RPS Germany Chapter eMagazine 1st Quarter 2024

UNDERGROUND PORTRAITS MUNICH'S UNDERGROUND

PHOTOGRAPHER: Wolfgang Strassl FRPS

IMAGE TITLE: Underground Portraits

CAPTION: With my Underground Portraits, I am exploring the unique social space of the London Underground. London is probably the most cosmopolitan city in the world, and this is vividly reflected in the London Underground where people of different age, social class, religion, color, nationality, education and sexual orientation are sitting and standing next to each other, coexisting as equals in all their diversity and individuality.

Thus, in the most cosmopolitan city, the London Underground is probably the most democratic social space. My Underground Portraits are celebrating this uniqueness.

About the cover image Get featured as well

Liked to be featured as well on the front page? Then please send us your favourite image, including the title of the photo, the place where you have taken it; and a short caption. We would love to hear what your motives were for this photo and what emotions it triggers in you. You can send us the photo as JPEG, TIFF or PSD file. Please make sure that the photo has a minimum resolution of 3000 x 3000 pixel and 300 dpi.

Of course, we also have to adhere to the regulations for data protection and the rights of use according to the copyright law. Therefore, we ask you to make a short statement in the email regarding the declaration of consent of the person(s) depicted and to allow us to use your photo.

Please use the following email address to send the photo: germany@rps.org

DEAR MEMBERS AND FRIENDS OF THE RPS GERMANY CHAPTER

Being published matters ...

Already three months have passed in the fledgling year of 2024. Once again, we’ve curated a plethora of captivating articles adorned with breathtaking images for our eMagazine. Spanning 86 pages, Wolfgang, Horst, and I delve into the depths of London and Munich’s underground, as well as the serene beaches of Texel, through our photographic endeavors.

The enthusiastic involvement of the German chapter in this quarter’s photo project brings particular delight. Eight members proudly showcased their photographic exploits from the previous quarter, igniting hopes for sustained growth in such participation!

March 12, 2024, marked the inaugural monthly Zoom gathering, boasting a robust attendance. Amidst a relaxed ambience, we delved into the submissions from our members, pondering over the curation of future exhibitions and the activities of our esteemed Germany Chapter.

Updates regarding the Royal Photographic Society’s headquarters and the inception of the “International Members” task force were also relayed to our members.

This serves as a poignant reminder of the significance of connectivity amongst members, transcending geographical barriers made feasible through online platforms.

Anticipation brims as we eagerly await the upcoming rendezvous in the nascent second quarter 2024.

Despite our members’ burgeoning involvement, complacency finds no harbour in our endeavours; instead, we strive for perpetual expansion.

In the ensuing weeks, an online survey will be conducted to uncover shared interests and further enhance offerings for our German Chapter members. Active engagement from all members is fervently hoped for in this endeavour.

In this vein, I extend heartfelt wishes for a fruitful and imaginative second quarter to all.

I eagerly await the infusion of your photos and contributions into the forthcoming eMagazine and Zoom gatherings.

For the Chapter Committee,

Chris Renk Chapter Chairman & Organiser

06

UNDERGROUND PORTRAITS

Wolfgang Strassl tells us about his unique photo project, which led him to London’s Underground.

36

THE BEAUTY OF MUNICH’S SUBWAY ARCHITECTURE

Chris Renk takes you to the most scenic subway stations on Munich’s underground line.

68

PHOTO WORK 1ST QUARTER 2024

In focus contemporary art, architecture and landscape photography.

IN THIS ISSUE

88

FACTS ABOUT THE GERMANY CHAPTER

Learn more about the current composition of the Germany Chapter and its members’ locations in Germany.

90

THE LITTLE THINGS YOU TEND TO OVERLOOK

Horst Witthüser speaks about his latest photo projects, which led him to the beach areas of Texel, Netherlands.

108

DATES & EVENTS

APRIL 2024 - JUNE 2024

Online Meeting, Release dates eMagazine, Webinars and Online Training of the Chapter.

UNDERGROUND PORTRAITS

Wolfgang Strassl

Underground Portraits © Wolfgang Strassl

UNDERGROUND PORTRAITS

WOLFGANG STRASSL FRPS

Discover with us what Wolfgang tells us in this article about his photo project, which took him to the London Underground and, specifically, to the trains of the Jubilee Line. Like his role model, Bill Brandt, Wolfgang decided to immerse himself in the world of Londoners and capture their daily commute on the underground in impressive portraits. The chosen angle makes this photo project all the more impressive.

With my Underground Portraits, I am exploring the unique social space of the London Underground. London is probably the most cosmopolitan city in the world, and this is vividly reflected in the London Underground, where people of different ages, social classes, religions, colour, nationality, education, and sexual orientation sit and stand next to each other, coexisting as equals in all their diversity and individuality.

Thus, in the most cosmopolitan city, the London Underground is probably the most democratic social space. My Underground Portraits are celebrating this uniqueness.

Apart from this, the Underground Portraits are a study in portraiture that explores what people’s visual appearance tells us about them, or rather what and how much we are able to see, recognise, and understand.

While the human face is usually the critical element of any portrait, I doubt that facial features reveal much about a person’s character. I think this is an illusion, and what we see in people’s faces is essentially our projection.

With the Underground Portraits, I am exploring what we see when looking below the face, where people’s visual appearance is largely determined by their conscious or unconscious decisions about how they want to appear.

They may fail to create the intended visual impression on others, and it is instead their intentions that become apparent, but this is equally revealing about who they are.

I call them Underground Portraits not only because they were taken on the London Underground but also because their focus is below that of most other portraits.

Wolfgang Strassl FRPS Underground Portraits

Wolfgang StrassL FRPS

Underground Portraits © Wolfgang Strassl

Wolfgang Strassl FRPS

Underground Portraits © Wolfgang Strassl

The Tube is a metaphor for London itself – so vast, diverse, and always moving.

The Jubilee Line, a thread connecting the heartbeats of London.

Wolfgang StrassL FRPS

Underground Portraits © Wolfgang Strassl

Wolfgang Strassl FRPS

Underground Portraits © Wolfgang Strassl

On the Tube, you can witness the entire spectrum of humanity in a single journey.

London’s Jubilee Line, a conduit for dreams, ambitions, and everyday life.

Wolfgang StrassL FRPS

Underground Portraits © Wolfgang Strassl

Wolfgang Strassl FRPS Underground

Underground Portraits © Wolfgang Strassl

There’s a certain magic in the Tube’s chaos, a symphony of movement orchestrated by the city itself.

Wolfgang StrassL FRPS Underground Portraits

Life is like the Tube, sometimes you’re stuck in the dark, but there’s always a light at the end of the tunnel.

Wolfgang StrassL FRPS Underground

Underground Portraits © Wolfgang Strassl

Wolfgang Strassl FRPS

Underground Portraits © Wolfgang Strassl

In the veins of London, the Jubilee Line flows with the energy of a metropolis in motion.

Wolfgang StrassL FRPS

The Tube teaches you patience; it’s a reminder that good things come to those who wait.

Wolfgang StrassL FRPS

Underground Portraits

Underground Portraits © Wolfgang Strassl

Wolfgang Strassl FRPS

Underground Portraits © Wolfgang Strassl

In the depths of the Tube, you find not just trains but stories waiting to be discovered.

Wolfgang StrassL FRPS Underground Portraits

Tracing the arc of London’s ambition, the Jubilee Line is a journey through the city’s soul.

Wolfgang StrassL FRPS

Underground Portraits © Wolfgang Strassl

Wolfgang Strassl FRPS

Underground Portraits © Wolfgang Strassl

Navigating the Tube is like a dance, everyone moving to their own rhythm, yet somehow in harmony.

Wolfgang StrassL FRPS

From the Thames to the East End, the Jubilee Line knits together the fabric of London.

Wolfgang StrassL FRPS

Underground Portraits © Wolfgang Strassl

Wolfgang Strassl FRPS

Underground Portraits © Wolfgang Strassl

About Myself

I have always been interested in social systems and how they determine the characteristics and conditions of human existence and, thus, my existence in this world.

This interest also determines my motivation as a photographer. I am fascinated by spaces and environments because they reflect certain aspects of human existence and our interactions within the prevailing social systems.

These spaces and environments sometimes present contradictions and inconsistencies that I sense and feel but cannot always fully recognise and express.

Photography grants me a deeper insight into these complex realities and my existence as a human being. It offers me a means of understanding and connecting with this world that exceeds my rational analysis. It allows me to express such insights in a way that I could not do in words or otherwise.

THE BEAUTY OF MUNICH’S SUBWAY ARCHITECTURE

MUNICH’S SUBWAY STATION ARCHITECTURE: A SYMPHONY OF BEAUTY UNDERGROUND

RENK

Munich, the capital city of Bavaria, Germany, is renowned for its rich cultural heritage, picturesque landscapes, and remarkable architecture. Beyond its charming streets and historic landmarks, Munich’s subway system unveils another facet of the city’s beauty. So come along and follow me in this article on my way through Munich’s underground, exploring some of the most scenic subway stations!

The Munich subway system, known as the U-Bahn, has a relatively young history compared to other European cities. Construction began in the late 1960s, and since then, the network has expanded significantly, now encompassing over a hundred stations. While newer stations exhibit contemporary design principles, older ones reflect the architectural trends of their respective eras.

One of the most striking aspects of Munich’s subway stations is their architectural diversity. From minimalist modern designs to stations adorned with intricate artwork and motifs, each stop offers a unique visual experience. For instance, the Marienplatz station in the city’s heart boasts modern and neo-Gothic architecture, featuring soaring arches and vibrant stained glass windows.

Munich’s subway stations seamlessly integrate with their surrounding urban landscape, enhancing the city’s aesthetic appeal. Many stations feature open-air courtyards, green spaces, and artistic installations that create inviting communal areas for commuters and pedestrians alike. The Westfriedhof station, for example, is adorned with colourful murals and surrounded by landscaped gardens, transforming it into a tranquil oasis amidst the bustling city.

CHRIS

In addition to their aesthetic appeal, Munich’s subway stations incorporate innovative design elements that prioritize passenger comfort and safety. Spacious platforms, ample natural light, and efficient way-finding systems contribute to a pleasant travelling experience for passengers. Moreover, sustainability is a key focus, with many stations utilizing eco-friendly materials and energy-efficient technologies.

While embracing modernity, Munich’s subway stations also pay homage to the city’s rich cultural heritage. Architectural elements inspired by Bavarian traditions, such as timber framing and ornate stonework, are prevalent in many stations. This fusion of past and present creates a sense of continuity and belonging, reminding passengers of Munich’s enduring legacy.

“Munich's subway stations are not just waypoints; they are landmarks in the journey of urban exploration.”

Underground Station Sankt-Quirin-Platz © Chris Renk

The Architectural Development

The mid-1960s

When the first tenders for underground stations were sent out to architectural firms in the mid-1960s, interest was relatively low.

Only seven submissions had to be evaluated by the judges.

The underground architecture was seen as neither interesting nor lucrative.

Simplicity and functionality were the principles of Munich's early underground station buildings.

In the Eighties

This attitude gradually changed in the eighties, and financial resources earmarked for the stations' design also increased.

Munich's early underground station buildings were based on simplicity and functionality. Bright, light spaces were designed to avoid a feeling of oppression in all stations.

In the early years, linear plans gradually gave way to curved line forms, and the character of the surface also began to be incorporated into the station design.

There were also changes in the materials: while artificial stone, fibre cement panels, and concrete were popular elements, in the beginning, steel, aluminium, and glass were now gaining importance.

© Buch 25 Jahre U-Bahn-Bau in München

© Buch 25 Jahre U-Bahn-Bau in München

Upon the Nineties

Partially elaborate designs of the platforms and the rear track walls characterise most of the more recent stations. High, pillarless station halls usually conveyed a bright and friendly impression of space.

With shallow depths, attempts were also made to incorporate daylight into the interior design.

Wherever this was impossible, they installed indirect lighting with reflectors on the ceilings to avoid the uniformity of earlier stations, which had long rows of fluorescent tubes.

Precisely calculated lighting concepts enabled lighting concepts with reflective walls and ceilings, which resulted in a lot of indirect lighting.

Westfriedhof

Underground Station Westfriedhof © Chris Renk

Station Description:

The Westfriedhof station is a popular photo motif for advertising agencies because of its lighting, designed by Ingo Maurer.

Imagine the Westfriedhof station, adorned with eleven grand luminaires, each with a diameter of 3.80 metres. These luminaires, in vibrant shades of blue, red, and yellow, create a stunning visual spectacle, dividing the platform area into a myriad of colours.

As you step into the Westfriedhof station, you’ll be greeted by a unique ambiance. The walls and ceiling are bathed in a cool blue light, creating a ‘cave’ like atmosphere, while the platform areas are bathed in a bright, welcoming light.

Despite the punctual lighting, there are no dark corners.

The left rough walls come from the only slightly treated milled slotted walls between which the station was excavated.

The rough surface is virtually the negative of the ground into which the walls were concreted.

Underground line: U2

Opening:

28 November 1993

Station Description:

The platform, which lies in a curve, is equipped with a row of columns in the middle of the platform.

These columns are clad with green enamelled metal sheets drawn outwards in a tree shape in the upper area, reminiscent of the Bohemian Forest that gives the station its name.

This “row of trees” spans almost the entire platform area.

The walls are clad with light blue sheet metal panels, which starkly contrast the bright green.

The ceilings are left in exposed concrete and merely painted in the same shade of blue as the wall panels.

Underground line: U4

Opening: 27 October 1988

Böhmerwaldplatz

Sankt-Quirin-Platz

Chris Renk The Beauty of Munich’s Subway Architecture

Underground Station Sankt-Quirin-Platz © Chris Renk

Station Description:

The St.-Quirin-Platz station is architecturally unique and equally unusual for the Munich underground.

It has an elaborate glass shell-shaped roof that spans parts of the platform and the centrally located ground-level counter hall.

The platform walls consist of rough and untreated bored piles.

The platform ceilings are covered with reflective aluminium panels, similar to those at Wettersteinplatz, to enable the tremendous spatial effect in these parts of the platform.

Underground line: U1

Opening:

09 November 1997

View of the glass shell-shaped roof from the platform looking up the stair way exit.

Station Description:

The basic idea of the station planning was using rectilinear surfaces and geometric shapes in angled structures.

The straight-lying platform’s octagonal columns are clad in shiny reddish granite, and the floor is covered with light-coloured tiles.

On the ceiling, a bright canopy of large reflector panels reflects the light from the lighting hanging below.

This consists of ordinary fluorescent tubes arranged at an angle, alternately tilted outwards and inwards.

The rear track wall is primed in turquoise, and above it are horizontally running support elements covered with mosaic glass tiles.

This arrangement is only interrupted by centrally mounted large support elements with red and blue mosaic tiles.

Underground line: U2

Opening: 20 November 1993

Candidplatz

Underground Station Candidplatz © Chris Renk

Station Description:

The station is named after the painter and sculptor Pieter de Witte, who was also known as Pietro Candid. In the 16th century, he created numerous works of art and altarpieces for the Residenz and churches in Munich and the surrounding area.

The platform, situated in a curve, has a central row of supports to absorb the earth and traffic pressure of the surface structures above; among other things, the Candid Bridge of the Mittlerer Ring crosses the station.

The entire platform area, including walls, columns, and ceilings, is painted in a rainbowlike colour gradient. It starts with violet at the north end and goes through red, yellow, and green to dark blue at the south end.

The central columns are clad in frosted glass to prevent the soiling of the columns and structure the coloured areas.

The unusual shape of the ceiling is due to a main sewer running above it. In principle, it would only have been necessary on one side, but for reasons of symmetry, it was designed the same way on both sides.

Underground line: U1

Opening:

09 November 1997

Station Description:

The platform is spanned by an imposing ceiling construction made of white aluminium panels.

These panels absorb the light from the two light strips and reflect it onto the platform, which is spanned like a bird’s wing.

The walls are clad with blue mosaic tiles framed with longitudinal triangular stainless-steel strips.

The bright red line of the U2 underground line has been impressively incorporated into the station design and serves as a colourful counterpoint.

Underground line: U2

Opening: 20 November 1993

Dülferstrasse

Chris Renk

Underground Station Duelferstrasse © Chris Renk

Station Description:

In the south-eastern platform area, the platform hall is considerably tall. wwwIn the lower area of the rear track walls are coloured rhythmic glass panels painted with rainbow colours of different widths.

The glass plates are grouped by metal bars mounted in front of which the line band signs with the station name are also attached.

A light-coloured ceiling screen begins above the glass panels, contributing to the station’s bright impression.

At the platform’s north-eastern end, a circumferential gallery of the barrier floor lets light down through openings in the ceiling.

Underground line: U2

Opening:

20 November 1993

Station Description:

The platform area is spanned by a bird’s wing-like roof structure made of corrugated anodised aluminium.

Two continuous light strips encased in stainless steel sheets are attached to this structure to diffuse the light onto the platform.

Like the ceiling, the lower section of the row of pillars running down the middle is clad with corrugated aluminium sheets to prevent soiling and provide a design accent.

The walls are clad with mosaics of white, light grey and blue glass tiles depicting architectural perspectives.

Underground line: U2

Opening: 20 November 1993

Frankfurter Ring

Chris Renk The Beauty of Munich’s Subway Architecture

Station Description:

Glass panels with texts and motifs from Gern’s district history are attached to the exposed concrete platform walls, which are blue-glazed.

The platform floor is covered with light granite, slightly reflecting the nine-light pyramids’ illumination.

The nine funnel-shaped lampshades give the impression of daylight coming through them from above.

Capture of the inside of one of the funnel-shaped lamps.

Underground line: U2

Opening: 23 May 1998

Station Description:

Located in a district that was, and to some extent still is, a social hotspot for many years, it may be surprising to find a magnificent example of underground architecture.

The planners created a building flooded with light and made of high-quality materials. The platform hall has a pillarless design, with light grey granite flooring that is dynamic and visually interesting, broken up by four rows of darker triangles in the central area.

The walls at the rear of the platform are large glass panels backed with glass fibre fleece, reflecting light. In the middle of the platform, a large mirror surface interrupts this glass front on both platforms, and a red line band of glass surfaces runs through the middle.

However, the most impressive part of the station is the lenticular reflector construction on the high platform hall ceiling.

Underground line: U2

Opening: 26 October 1996

Olympia Shopping Centre

Station Description:

The station is named after the shopping centre of the same name, which it directly adjoins. Like many buildings in the eastern part of Moosach, the “OEZ” was built during the Olympic boom and therefore bears this name.

The rear track walls are fitted with pyramidshaped stainless steel elements that reflect the light that hits them.

Ellipsoid-shaped struts are attached to the ceiling at half height, to which the platform lighting is attached.

Above this are blue-painted and illuminated walls and ceilings.

Underground line: U3

Opening: 28 October 2007

The Making Of ...

Photo Equipment

Camera

• DSLR (D850) w. (RRS) L-Bracket

Lenses

• Nikkor 14 – 24mm 2.8

• Nikkor 24 – 70mm 2.8

Tripod / Ballheads

• Gitzo 3 Tripod XLS (240cm)

• FML 58 Ballhead (60kg Load)

• RRS PG-02 gimbal tripod head

Accessories

• MC36 Remote Control

• X-Rite Color Checker

Software

• Adobe Lightroom (Image Database & Initial Editing)

• Adobe Photoshop (Editing & Nik Collection)

• Perspective Efix (part of Nik Collection)

Research Sources

Online

• https://www.mvv-muenchen.de/en/maps-stations/maps/index.html

• https://www.u-bahn-muenchen.de (only German language)

• 500px

• Flickr

Books:

• Subway Architecture in Munich – Christoph Hackelsberger (German and English)

• 25 Years Subway Construction in Munich – by the City’s Construction Department

Photography restrictions in Munich’s Subways

Commercial photography and filming

Written permission is required for all commercial photography and filming in the vehicles (underground, tram, bus) or the operating facilities (underground stations, MVG Museum, Info points, workshops, etc.).

Spontaneous snapshots (without a tripod) for exclusively private purposes are at the operational staff’s discretion but will typically not be objected.

Requests should be sent at least one week in advance via the contact form (listed below) or as an email to the appropriate office of the MVG.

You should provide the following information:

• What and where would you like to photograph/film.

• When and in which period you would like to photograph/film.

• Address and telephone number of the Photographer.

Online Contact form for Münchner Verkehrsgesellschaft GmbH:

• https://www.mvg.de/services/kontakt/formular.html

Homage to Munich’s Underground Lines

In the heart of Bavaria's vibrant soul, Where Munich's tales and legends roll, Lies a network, intricate and profound, Beneath the streets, the Underground is found.

From Marienplatz, the pulsing core, Lines stretch out, a labyrinth to explore. U1 to U6, each with its own tale, Threads of history, weaving through the vale.

U-Bahn whispers secrets of the past, Stories are etched in every station cast. U2's journey, through time it glides, Echoes of empires, where tradition abides.

U3, like a melody, soft and serene, Traverses the city, where memories convene. U4, a journey through modernity's gleam, Reflecting Munich's dreams in its seamless stream.

U5, U6, threading through the urban sprawl, Witnesses to change, standing proud and tall. U-Bahn's veins, connecting life's pulse, In Munich's embrace, where cultures convulse.

From Sendlinger Tor to Kolumbusplatz, Through the Underground, the city's heart trots. Marienplatz, the nexus, where journeys entwine, Each line is a story in Munich's design.

Homage to Munich's Underground Lines, A tapestry of tales where history refines. In every ride, a narrative unfolds, Where past, present, and future Homage to Munich's Underground Lines mould.

Final Words

The Munich Underground Line is more than just a network of tunnels and tracks— it reflects Munich's essence. Through its historical roots, cultural significance, architectural marvels, efficiency, sustainability, and role in fostering cultural exchange, the U-Bahn embodies the spirit of this vibrant city. As Munich continues to evolve and grow, the Underground Line will remain integral to its identity, connecting past, present, and future in a seamless journey through time.

MEMBER’S PHOTO WORK

Every quarter, Members are asked to send in their best photos of the current quarter to provide stimulation for the others.

1st quarter 2024

In the past quarter, our members were particularly active and covered a considerable distance in their travels. Additionally, almost all areas of photography were covered this time.

Whether it’s a portrait of street children in Kolkata by Wolfgang Strassl, the capture of a wetland habitat on one of Germany’s most beautiful islands by Siegfried, or Paul’s photograph of the Spinnaker Tower in Portsmouth at night.

Horst was once again on the hunt for longforgotten things and created an image for us of the remains of a bat long deceased.

Dietrich took advantage of the last frosty days to capture the special atmosphere in his garden.

Philip went on the hunt for contemporary art and captured an image of a tram, which points to developments in the field of urban mobility.

Eberhard changed perspective this time and photographed from the earth to the sky, capturing the “Four Towers in Koblenz” in the photo.

As for myself, I once again ventured into nature to capture the effects of the approaching spring in pictures.

Thanks to all the participating photographers of the German Chapter, who produced true works of art in the past quarter.

“Photography is the only language that can be understood and enjoyed by anyone in the world, regardless of their level of education, culture, or economic status”

- Sebastião Salgado

CHRIS RENK

Photographer

In the symphony of seasons, spring emerges as nature’s crescendo, a harmonious ode to renewal and rebirth. As winter’s frost retreats, the world awakens with a kaleidoscope of colours and fragrances.

Delicate blossoms adorn once-bare branches, painting the landscape with pink, white, and lavender hues. Once dormant, the earth now pulsates with life as tender shoots push through the softened soil, reaching towards the sun’s warm embrace.

Spring, a time of awakening and transformation, reminds us of the inherent beauty and resilience of the natural world. It is a season that whispers promises of hope and possibility, inviting us to marvel at the ever-renewing cycle of life.

Image title: Beauty of Spring

Image subject:

Nature Photography

Country: Germany

Embedded in a cast-iron egg lies a dead bat, which is already partially mummified.

The combination of colours from the rusty base, grey cast iron, withered leaves and the bat is what makes the photo so appealing to me.

Image title: Hidden Bat

Image subject:

Nature / Documentary Photography

Country: Netherlands

Photographer HORST WITTHÜSER AIPF FNPS

WOLFGANG STRASSL

Photographer

It was early morning in Kolkata in November last year. Diwali, the festival of lights was in full swing. I tried to make my way through the terribly crowded Mullick Ghat Flower Market underneath the gigantic Howrah Bridge by the Hooghly River.

Tucked away between huge plastic bags full of marigold garlands, I discovered these four boys sitting on the ground, bare feet and worn clothes, but with a large smart phone. While thousands around them were busy buying or selling flowers, they were totally raptured into a different and obviously fascinating digital reality.

It left me with so many unanswered questions. India is full of surprise and mystery.

Image title:

Koklata Digital Natives

Image subject: Street Photography

Country: India

The Spinnaker Tower is an observation tower in Portsmouth harbour and at a height of 170m gives a fantastic vantage point to see for many miles. The tower represents sails blowing in the wind, with sweeping metal arcs to give the tower its spinnaker sail design.

This particular shot was taken with my Fuji X100V camera on the other side of the harbour at a pub called ‘Spice Island’ which has a great view of both the tower and all of the ships as they head into port.

Image title: Spinnikar Tower

Image subject: Landscape Photography

Country: United Kingdom

Photographer

Photographer

SIEGFRIED RUBBERT

Once again, my wife and I spent a few days on our favourite island of Norderney. Only this time, unfortunately, the prevailing weather was rain.

On the other hand, the extensive rain led to this special motif of a dune landscape that I had never encountered in this form before.

A large expanse of water had formed in the middle of the footpath called the „Zuckerpad”.

Had this small lake formed due to the copious amounts of rain, or was the ground so saturated that the water table had risen to the point of being visible, or had the natural drinking water bubble beneath the island become visible on the surface?

I can’t answer this question definitively, but an unusual landscape motif temporarily emerged in which a small conglomerate of birch trees found itself in a small seascape instead of a sandy environment.

Image title:

Norderney Dune Landscape

Image subject:

Landscape Photography

Country: Germany

The glistening plants in the morning light lend the frosty November day an extraordinary atmosphere.

Frost crystals sparkle on faded roses, frostresistant house leeks, and other succulents.

It is fascinating how nature can produce so much beauty, even in cold months.

Image title: Frost

Image subject:

Nature Photography

Country: Germany

Photographer

DIETRICH MANZ

EBERHARD POTEMPA

Photographer

Irecently visited the city of Koblenz. There is, of course, a lot to see and photograph in Koblenz.

I learned the “Four Towers” while preparing for my short trip. The later “Four Towers” predecessor buildings were built in 1608. They all fell victim to the destruction of the Palatinate War of Succession in 1688.

The four buildings of the current ensemble were constructed in 1689, 1690, 1691 and 1692. Three buildings were damaged or destroyed in 1944 and rebuilt in 1950 and 1960.

The name “Four Towers” is derived from a richly decorated oriel attached to each house. Regarding architectural history, the houses can be placed at the transition from Renaissance to Baroque.

Image title: Four towers

Image subject: Architecture Photography

Country: Germany

Urban mobility is part of our lives and is always available to take us from one place to another. It is available in various forms and, together with the associated infrastructure, represents an essential pillar of public life.

Only one possible technical form is shown in the image. This is typical for urban mobility in our cities: always on the move, always available, hopefully convenient, and on time.

Image title: Urban Mobility

Image subject: Contemporary Art Country: Germany

PHILIP PEARCE

Photographer

Are you a member of the Germany Chapter and would like to submit pictures for the quarterly project “Members Photo Work” as well?

Here is a list of the deadlines for each quarter:

2ND QUARTER 2024: 30.06.2024

3RD QUARTER 2024: 30.09.2024

4TH QUARTER 2024: 31.12.2024

1ST QUARTER 2025: 30.03.2025

Please send us the photos with a minimum resolution of 3000 x 3000 pixels and 300dpi.

For the naming of the photos please use following naming convention:

FIRST3LETTERSOFYOURSURENAME_Q-NUMBEROFQUARTER-YEAR_IMAGETITLE.JPG

Each participant is responsible for compliance with the Data Protection Ordinance and the Copyright Act.

Participants please send the photos to the following email: germany@rps.org

FACTS ABOUT THE GERMANY CHAPTER

Learn more about the current composition of the Germany Chapter, its members’ locations in the federal states, its Distinction Holders, and the Special Interest Groups in which the members participate.

35 Members

3 Countries

THE LITTLE THINGS YOU TEND TO OVERLOOK – AT THE

THE BEACH

THE LITTLE THINGS YOU TEND TO OVERLOOK

– AT THE

BEACH

HORST WITTHÜSER AIPF FNPS

Walking along a beach as a photographer offers a unique and enriching experience that combines the joys of nature with the creative pursuit of photography. So did Horst when setting out to the beach, taking images for his newest photo project. In this article, he explains why he had chosen this project and the technique he utilised for it.

01 Saddle Oyster © Horst Witthüser AIPF FNPS

Many people love walking along the coast, watching the waves and enjoying the atmosphere by the sea. But you miss many things worth seeing if you don’t also look down - at the sand.

I like those little things you find there, with their different organic shapes.

Algae, jellyfish, seaweed, pieces of rope, washed-up objects - I’ve long been attracted to all of these as photo motifs.

In the meantime, however, I want to move away from purely documentary photography to images that reflect my feelings about the location.

With Photoshop, combining layers and influencing their respective pictorial power is straightforward. In this way, the object and the location come together differently.

I enjoy the Texel region twice or thrice a year at different times. It is a place of peace, leisure, and hours of walking combined with finding myself.

The Location

At the southern tip of the North Sea Island of Texel is a nature reserve that is rarely entered as it is also a restricted military area.

However, it is not a problem for individual photographers to stay there as long as no military installations or buildings are photographed. This stretch of beach is entirely untouched and is constantly changing due to the daily tides and strong winds. The area extends over approx. 5 km2 with dunes and sandy beaches. As the sea currents are strong here, a lot is deposited on the beach with every storm tide.

This turns my gaze more and more from the impressive landscape to the little things lying on the beach.

View of Texel Beach

The Concept behind

I have created two or more layers of photos

• The first layer consists of photos of the sandy surface with its structures and irregularities

• The second layer consists of the objects themselves

Of course, the photos had to be resized, rotated, and optimised for colour, brightness, and contrast.

The layers were combined using various intensities and luminosities.

I finally merged these two photos into a composite layer to create a new image that is alienated on the one hand but, on the other, makes the atmosphere on the beach feel even more intense.

Examples:

Here you see the first example:

and as a second example:

The little things you tend to overlook

09 Rotten Pumpkin © Horst Witthüser AIPF FNPS

Horst Witthüser AIPF NFPS

19 Blue Jellyfish © Horst Witthüser AIPF FNPS Horst Witthüser AIPF

“The ocean stirs the heart, inspires the imagination, and brings eternal joy to the soul.”

- Robert Wyland

The little things you tend to overlook –-

15 Olive-Brown Algae © Horst Witthüser AIPF FNPS

16 Japanese Berry-Seaweed © Horst Witthüser AIPF FNPS Horst Witthüser AIPF NFPS

“In every grain of sand, there is the story of the earth.”

- Rachel Carson

"The beach is not a place to work; to read, write or to think, but one only to enjoy, to breathe freely in the smell of the sea, and to let the spirit be lifted in the softness of the sand."

- Anne Morrow Lindbergh

02 Rabbit droppings © Horst Witthüser AIPF FNPS

Future/Outlook

Traces of shipping washed up by storm floods will form part of my next project. Ropes, bottles, lifebuoys and other flotsam and jetsam are the motifs I see before me.

This time, however, with old nautical charts as layers behind them.

http://www.wittography.de/

12 Half Orange © Horst Witthüser AIPF FNPS

CHAPTER EXHIBITIONS

Please revisit our exhibition page for the latest updates!

https://rps.org/chapters/germany/ exhibitions/ RELEASE

Here is an overview of the specific publication dates:

2ND QUARTER 2024: 05.07.2024

3RD QUARTER 2024: 05.10.2024

4TH QUARTER 2024: 05.01.2025

1ST QUARTER 2025: 05.04.2025

Links will be provided via email. If you arn’t a member of the DEU Chapter and wish to participate as well, please contact us via the following email: germany@rps.org

For upcoming meetings and events, please visit frequently our Chapter Page on RPS.org.

https://rps.org/germany ....

The Magazine will be published via email as well as on the RPS’s account on ISSUU.

Frankonian Forest Impression by Chris Renk

DEADLINES FOR PHOTO WORK

You would like to submit pictures to the quarterly project “Members Photo work”?

Here is a list of the deadlines for each quarter:

2ND QUARTER 2024: 30.06.2024

3RD QUARTER 2024: 30.09.2024

4TH QUARTER 2024: 31.12.2024

1ST QUARTER 2025: 30.03.2025

Please send us the photos with a minimum resolution of 3000 x 3000 pixels and 300dpi.

For the naming of the photos please use following naming convention:

FIRST3LETTERSOFYOURSURENAME_ QNUMBEROFQUARTER-YEAR_IMAGETITLE.JPG

Each participant is responsible for compliance with the Data Protection Ordinance and the Copyright Act.

Participants please send the photos to the following email: germany@rps.org

DEADLINES ENTRIES RPS JOURNAL

After the RPS Journal is published by an external company, the rules for contributions and the recording of events are more restrictive.

As an indication, a lead time of 2 months can be assumed to include articles in the journal.

If events of the German Chapter are published on the Chapter website under the heading Event, they are automatically included in the journal.

Here, the lead time is about one month before the journal’s publication.

Please note this when planning events and articles. ....

DEADLINES ENTRIES e MAGAZINE

Since the magazine is published by the chapter itself, we are very flexible regarding the time schedule for submitting texts, pictures, and dates for events.

We ask for enough time in advance to avoid complicating the editor’s life.

As a rule, the editor should receive contributions about 30 days before the publication date.

Otherwise, inform us that you need additional time to contribute.

Please take the publication dates from the adjacent column.

Frankonian Forest Impression by Chris Renk