The Magazine of The Royal Photographic Society Creative Eye Group
CREATIVE EYE
Digital Exhibition 2026
No. 101
WELCOME
FOREWORD
Welcome to our Digital Exhibition 2026. I would like to start by thanking everyone who entered. It takes time, thought and a little courage to put your work forward, and it is particularly rewarding to see such a varied and imaginative collection of images from our members. I hope you enjoy seeing your own work here and discovering the ideas and creativity of others. And congratulations to everyone whose work has received a Medal, Selector’s Award, Highly Commended or Commended. These are wonderful achievements and deserve to be celebrated. A very special thank you goes to Mark Percival LRPS who put a tremendous amount of time and effort into automating the submission process. His hard work has made what could have been a complicated process much easier for us all. My thanks also go to David Rutter FRPS whose help, advice and encouragement have been greatly appreciated. Finally, my sincere thanks to our selectors, Ade Gidney FRPS, Richard Heathcote and John Humphrey FRPS, for giving their time, experience and expertise so generously.
COMMITTEE Chair Clive Watkins ARPS creativecomms@rps.org Secretary Graham Lingley LRPS creativesecretary@rps.org Finance Officer Nigel Rea ARPS creative.treasurer@rps.org David Rutter FRPS creativeimage@rps.org Steve Varman LRPS creative.publications@rps.org
CREDITS Editor Moira Ellice ARPS Editorial Assistant Dr Patricia Tutt ARPS
Enjoy the exhibition.
Design Steve Varman LRPS
Clive Watkins ARPS Chair, the Creative Eye Group
Cover Waiting Yvonne Connelly LRPS
CONTENTS 4
GOLD MEDAL WINNER
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SILVER MEDAL WINNER
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BRONZE MEDAL WINNER
CONTACT
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RICHARD HEATHCOTE SELECTOR’S AWARD
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JOHN HUMPHREY SELECTOR’S AWARD
Facebook: facebook.com/groups/rpscg
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ADE GIDNEY SELECTOR’S AWARD
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HIGHLY COMMENDED AWARDS
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COMMENDED AWARDS
Digital Exhibition 2026
As can be seen from this catalogue, that spirit is evident throughout this digital exhibition. The three medal-winning images alone demonstrate just how differently photographic creativity can manifest itself. Cliff Spooner ARPS in his gold medal winning Shaded makes extraordinary use of mass, shadow and absence, allowing what is concealed to carry as much visual weight as that which is revealed. John Foster ARPS in his silver medal winning Blue Valencia takes familiar architecture and, through viewpoint, composition, reflection and subsequent construction, transforms it into something strange, playful and almost other-worldly; a reminder that creativity can begin by
Together with the exhibition’s experiments in abstraction, intentional camera movement, multiple exposure, minimalism and still life, these works demonstrate an impressive breadth of photographic imagination. They also remind us that creativity is not a technique or a genre: it is an attitude of mind and a willingness to experiment, to take risks, and to transform both the observed and the imagined into something distinctly one’s own. What particularly interests me is that there is no single definition here of what a ‘creative photograph’ should look like. Nor should there be. Creativity flourishes through curiosity, experimentation and the confidence to follow an individual visual language. I congratulate everyone whose work has been selected, and thank the selectors, committee and all those whose voluntary effort has made this exhibition possible. Most of all, I hope these photographs encourage us all to look again, experiment more freely and continue to challenge what photography might be.
Simon Hill CPhot HonFRPS President, The Royal Photographic Society
Website: rps.org/ceg
The Royal Photographic Society, HERE, 470 Bath Road, Bristol BS4 3AP, UK +44 (0)117 3164450 www.rps.org VAT Registration No. GB 753 3057 41 Registered Charity No. 1107831
RPS Creative Eye Group Magazine
Since its formation in 1991, this Group has provided an important home within the RPS for photographers who are prepared to experiment, to question convention and, above all, to explore new ways of seeing. Photography has never been simply about recording what is placed before the camera. It is an act of seeing, interpreting and responding. The strongest photographs often emerge when the photographer moves beyond technical perfection and begins to ask: what am I trying to say, and how might I say it differently?
showing us something we may have seen before in a way we have never seen it before. Wendy Irwin ARPS takes us somewhere different again with her bronze medal winning The Lemurs Take the Train: an imaginative, carefully constructed and delightfully surreal piece of visual storytelling in which humour becomes an important creative device.
Flickr: flickr.com/groups/ 3510780@N20/pool
© 2026 All rights reserved. Apart from storage and viewing in its entirety for personal reference, no part of this publication may be reproduced, stored in a retrieval system or transmitted in any form without prior permission of the copyright holder. The Royal Photographic Society, The Creative Eye Group and the Editor accept no liability for the misuse of any content or for any breach of copyright by a contributor. The views expressed in this magazine do not necessarily reflect the policies of The Royal Photographic Society or The Creative Eye Group. Unless otherwise indicated, all images are copyright of the photographers.
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It is a great pleasure to introduce the RPS Creative Eye Group Digital Exhibition 2026, an exhibition that celebrates the creative possibilities of photography.
No. 101
EXHIBITION SELECTORS Ade Gidney FRPS Richard Heathcote John Humphrey FRPS
RPS Creative Eye Group Magazine
Digital Exhibition 2026
No. 101
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GOLD MEDAL SHADED CLIFF SPOONER ARPS SELECTORS’ COMMENTS
JOHN HUMPHREY FRPS We are always struck when we see a picture that is genuinely different. This one really delivers! It takes courage and confidence to submit an image the majority of which is solid black. We are immediately drawn to the right hand third where the repetitive graphic structure is striking and intriguing. At first sight it seems to be a uniform grid of rectangles, but on examination, has variety of shape and tone. The small balancing shape top left completes the composition. A masterful submission. ADE GIDNEY FRPS A bold and stunning mono image creating tension due to the difference of the lit buildings. Equally at home in the Tate modern as in a photographic exhibition. RICHARD HEATHCOTE There’s a simple cleverness to this image that really stood out for me. It’s a fantastic observation of an urban pattern, with bold use of the shaded area to force the viewer across to look up and down the columns of windows. The longer I look at it, the more I appreciated it’s aesthetic.
AWARDEE’S COMMENT
CLIFF SPOONER ARPS Shaded is from my evolving series Mass and Void, which explores the relationship between presence and absence in the built environment. Rather than photographing what light reveals, I was interested in what shadow conceals. The darkness occupies most of the frame, leaving only fragments of the towers and their repetitive window grids. I wanted the void to become an active part of the composition, inviting the viewer to complete what has been withheld. The work asks whether absence can carry as much visual and emotional weight as presence.
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RPS Creative Eye Group Magazine
Digital Exhibition 2026
No. 101
RPS Creative Eye Group Magazine
Digital Exhibition 2026
No. 101
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SILVER MEDAL BLUE VALENCIA JOHN FOSTER ARPS SELECTORS’ COMMENTS
JOHN HUMPHREY FRPS This is an immediately arresting picture. We start by trying to work out what we are looking at. A strange architectural monster is rising from the water whilst a woman is calmly recording it on her mobile phone. The image is well constructed with the monster and the figure perfectly positioned. The blue dividing line separating the subject from the reflection is a little distracting, but the picture succeeds by being genuinely creative and different. ADE GIDNEY FRPS A different approach to a well photographed building giving it the appearance of some giant mechanical piranha swimming past in a futuristic world. Show me something I've seen before in a way that I haven't seen before. RICHARD HEATHCOTE The ability to take shapes and subjects within an existing structure and use composition to alter what you want the viewer to see is a gift and this image shows that very well. Is it a piranha? is it a Venus fly trap? is it a creature from a sci-fi film? It’s both clever and amusing at the same time.
AWARDEE’S COMMENT
JOHN FOSTER ARPS On holiday in Valencia, I was impressed by the futuristic architectural forms of the City of Arts and Sciences complex. I loved the sweeping concrete curves and the complex lattice works in pale cream, all set in shimmering infinity pools of green and blue. I constructed this image as a composite, removing the clutter of tourists and featuring part of one of the main buildings against a lowering sky. The stillness of the day gave huge, clear reflections and characteristic broken tile mosaics form the foreground, grounding the image in Spain.
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RPS Creative Eye Group Magazine
Digital Exhibition 2026
No. 101
RPS Creative Eye Group Magazine
Digital Exhibition 2026
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BRONZE MEDAL THE LEMURS TAKE THE TRAIN WENDY IRWIN ARPS SELECTORS’ COMMENTS
JOHN HUMPHREY FRPS Humorous animal compositions are hard to get right, but this succeeds by telling a clear story of lemurs on a journey to the seaside. All the props reinforce the message. The bucket and spade, and the paper hats show us what is happening, and the cleverly positioned animals project a sense of fun and excitement. The old railway carriage suits the mood, and the technicalities of sharpness and exposure are spot on. ADE GIDNEY FRPS A superbly constructed image with great story telling, who wouldn't want to be on that train witnessing the chaos caused by Lemurs going on holiday RICHARD HEATHCOTE This image provides amusement in a surreal way. You gaze around it, and it just makes you smile. A fun concept, put together well, you look at this image and can’t help feeling better afterwards.
AWARDEE’S COMMENT
WENDY IRWIN ARPS This is an image from a small project based on holidays. When visiting zoos you just have to wonder if the animals were given a chance to go on holiday where would they go and how might they get there. I took the lemurs at a local zoo and the train carriage on a camera club evening out. I blended textured painted layers to give a vintage feel and added cases and a bucket and spade as I think they wanted to go to the beach. I had a great deal of fun making this image.
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RPS Creative Eye Group Magazine
Digital Exhibition 2026
No. 101
RPS Creative Eye Group Magazine
Digital Exhibition 2026
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RICHARD HEATHCOTE
SELECTOR’S AWARD TRAPPED SUZY COURTNAGE LRPS RICHARD HEATHCOTE I love the distressing feeling this image brings, the pits where the eye sockets are, the hand trying to escape. Trapped, suffocating, screaming, with the cool blue tones making it stand out leaving you with a feeling of helplessness for the subject.
SUZY COURTNAGE LRPS I often take pictures of random details, knowing that one day they might be used together to create a multiple exposure image. I wanted to create something completely different and this piece was very much an experiment. Elements that have been used include a texture from a paving slab, a simple paint drip has been turned into a tear and then my hand image and face. I wanted to viewer to interpret their own meaning of the image but for me it evoked the feeling of being trapped.
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RPS Creative Eye Group Magazine
Digital Exhibition 2026
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RPS Creative Eye Group Magazine
Digital Exhibition 2026
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JOHN HUMPHREY
SELECTOR’S AWARD WHITE TULIP IN A BLACK BOTTLE BRIAN FLEMING LRPS JOHN HUMPHREY FRPS This is an extremely elegant still life composition. The separation of the black vase against white, and white flower against black, is dramatic and striking. Despite the high levels of contrast, both the vase and the flower retain detail. In addition to the tonal contrast, the subjects themselves are also contrasting, with the flower appearing light and fragile and the vase solid and permanent. The image composition is excellent. The items are confidently positioned with comfortable negative space. The connection of the two items by the curved stem provides a direction of travel leading the viewer from the vase to the flower. The angled separation on the background at the base of the image creates the illusion of a base supporting the vase, rather than it being suspended in mid-air. A great fine art image that is superb projected and would also make an excellent print.
BRIAN FLEMING LRPS White Tulip in a Black Bottle is one of a series I am currently working on using predominantly blacks and whites with minimal intermediate tones. Shot entirely in camera using black and white paper as a background and natural window light. Post production was minimal and was confined to cropping and converting to monochrome, after which I brightened the whites and darkened the blacks, having masked the bottle and tulip first.
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RPS Creative Eye Group Magazine
Digital Exhibition 2026
No. 101
RPS Creative Eye Group Magazine
Digital Exhibition 2026
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ADE GIDNEY
SELECTOR’S AWARD SEISMIC JOHN THOMPSON ARPS ADE GIDNEY FRPS As a landscape photographer I was immediately drawn to this image. Reminding me of the 70s Yes album covers by Roger Dean and sandstone towers of Utah. The subtle changing tones and background textures really spoke to me of evenings in the field waiting for the light to change at sunset.
JOHN THOMPSON ARPS I saw this on a photo shoot at RAF Barnham, a former nuclear weapons storage facility. I was attracted by the arrangement of the shards of metal that aptly reflected the explosive nature of the site.
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RPS Creative Eye Group Magazine
Digital Exhibition 2026
No. 101
RPS Creative Eye Group Magazine
Digital Exhibition 2026
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HIGHLY COMMENDED OUT OF AFRICA MARTIN SABINE Out of Africa represents the enduring presence of the African aesthetic tradition within a modern, multicultural identity. The elaborately wrapped headscarf and feathered adornment reference a continent's rich visual heritage, while the stripped-back, monochrome studio setting places that heritage firmly in the present tense, not as costume or nostalgia, but as a living style. The subject's direct, unflinching gaze asserts ownership of that identity, inviting the viewer to see cultural tradition as personal and contemporary. This one photograph in a broader series of different cultural and ethnic images, contributes to a visual conversation about how ethnic aesthetics persist, adapt, and assert themselves within diverse, modern societies. Each portrait is a reminder that cultural roots aren't left behind in a globalised world, but are carried forward, reinterpreted, and worn with pride.
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RPS Creative Eye Group Magazine
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RPS Creative Eye Group Magazine
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HIGHLY COMMENDED ARTISTS PRIMARIES JOHN BULL LRPS Artists Primaries is quadriptych, the fourth element is the black lattice which was the supporting frame at the back of a display. The red is an image of planks, the blue was the wall of a football stadium and the yellow was the side of a building in Spain. I borrowed from Piet Mondrian in the composition, but the style for which he is best known tended to have plain blocks of colour and lines that were straight horizontals and verticals.
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RPS Creative Eye Group Magazine
Digital Exhibition 2026
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RPS Creative Eye Group Magazine
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HIGHLY COMMENDED SHADOWS OF THE CITY MARTIN KNIGHT Shadows of the City is part of an ongoing series of Intentional Camera Movement (ICM) cityscapes. My aim is to reveal the beauty of the urban landscape without relying on detail, inviting viewers to bring their own sense of time, space, and place to each image.
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RPS Creative Eye Group Magazine
Digital Exhibition 2026
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RPS Creative Eye Group Magazine
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COMMENDED LIDO VENICE BRIAN HOUGHTON ARPS Lately I have found an interest in Long exposure Minimalism, In December last year I visited Venice with my Tripod and neutral Density filters to try and pick out some interesting but basically simple images. Whilst walking on the East side of The Venice Lido facing the Gulf of Venice I came across an area of beach houses set back with a small wall of sand pushed up in front of them, intended to protect them from the winter tides. Somewhat uninteresting from the water front, however from the rear they became far more exciting. My Process was to create a mask for the Beach Houses, ensure the colours were balanced and sharpen. I then inverted the mask and reduce the Clarity and Texture this diminished the footprints and differences in the sky. Now by using Linear gradients I could darken the top of the sky and the bottom of the sand. Finally I cleaned out any imperfections in the sand and sky that I thought necessary.
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RPS Creative Eye Group Magazine
Digital Exhibition 2026
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RPS Creative Eye Group Magazine
Digital Exhibition 2026
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COMMENDED CONFLUENCE 3 DR MARTIN PARRATT FRPS The study of oil and water interactions chimes well with the Japanese aesthetic of Wabi-Sabi, centred on transience and flawed beauty. Whilst complex confluences of liquid drops are possible the individual drops enjoy only a short existence. They are in constant change, slowly moving, morphing and merging. This merging can lead to interesting and attractive transient effects, as captured in this image. The careful crafting of these intentional temporary assemblies demands focussed concentration and mindfulness.
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RPS Creative Eye Group Magazine
Digital Exhibition 2026
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RPS Creative Eye Group Magazine
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COMMENDED RUST NEVER SLEEPS SIMON CAPLAN LRPS Rust Never Sleeps is a macro shot of a small section of a rusting steel sheet stored in an outdoor rack at the Underfall Yard boatyard on Bristol Harbour. It is taken handheld on my Sony A6500 with a Zeiss Touit 50mm Macro Lens at f11, ISO800. The image previously won a top ten place in the ‘Intimate Landscape’ category of the CloseUp Photographer of the Year contest. While not my only style of photography, details and abstracts are one of my passions and this image – a personal favourite of mine - is one of many that make up my Extraordinary Ordinary talk which has been given to camera clubs and photographic societies across the South West and beyond over recent years.
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RPS Creative Eye Group Magazine
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Out of the Darkness Ray Duffill
Downward / Spiralling / Again Dan Walker ARPS
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White Horses of the Camargue Marilyn Taylor FRPS
Square Window Stuart Fotheringham
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Shapes of the City Jenny Collier LRPS
Snow Moonlight Brian McBride
Tate Britain Stairs David Jordan FRPS Trackway Jan Harris ARPS
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RPS Creative Eye Group Magazine
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Out of the Shadows Ben Speed LRPS
Escape Robin Myerscough
Passing Through Eng Loy Tan ARPS 31
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Gateway, Lewes Castle Paul Hopkinson
Bubble 1 David Kors
Keep Sermons Short! Paul Oliver
Three into Five Won't Go David Stevens
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Industrial Seascape Maggie Jary ARPS
Lichen Grasses Sandy Cowie ARPS
The Kernel Paul O'Flanagan LRPS
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Noise Cancellation Steve Peel LRPS
Abstract Planet Alison Lowe
The Duality of Aphrodite Philip L Hinton ARPS
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Peeling Paint Claude Trew LRPS
Checkerboard Renee Giffroy
Light and Shade Paul Wells 39
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Leaf in the Forest Pat Brennan LRPS
Rainbow Colours Palli Gajree HonFRPS
Blowing in the Wind An Invitation no one Announced
Angela Ford ARPS
Simon Ciappara FRPS
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Welsh Coastal Path Christine Prickett ARPS
Flax Harman Hopkins LRPS
Fairy Dell Jayne Sanderson Bursting Out Eileen Sutherland LRPS
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Building Blocks Paul Bather ARPS
Out at Dawn Ashok Viswanathan
The Family of Man Iain Blacklaw 45
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Surreal Architecture Rob Kershaw ARPS No. 101
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Sandstorm Janet Turnbull LRPS
Fernsehturm Pete Thomas
Samba Rachel Domleo
Echoes of the Crowd Morag Forbes ARPS 47
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Fragments of Barcelona Maria Macklin
Watching the Moon or Immortal Love Olha Pashkovska
Hi Terry Day LRPS
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Soap Battle Margaret Salisbury FRPS RPS Creative Eye Group Magazine
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Cyanotype Flowers in the Garden Margaret Campbell ARPS
This Job Is Pants Janina Nash ARPS
Cold Winter Birches Sue Brame LRPS 51
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Climate Crisis Dave Balcombe ARPS No. 101
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Tempest Frances Claydon
Arterial Branches Donna Gorin LRPS
Out of the Light Margaret Martin
Stairway Between the Escalators Andrew Smith LRPS 53
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RPS Creative Eye Group Magazine
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The Poppy Garden Denis O'Reilly ARPS
Into the Abyss Bernie Kelly ARPS
Flower in a Bubble Carol Walker
Stacks of Time David Harris ARPS 55
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Memories Through a Fractured Window Allisdhair McNaull Anemones Mike Williamson LRPS
Eryngium Burst Mary Auckland ARPS
Onwards and Upwards Andrew Sorrell 57
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Tin Can John Reed ARPS
Rags and Tatters Kirsten Bax LRPS
In the Frame Paul King LRPS
Alien Landing Veronica Worrall ARPS 59
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Enclosed
Sky High
Neil Scott FRPS
Honesty Gold Patricia Ness LRPS
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Andrew Kent
Breaking Out Joan Jordan ARPS
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The Conversation
Alignment
Steven Whittaker ARPS
Ian Booth
Towner Multiplied Kim Benson
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Sacred Geometry Rose Artkinson ARPS
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Confusing Keith Surey ARPS
Goldfinch Alighting Clive Watkins ARPS
Retail Geometry Michelle Richards
Palm Tree Beach Roger Ford FRPS 65
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The Train Approaching Platform 2 Does Not Stop Here Tim Walton LRPS
At the N59 ...Thinking of Escape Alex Sproule
Caught on the Wire Steve Bunce ARPS 67
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London Bridge Crowds (2023) George Betts ARPS No. 101
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Capel Salem Graphic Paul Raynor LRPS
Cafe Reflections David Baxter LRPS
The Artist's Workshop Colin Prickett ARPS Waiting Yvonne Connelly LRPS
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Fishing Boat John Chatley LRPS
Flowers in the Shade David Townshend FRPS
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Electric Geometry Margaret Rainey FRPS
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Preparing Lunch Peter Merrick FRPS
The Supplicants Peter Scott ARPS
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