home to our various locations.
Generally, it can be said we had a good weekend with an interesting experience of the Personal Stories Workshop! Not to be confused with Storytelling!!
The Lens op de Mens International Fotofestival will return in 2027, and we have agreed to be part of it again. Our RPS members are very lucky to have such a great location for our Members’ Prints Expositions.
Thank you to Carla Kogelman and the participants for coming to Pelt! Thank you also to the Organisers of the photo festival!
RPS Benelux Chapter
Workshop - Personal
Stories
On the 21st of September we had a workshop with Carla Kogelman; each photographer brought along a printed portfolio of 5 to 12 photos and Carla discussed them with the group. Then she gave each photographer an individual assignment. A total of 10 photographers took part.
These are the photographs taken by some of the participating photographers.
Kim Bybjerg LRPS
My assignment was Black & White so I went out and tried to find subjects to test how they will appear in B&W. It was a good challenge, I really enjoyed it, and I will definitely continue working in B&W for a while to improve my photography.
This series explores the fragile space of youth as it unfolds in urban environments. Children at play, a teenager absorbed in his phone, and the cheerful mural of an imagined childhood form a quiet dialogue between reality and fantasy. In black and white, the focus shifts away from distraction and into gesture, posture, and mood — revealing how young lives balance freedom, solitude, and the subtle pull of technology. These moments, though fleeting, speak to a broader transition: from innocence to awareness, from shared games to private screens.
I arrived on Friday to start the weekend well-rested after a long journey. On Saturday, Kim Bybjerg and I took the guided tour, which was highly recommended. The guide was someone who knows the area well and was able to provide a wealth of background information about the guest exhibitors.
On Sunday, we attended Carla Kogelman's workshop with 10 photographers from the RPS Benelux. After viewing everyone's portfolio, we were given a customised assignment. Because my photography work primarily consists of conceptual photography, for which I usually make plans and ideas well in
advance, my assignment became the opposite:quick photography. Seeing something and capturing it immediately. And all of this on a Sunday in a nearly deserted Pelt. Thanks to thescouting children, there was thankfully plenty to capture. Because portrait photography—in this case, street portraits—is my preference.
Here are a few photos I'm quite pleased with, surprisingly enough: completely pushed out of my comfort zone and able to carry out my assignment. And that within half an hour (it was too much fun chatting with the others after lunch). For me, a lesson in letting my conceptual side loose
more often. Personal development. Personal story. Besides this educational workshop, which is normally given over (rightly) more than one day, it was a very nice group, and the atmosphere was extremely good and pleasant, which I really enjoyed.
Carla told me to make up my own assignment, and it was twofold: To find fascination in what seemed to me to be a very boring urban environment. And to photograph people in that environment without feeling embarrassed.
Carla saw my photos, mainly people themed and she suggested I take photos without people in them for a change. So, the focus was on ‘Traces of People’, staying close to myself.
As part of the portfolio that I brought along to the workshop, I had included some of my images from my “I am not invisible but my illness is” series, self portraits where I am partly transparent. So my assignment was to photograph my illness as I see it in other people. Also part of the assignment was to ask
people if I could take a photo of them, which was outside my comfort zone as I am not a people photographer. So I walked around Pelt taking multiple exposures images where I asked for permission and sometimes I did not.
My assignment was staying in one place as I tend to move around very quickly when I take photos and not take much time to look. It was a challenge for me to stay still but I realised that there were more photo opportunities in that
spot than I originally thought. My lesson going forward from this workshop with my photography is to take more time to fully take in the details of my surroundings, which should help me to discover new photo opportunities.
Photographing in the Nord-Pas de Calais mining basin
Joaquim Capitao
Coal mining was a very important economic activity in the north of France, as in other countries in the region. In particular, the Nord-Pas de Calais coal mining basin was the western part of a coal-rich sedimentary basin, which covered around 1,200 square kilometres in the north of France.
Château Dampierre
Arenberg mines
Coal was first discovered in this region in the 17th century, but it was only towards the end of the first half of the 19th century that mining companies started being created in the area and coal mining gradually became its main industry. At the beginning of the 20th century, the Nord-Pas de Calais basin produced one third of all the coal being mined in France.
After World War II the coal mining industry started declining, and by the late 1980s all of the mines in this region were closed.
Fast forward to 2023, when my son moved from Brussels to Valenciennes to pursue his studies on animation cinema. Valenciennes is the main town in the eastern-most part of the Nord-Pas de Calais mining basin and when driving around there, I started noticing the road signs about the UNESCO World Heritage Site “Nord-Pas de Calais mining basin”.
In reality, this “site” is a series of 109 locations spread around the north of France, to the south of Lille, spreading from near Valenciennes in the east to near Saint-Omer in the west. The different locations classified by UNESCO include some mining sites or what remains of them but also spoil tips (“terrils” in French) and the housing of the mines’ staff, both the “cités” or “corons” where the miners lived and the “châteaux” that housed the managers and engineers. These locations were selected for the UNESCO World Heritage Sites’ list as a testimony of the importance of coal mining in this part of Europe for a period of about 200 years.
Château Dampierre
Château des Douaniers
In the Summer of 2025, taking advantage of my son’s holidays and growing interest in photography, I started going with him to visit and photograph some of these locations.
In some of the classified mining sites, such as the Dutemple mine in Valenciennes, all that remains visible is the headframe of a mine shaft, where vertical tunnels were excavated to allow access to the coal deposits around 80 meters under the surface.
Some other mining sites, however, are well and more completely preserved, and were transformed into a museum or, in one case, a centre for the production of films used by more or less famous film directors and producers.
In Lewarde, very close to the town of Douai, works on the first Delloye mine started in 1911 but, due to World War I, the mine only started production in 1927, at a depth of around 400 meters, with a second mine being added nearby and starting production five years later. In 1971, however, the mines were no more profitable and were shut down.
Coron des 120
Coron des 120
Dutemple mine
Lewarde mining centre
The idea of creating a mining museum in the abandoned mining site seems to have appeared shortly after closure, but it was only in 1984 that the Historic Mining Centre was opened to the public. It hosts a large collection of mining machinery in well-preserved original buildings, and visitors can even have a guided tour in the underground galleries.
Dutemple mine
Wallers is another municipality in northern France, and it is probably best known for the “Trench of Arenberg”, one of the most difficult bits in the annual Paris-Roubaix cycling race. However, Wallers also hosts a wellpreserved former mining site, the Arenberg mines. This site is now the headquarters of “La Porte du Hainaut”, an agglomeration of 47 municipalities, but it is also used for film production. The work on the Arenberg mine started in 1900 and operation started in 1903 and ended in 1989. The abandoned site was saved from destruction in 1992 by being the filming site for “Germinal”, a film by French director Claude Berri, which was, at the time, the most expensive film ever produced in France. Building on this experience, the site is used by “Arenberg Creative Mine”, and film producers can find there all the resources they need for the complete production of a film.
Such an extensive network of coal mines required a big work force. The number of workers in the Nord-Pas de Calais mining basin in the 1930s was about 75,000, many of which came from other parts of France or from other countries. The mining companies needed to find accommodation for all these workers and their families, and for that they built extensive “cités” or “corons” in the vicinity of the mining sites. While in “cités” the houses are detached or semi-detached, in “corons” they are all attached along a road, usually with small courtyards in the back. This distinction, however, is not always clear, and many areas designated as “cités” look very much like “corons”. Many of these areas have been or are now being restored and are often very well kept and pleasant.
Lewarde mining centre
The managers and engineers working in the mining companies, however, were not expected to live in workers’ houses, so much bigger “châteaux” were built for them, or at least for those who decided to live close to the mining sites rather than in the cities. Many of these “châteaux” are currently in a bad condition, with the Château des Douaniers, in Fresne-sur-Escaut, being probably an extreme case of disrepair. Others, such as the Château Dampierre, in Anzin, have been used by the local institutions and were maintained to some extent, although in this case the condition of the building has deteriorated seriously over the last years.
Lewarde mining centre
Finally, I mentioned the spoil tips. These are approximately conical piles of waste material removed during mining. They rise several tens of meters above the flat landscape and therefore it is impossible not to see them when you drive around the north of France and in the south of Belgium. Spoil tips tend to trap solar heat, and vegetation has difficulty in taking roots. Techniques for re-greening spoil tips have been developed, mainly to control erosion and avoid dangerous landslides.
Terril Renard
The Hill House Helensburgh Scotland
Katherine Maguire ARPS
The Hill House in Helensburgh Scotland is now owned by the National Trust of Scotland. It was designed in the early 1900s by Scottish architect and designer Charles Rennie Mackintosh. The interior of the house, including the furniture and textiles, was designed in collaboration with his wife Margaret Macdonald, who was an artist in her own right.
The Hill House
The house was commissioned by Glasgow book publisher Walter Blackie as a family home in Helensburgh, laying on the north shore of the Firth of Clyde and east shore of Gare Loch, approximately 40 kilometres north of Glasgow and was envisioned by Mackintosh as a modern ‘villa house’. It is believed that Mackintosh said the following when handling the house over to Blackie,
The Hill House Helensburgh Scotland
'Here is the house. It is not an Italian Villa, an English Mansion House, a Swiss Châlet, or a Scotch Castle. It is a Dwelling House’. The house is considered his domestic masterpiece: the minimal exterior decoration contrasts the detailed interior decoration, making the transition from outside to inside more inviting.
Mackintosh was on the cutting edge of architecture design; he was a revolutionary and experimental designer in his choice of materials and techniques. However his choice of using Portland cement instead of the traditional lime as rough cast wall finish, has proved to be less durable, leading to moisture ingress and not being suitable for the Scottish weather.
The Hill House Helensburgh Scotland
The west of Scotland is well known for rain, and the wet conditions have had its toll on the cement-based roughcastand the external walls. The house is missing the architectural features designed to deal with the rain, and thus has always been damp.
Over the years there have been many attempts to fix the problems with the house, repairs to the roughcast and the brick walls. The focused was switched in the 1990s to preserving rather than replacing, pinning the older roughcast to the building. Initially this approach was thought to be successful but during the condition surveys done by the National Trust for Scotland in the early 2000s concerns were raised.
78 Issue 10 Winter 2025
The Hill House Helensburgh Scotland
Infra-red surveys were done to determine the condition of the walls under the roughcast.
The Hill House
Later a computer 3D model of the Hill House was made using infra-red thermographic and microwave moisture survey, which led to the decision to encase the Hill House in box of chainmail mesh.
The Hill House Helensburgh Scotland
The house now has an external shield protecting it against the Scottish weather and allowing the 10-year conservation programme. It is likely that the box will remain in place until 2028, to allow the house to dry out.
As part of the box, a walkway around the house was provided to give visitors a unique view of it that would not normally be available.
My images of the interior and exterior of the Hill House were taken with a Canon R6 mkII with a 50 mm lens, not the best lens for this but it was only lens that I took with me on my trip to Scotland.
Visiting the FREEDOM photo exhibition of Erwin Olaf in the
Stedelijk Museum Amsterdam
Amsterdam
text by
Armando Jongejan FRPS and Stedelijk Museum
In our eJournal - volume 15 (Summer 2019), I previously wrote about an Erwin Olaf exhibition at the Gemeente Museum Den Haag. Much has changed since 2019, and a visit to this new exhibition is definitely worth it! Since the unexpected death of Erwin Olaf (Springveld -1959-2023) two years ago, this is the first museum retrospective.
At the end of October 2025, I visited this unique exhibition in Amsterdam, and it remains impressive to see his original work. Of course, I have several of his photobooks on my bookshelves, but a photo on the wall is truly something else.
Especially when you enter the museum, you're immediately overwhelmed by a wall displaying some of his most iconic photos but also confronted by his lung disease. Olaf died on September 20, 2023, at the age of 64, as a result of long-term emphysema, weeks after receiving a lung transplant. His SelfPortraits, "I Wish," "I Am," and "I Will Be," from 2009, reveal his vulnerability.
Erwin Olaf - Freedom, Stedelijk Museum Amsterdam. Photo Peter Tijhuis
The exhibition pays tribute to the versatile and multifaceted artist that he was and illuminates his entire creative process. Besides iconic artworks and series of Erwin Olaf, the presentation also features lesser-known work, including videos and sculptures, his commercial photography, and personal archive material. The exhibition culminates with his last work, an unfinished video.
Prominent Dutch photographer
Erwin Olaf is internationally acclaimed as one of the most prominent Dutch photographic artists, celebrated for his characteristic staging, unique lighting, perfectionism, and controversial subjects. He was a freethinker, and the pursuit of personal freedom drove everything he did - he was a fervent champion of identity, sexuality, and gender, the human body in all its forms, nightlife, and equal rights for all. Throughout this thematically structured, yet loosely chronological, exhibition, Olaf’s activism is a recurring motif.
Erwin Olaf - Freedom, Stedelijk Museum Amsterdam. Photo Peter Tijhuis
Theexhibition
The exhibition charts a course through Erwin Olaf’s rich body of work, starting with his journalistic, candid black-and-white reportages from the early 1980s. Focusing on subjects such as gay rights demonstrations, these highlight his commitment to social issues. The exhibition features iconic and lesserknown examples from series such as Chessmen (1987-1988) and photography for the Dutch National Ballet.
The final part of the exhibition brings together Olaf’s experience, mastery, and vision. Despite their compositional and technical perfection, these recent series continue to engage with topical social themes, such as our relationship
My name’s Caroline, I am 57 and have loved photography from as far back as I can remember.
I did photography at college when I was 18, I didn’t really return to it until I was in my 40’s and the children were grown. I went back to college and did my A levels (UK) which included dark room days again! I received straight A’s and was about to start a degree in Commercial Photography.
In 2011 everything changed when I was diagnosed with a calcified disc in my spine, restricting my walking and basically severing my spinal cord. Without surgery I would have been paralysed from the chest down if they didn’t act fast. In September 2011 I had Transthoracic Spinal Surgery to remove the calcified disc embedded in my cord – this meant moving my heart, collapsing my left lung and removing a rib to get into the thoracic cavity.
I lost the use of my left leg completely and had to undergo a second surgery a week after the first to remove the remainder of the disc causing issues. 23 hours of surgery, 6 weeks and a lot of hard work later, I was allowed to go home where I then had to learn how to walk again. I was told I would always walk with sticks, and potentially need a wheelchair.
Fast-forward to 2025 and I live my best life. I am back into photography, chair a local camera club and travel to as many places as possible whilst I know I am able, colder the better!
One day I may be restricted but that’s not on my agenda any time soon!
What started as a photo a week that year ended as a lifesaving one, my blog here has helped many facing this.
Thoracic Surgery
100 Issue 10 Winter 2025 Introducing our newest members
Joe Michael Egan
United Kingdom, England, Milton Keynes
Bio 2025
I started the year with the usual optimism and enthusiasm for the events that would make my 2025 Lightroom Cat. My inspirations took me out to the Teardrop lakes on a Saturday afternoon in February. I hoped to continue to find the nature shining, talking with accents of articulate theatrical Persona.
The same inspiration led me to the Woburn bike park, which was quite difficult! I created some scenes with bags of character and a little too much colour. (Still stuck in style, wasn't too sure when creating a document that reflects my fondness of anything that can be used as a wall art print!), I was hoping to produce an article with the collection for the concept magazine but it is still coming along.
My fence has been down in 2025, which meant my housing association had to kindly do a removal from fly-tipped garden that I look out onto from my kitchen. This presented a perfect opportunity to document the gentleman while he navigated the land fill site. I photographed what I could from my hiding place in my kitchen.
The spring ended and the summer arrived with a collection on the Canal and bike ride out to Whaddon where I stopped to photograph some sheep, both events with one or two highlights.
Issue 10 Winter 2025 Introducing our newest members
I moved onto summer and enjoyed a day at Bletchley Park and evening at Campbell park. I thoroughly enjoyed Bletchley park by creating a mix of environment focused images and some interesting portraits: The Campbell park evening has to be a one of my best activities to date, where I experienced really special movements of people which formed prints with documented atmospheres.
The rest of the year developed with the Luton Carnival which was first and other events as follows:
Weymouth 25, MK Heritage Weekend.
Reflections on an MA Final Major Project
Felicity Handford ARPS
Two and a half years ago I took a deep breath and applied to Falmouth University in the U.K , to study for an MA in Photography. It is a two year parttime online course. It consists of three four-month modules in the first year and two modules in the second year, one lasting four months and then and the final major project lasting 7-8 months. At the end of each module there is a written submission as well as a photographic project that must be passed before moving onto the next module. There is a weekly lecture, articles and books to be read, work to be submitted and discussed with fellow students, photographs to be taken, shared and constructively criticised.
This August I was awarded my MA and as a result of an exemption, the RPS awarded me my Associate membership. Along with the many of my fellow cohort friends, I am left with a strange feeling of loss and the question, Now What? These last couple of months have given me the chance to reflect on all that I have learned and how I have changed as a photographer.
A bit of background is needed to understand the context of my MA project.
In 2012 a group of committed people took over a plot of land in the suburbs of Brussels that had once been a wheat field. Since then, La Ferme du Chant des Cailles has grown into a farm of many parts. It is market garden growing vegetables, with allotments and a field where sheep graze in the summer. It is a covered market selling products made from sheep's milk, and a social area where events are held, people meet and children play. It gives people the chance to learn about and participate in planting, growing and harvesting food. It is a place where people come together to relax. It brings together people from very different backgrounds and life experiences.
The twenty-six photographs that made up the full portfolio of my Final Major Project (FMP) were the culmination of 18 months work photographing the people, their work and the activities that take place on a field in south-east Brussels, Belgium. The images for my FMP were all shot between March and August this year.
I saw first hand the affect that the climate has on food production. 2024 was one of the wettest years on record. The snails and slugs had a great time – not so the vegetables. This year, 2025, has been completely different. The spring and summer were sunny most of the time, and often, very dry and hot. I have lived all my life in cities and until my project, I had never seen the vegetables I eat growing in the ground or appreciated how beautiful they are.
As I spent most of the time on the farm photographing the market gardeners, I needed to be there on the days and at times when the market gardeners were working. I have had to learn how to photograph in bright sunlight with little or no shade and at times of the day when the usual photographic advice is – get up earlier or come back later. The long-term project has allowed me to develop a more mindful approach to my photography. Although I would describe my project as documentary, I discovered that there was so much to photograph that I could experiment with landscape, environmental portraits, macro plant photography and more abstract images.
My repeated visits to the farm gave me the time to get to know the people I was photographing. Just as importantly they got used to me photographing them and have become my friends. I shared the best of the photographs I took of them and have given them copies of a magazine with the FMP images in it. The photographs shown in this article are 12 of the photographs that made up my Final Major Project Portfolio.
My shortened Statement of intent
La Ferme du Chant des Cailles, owned and surrounded by a housing cooperative that was set up in 1922, is now under threat. The tension is caused by the need to provide housing clashing with the environmental benefits of a community open space. J’aime Ma Mére Terre documents the farm, the work that is done, the interaction between people and nature, the fun that is had there, and the community that grows and is strengthened by its presence. They are my tribute to a special place that deserves to be preserved.
Darkrooms Uncovered
An interview series
By Marcel Borgstijn
“Darkrooms Uncovered... A peek into a photographer's mental creative darkroom”
Marcel Borgstijn
This interview has been previously published on Marcel’s site Darkrooms and is with photographer Angela Cappetta
See the original interview on the Darkrooms site.
Marcel has given his permission for it to be republished in the RPS Benelux eJournal.
What does your creative ritual look like? Do you have specific habits or conditions that spark your creativity?
I specialize in documentary-style work, telling stories of the social rituals of communities that shouldn’t still exist but do. These are neighborhoods where the real estate developers are circling. The clock is ticking on their presence. I shoot this places in order to elevate marginalized voices and build a more inclusive world. I'm known for a bold, empathetic approach to picture making. I have ran ability to view things with authenticity and curiosity.
When you're feeling creatively blocked, what's your goto method for breaking through?
When I don't know what to do I just grab my gear and hit the streets. I don't seek out anything in particular. I just need to prime the pump.
Describe a moment when your creative perspective shifted dramatically. What triggered it?
One day I woke up and decided to hit a neighborhood I had never spent a lot of time in. It isn't a space built for someone like me, but I went anyway. I kept going back and forged relationships there throughout this process. I've learned to hone in on the rituals in this micro-community which are thoughtful and self-possessed.
What recurring themes or elements do you find yourself naturally drawn to capture?
I enjoy shooting on the street with a flash. It creates a hyper-real ability to see small, non-moments. To me, this manner of picture making elevates conversation about culture and community. It's also a lot of fun to do the math on every exposure as I walk.
What non-photographic influences (books, music, films, etc.) most impact your work?
I am very impacted by the work of great painters like Helen Frankenthaller, Amy Sherald and Lee Kraser. When I stand in front of these paintings by these monster talents, I always wonder why they have to be in the shadow of men not nearly as impressive. It seems unfair, and then I feel the boot on my neck. Patriarchy has shaped what we see and it's up to all of us to look outside of that conversation.
What photograph of yours feels most personally revealing, and why?
I'll find a picture on a contact sheet and immediately remember how I made it. But at the same time, I remind myself that the picture is a new fact. All I do was click, and the picture is its own reality. As Winogrand said "The picture is a new fact." This is what happened with this dusk picture of a beloved horse.
Find out more about Angela Cappetta
Website: angelacappetta.com
Instagram: www.instagram.com/angelacappetta
Members’
Photos
In this section, you can see photos from our members.
Here you can find the break down of chapter membership, the number of distinctions obtained, the special interest groups joined and the various countries the members are located in.
45 Members
Members
6 Countries
Countries
Distinctions
Special Interest Groups
Upcoming Events
2 December 2025
Study Group Meeting
An opportunity to share your work and get feedback from a friendly group of people. Everyone is welcome - members and non-members. It costs €5 per evening, which includes a drink and biscuit. For further details please the event page
Time: 19:30 until 22:00
Location: Het Palet, Duikerstraat 29,Rotterdam.
6 January 2026
Online Study Group Meeting
An opportunity to share your work and get feedback from a friendly group of people. Everyone is welcome - members and non-members. This is a free online event. Zoom link will be sent out before the event. For further details please see the event page.
An opportunity to share your work and get feedback from a friendly group of people. Everyone is welcome - members and non-members. It costs €5 per evening, which includes a drink and biscuit. For further details please the event page.
Time: 19:30 until 22:00
Location: Het Palet, Duikerstraat 29,Rotterdam.
3 March 2026
Online Study Group Meeting
An opportunity to share your work and get feedback from a friendly group of people. Everyone is welcome - members and non-members. This is a free online event. Zoom link will be sent out before the event. For further details please see the event page.
Time: 20:00 until 22:00
Location: Online Zoom Meeting
7 April 2026
Study Group Meeting
An opportunity to share your work and get feedback from a friendly group of people. Everyone is welcome - members and non-members. It costs €5 per evening, which includes a drink and biscuit. For further details please the event page.
Time: 19:30 until 22:00
Location: Het Palet, Duikerstraat 29,Rotterdam.
Wednesday, 6 May 2026
Online Study Group Meeting
An opportunity to share your work and get feedback from a friendly group of people. Everyone is welcome - members and non-members. This is a free online event. Zoom link will be sent out before the event. For further details please see the event page.
Time: 20:00 until 22:00
Location: Online Zoom Meeting
About the eJournal
We plan to produce an eJournal on a regular basis.
Contributions from the members and friends of the Benelux chapter are welcome, whether that be an article or details of the current photo project that they are working on.
• Up to 12 photos
• maximum 1000 words
Member photos
We also wish to encourage members and friends to submit individual photos for the Members’ photos section.
New Members
The eJournal can also be a place that gives our new members an opportunity to introduce themselves to the chapter.
• 2 - 3 photos
• maximum 300 words for Bio.
Cover Photos
Individual photos are also welcome for the cover page.
Photo Submission Requirements
Please send images with the following specifications:
• 3000 pix long side
• Image quality 8
• no watermark or text in the image
• no borders around the image.
When naming your photos please use the following convention.
FirstName_LastName_For_eJournal_Title.JPG
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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.
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