RPS Germany Chapter eMagazine II. Quarter 2021

TOP STORY

LANDSCAPE PHOTOGRAPHY THE ART OF SEEING THE BEAUTY

EQUIPMENT

HORIZON 202 PANORAMIC CAMERA

LOCATION GUIDE

eMAGAZINE 2ND QUARTER 2021

02 | COVER IMAGE About the cover image PHOTOGRAPHER: Chris Renk IMAGE TITLE: Oh, look who’s watching.

CAPTION: I took this photo on one of my trips to the island of Fehmarn. There I visited one of the many nature reserves, which has a wide variety of wildlife. Because most visitors photographed the frogs from a bird’s eye view, I decided to take a shot at eye level. For this, I used a telephoto lens with a focal length of 200-500 mm. Fortunately, the frog was also curious and followed my activities with great patience.

Most of the visitors were amazed to see me reaching around the pond on all fours. But no one dared to speak to me. When I moved on to the next photo location, I could see out of the corner of my eye that some visitors started doing the same!

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

EDITORIAL OFFICE Royal Photographic Society Germany Chapter Chris Renk Siegfried Rubbert Horst Witthüser ©2021 RPS Germany Chapter - all rights reserved

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DEAR MEMBERS, JOY AND FEAR This is how I would like to title the foreword for this issue of the new eMagazine. Fear and joy are the predominant feelings that determine our events, thoughts and actions in today’s times.

JOY that so many things have become possible again, that the Corona-related relaxations have brought back many freedoms such as travel, culture and mutual meetings and celebrations.

FEAR because many people are just the way they are and in their joy they ignore the caution that is still required.

Fear because many politicians for selfish motives disregard the necessary caution in their regulations once again too late or far too liberally.

JOY so that I am pleased to be able to comment on a very successful new eMagazine, which deals predominantly with the different aspects of the landscape photography.

Starting with the top issue, in which a master of landscape photography shares with us not only his excellent photographs, but also his passion for this genre, his motivations and a bag full of advice.

A truly masterful compendium that our Chapter Organizer Chris Renk has painstakingly crafted for us and I can say, virtually composed.

Paul Joyce follows with a delicacy of landscape photography and introduces us to a Russian panorama camera, whose contemporary black and white photographs nevertheless make you feel transported back to earlier times, when you rummage through old books for landscape illustrations and feast your eyes on them.

Our chapter member Eberhard Potempa presents himself and a number of wonderful photographs with the themes architecture, nature and aerial photography and tells us about his photographic career, his motivation, his favourite subjects and favourite places by means of the by now well-known eight questions.

Jonathan C.K. Webb flies with us over Germany - maybe even in the future together with Eberhard Potempa - and adds another genre of landscape photography to this magazine - this time from above - and shows us aerial views of various castles and manor houses spread all over Germany.

A photographically as well as thematically impressive little history lesson a feast for the eyes peppered with technical details of his flights and shooting techniques. Thus I wish you all many beautiful moments while browsing this new issue and may one thing prevail with you all : THE JOY Have a good time Siegfried Rubbert Chapter Chairman

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04 | 2ND QUARTER 2021

IN THIS ISSUE TOP STORY 06 | LANDSCAPE PHOTOGRAPHY The Art of Seeing the Beauty by Chris Renk

CRAFT & EQUIPMENT 38 | HORIZON 202 PANORAMIC CAMERA Paul Joyce LRPS reports about his experiences with the Horizon 202 Panoramic Camera.

PHOTO WORK 50 | 2ND QUARTER 2021 In focus, architecture, landscape, and abstract photography.

MEMBER’ INTERVIEW

EXHIBITION

62 | EBERHARD POTEMPA

72 | PROPORTION

Eight questions about his photographic career, preferences and experiences.

A Common Chapter Exibition during pandamic or the question whether it will ever happen?

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CRAFT & EQUIPMENT

DATES & EVENTS

76 | BEING AN AERIAL PHOTOGRAPHER

96 | AUGUST 2021 - SEPTEMBER 2021

Jonathan C.K. Webb gives an inside on his job as an Aerial Photographer.

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

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Landscape Photography The Art of Seehing the Beauty

LANDSCAPE PHOTOGRAPHY

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The Art of Seeing the Beauty

by Chris Renk

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Landscape Photography The Art of Seehing the Beauty

IN THIS ARTICLE, I WILL GIVES YOU A SMALL INSIDE OF MY THOUGHTS ABOUT LANDSCAPE PHOTOGRAPHY AND HOW I MASTER IT!

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“Every photographer has undoubtedly been involved with landscape photography at some point in time. Be it during a holiday trip or an excursion to a nearby location. Often rushing to see the area or landscape and trying to capture as many images as possible with their camera. “ “After the photographing the subjects, time could not move fast enough to develop the pictures to see the final result. In the end there was disappoint when you realise that the photos did not reflect the impressions at the scene.”

Does this description sound familiar?

If so, then this article might be just the right thing for you!

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At first, we have do clarify what Landscape photography is!

There are many definitions out there, but the most accurate description is as follows: • Landscape Photography shows spaces within the world, sometimes vast and unending, but other times microscopic.

• Landscape photographs typically capture nature's presence, but can also focus on human-made features or disturbances of landscapes.

As you can see, Landscape Photography isn't limited to mountains, forests or lonely places! Instead, Landscape Photographers enjoy a wide variety of subjects.

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It brings us to the next important question about Landscape Photography What’s the reason for it?

• Perhaps the most common is to recall a personal observation or experience while outdoors, especially when travelling.

• Others pursue it mainly as an outdoor lifestyle, to be involved with nature and the elements.

• Some as an escape from the artificial world!

For me, it is a mixture out of all three statements. Of course, the most important thing is getting a balance to the increasingly demanding workload of my job.

Being out in nature, I immediately can feel that my heartbeat is slowing down, and my thoughts are focused only on the beauty of the surrounding landscape, filled with the sound of nature!

Even more, I can feel this when I am out during the early morning hours when the sun slowly rises or late evening when the sun is gradually disappearing behind the horizon and the blue hour begins!

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I remember back to my first steps in landscape photography, which were marked by incredible frustration.

I must say that I did not make it easy for myself to use the images of the great masters of landscape photography, such as Ansel Adams or Michael Kenna, as a benchmark.

Only when I started to think about the aspects of a successful landscape photograph that my pictures improved.

In this regard, Herman Melville’s outburst comes to mind, who once said:

“It is better to fail in originality than to succeed in imitation!”

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Landscape Photography The Art of Seehing the Beauty

So, what are the aspects of successful landscape photography?

Depth of Field One of the most important aspects is the depth of field, which draws the viewer into the photo.

Here some tips about how to control the depth of field: • Narrow your aperture (larger F-Number).

• Move farther from the subject.

• Shorten the focal length of your lens.

• Apply the 1/3-2/3 Rule.

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Focal Point Another critical factor is the focal point, which determines whether a picture is interesting at all.

You can emphasise this focal point by using colour in nature or striking terrain points.

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Composition It is followed by the conscious arrangement of all picture elements according to the Golden Ratio (Rule of Third) rules.

All the other following aspects are used to distinguish the own picture from the pictures of other photographers.

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Sky The sky is a critical element to many landscape images.

Sometimes photographers don't over-think it and focus more on flashier subjects like mountains, lakes, and forests.

The sky is not only an enhancement but can be the main event unto itself.

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Light Light also plays a crucial role in landscape photos. Therefore Photographers should incorporate all types of lights based on availability.

Here a shortlist of which type of light could be used: • Natural Light.

• Day Light.

• Golden hour.

• Blue hour.

• Night.

• Artificial Light (Light painting).

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Filters The use of filters is one of the last steps to raise your images' quality to the true masters of landscape photography. Furthermore, in many situations, only the use of filters makes it possible to create high-grade photographs.

Here a short-list of available filter, used in landscape photography: • Clear and ultraviolet.

• Colour correction.

• Colour conversion (or light balance).

• Contrast enhancement.

• Infrared.

• Neutral density, including the graduated neutral density filter and solar filter.

• Polarising.

Everyone should note that the usage of filters must be practised, as this could also bring disadvantages.

Especially when using several filters at the same time, unwanted reflections, as well as exposure errors, can occur.

Nonetheless, despite the high effort involved in using filters, the resulting outcome is worthwhile.

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Experimentation Finally, after addressing a successful landscape image's essential aspects, I would like to invite all members to experiment.

The factors listed above can be understood as rules. But rules are there to be broken.

So try new techniques such as long exposures, deliberate blurring or the use of special-purpose made cameras (without low-pass filters, infra-red, etc.).

That's what allows the viewer to experience your interpretation of the landscape.

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Scope of the Photographic Equipment

In the following chapter, I would like to detail the necessary equipment for landscape photography.

I understand that this can be an expensive business, but with the current supply of reasonably good photographic equipment, anyone can get adequate equipment at a reasonable price.

Camera Let's start with the camera. Nowadays, all cameras, whether high-end or low-cost, cover the requirements for landscape photography.

The introduction of mirror-less cameras also offers an alternative for extreme weight reduction, which can be advantageous.

So there is no need to buy a an expensive camera.

What you should look out for, however, is the ease of use, ergonomically arranged controls, power consumption and the availability of different lenses, which should cover the wide-angle and telephoto range.

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Lenses That leads me to the next item of equipment, the lenses. Here, the question is whether to invest in the usually more expensive camera manufacturer lenses or to switch to third-party lenses.

For newcomers to landscape photography, these third-party lenses are a cost-saving way to determine whether this field of photography suits them at all.

Should the attraction for landscape photography persist, one could gradually equip oneself with first-class lenses, ideally with the same brand of the camera manufacturer.

I would suggest the following focal lengths. One lens with a length of 16 to 24mm and one telephoto

lens with a length of 70-200mm. These would cover a large part of the possible motifs and leave some room for experimentation.

If one were to devote oneself entirely to landscape photography, then I would advise the purchase of an ultra-wide-angle lens (14-24mm), useful for shots of waterfalls, forests as well as bridges and other architecture.

But be careful, with an ultra-wide-angle lens you capture many more image elements than with a standard wide-angle lens!

Of course, these have to be controlled and additionally arranged in the picture. That does not suit every photographer.

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Tripod & tripod head The next pieces of equipment, the tripod and the tripod head, are also essential.

is its low vibration transmission. As a result, you get sharp pictures in most cases.

Not that I belong to the group of photographers who insist on using a tripod for landscape photography. But to ensure depth of field and to get a good composition, the use of a tripod is extremely helpful!

Regarding the tripod head, we should note that the head’s type and functions should be adapted according to your needs. It is up to you whether you buy a ball head or a 2-D or 3-D Panhead. In terms of the total weight of your photo equipment, all of these factors need to be considered.

Furthermore, it is crucial to match the tripod and tripod head to your camera equipment! It doesn’t make sense to buy a tripod with a carrying capacity of 2kg if your camera with lens, for example, exceeds 4kg.

For example, I use the Ballhead CB-58 FTR from FLM (German Company), which can hold up to 60kg of weight and has a 15-degree panorama raster function.

By using carbon as a material, tripods’ carrying capacity has been significantly increased despite their low weight. Another positive effect of carbon

Together with my Gitzo Tripod, it forms a super base for my landscape shots, weighting together 5kg. I gladly accept the extra weight!

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Remote cable release

Batteries

The next piece of equipment I would like to mention is the cable release. For this, I use Nikon’s MC-36, instead of using the standard shutter release to avoid camera shake.

To conclude the chapter, I would like to point out that you should take a sufficient number of batteries with you.

Together with the mirror lock-up function, it results in tangle-free and therefore sharp images.

Fortunately, the latest cameras already offer built-in Bluetooth or W-LAN connections, accessible via all ordinary mobile phones, eliminating the need for an extra remote shutter release.

The new function of today’s cameras and the taking of long exposures lead to higher power consumption, which of course has to be satisfied.

Weather conditions and seasons also contribute to power consumption.

So always have enough batteries on hand!

Of course, these connections consume extra power in the camera and strain the charge status of your mobile phone, which could become a problem on excursions of several days far from civilisation!

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It is all about planning!

In the last chapter, I would like to talk about the importance of planning for landscape photography.

I refer to Ansel Adams’s statement, who once said that:

“You don’t take a photograph, you make it”.

I fully agree with Ansel Adams on this. It is the meticulous preparation of a shooting that guarantees a perfect and outstanding landscape photo!

Moreover, nowadays, you can easily access the necessary tools without paying for some of them.

I divided my preparations into three fields: the photo location, the environment and the weather.

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Locations I mostly use Google Maps and Google Earth to explore and determine the photo location.

I also make use of available databases and websites that specialise in photogenic places worth seeing.

Environment After deciding on a location, I find out about the different light conditions such as sunrise/ sunset, the course of the sun/moon and the Milky Way. Furthermore, I explore the presence of key terrain features and their position in relation to the sun and the moon. For this, I usually use the app “PhotoPills”, which you can purchase for a small fee for all standard mobile phone platforms.

Another beneficial tool is “The Photographers Ephemeris”, which is available as a web tool for all operating systems.

Weather Finally, I research the expected weather conditions, such as clouds, fog and expected precipitation. Here, too, I use freely available resources on the Internet or my mobile phone.

So you see, good preparation is no trick and can be done by anyone, even with limited resources!

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Checklist for great landscape photography

In summary, I would like to give you a short checklist with which you are guaranteed to create great landscape photos:

• Be prepared • Select a Mid-Range Aperture • Choose a Low ISO • Use a Tripod if You Need One • Shoot During the special Hours • Use a Photo Filter Finally, I would like to thank you for your interest in this article and wish you every success in your future landscape photography projects.

Sincerely yours, Chris Renk

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Horizion 202

by Paul Joyce Lrps

HORIZON 202 PANORAMIC CAMERA Paul Joyce LRPS www.follyview.com

I've been fond of panoramic photos for a long time and I think it comes from being amazed by the large wide-screens in cinemas showing expansive landscapes in movies.

More recently I've become a fan of Jeff Bridges fantastic work he creates with his Widelux film camera.

Such a camera goes for €1,000’s and are a bit out of my price range to try and delve into the world of panoramic images so I started to look elsewhere.

In the end I got lucky and found a Russian made Horizon 202 swing-lens panoramic camera for sale on eBay-Kleinanzeigen for €35.

It was deemed to be in working order and it was a low enough figure that it was worth taking a risk that it worked OK.

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Horizion 202

by Paul Joyce Lrps

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Horizion 202

by Paul Joyce Lrps

First made in the early 90's (mine is from 1992) the 28mm fixed-focus lens has an adjustable aperture from f2.8 to f16, and is mounted in a cylinder that can rotate at one of two speeds to create an impressive 120° degree horizontal field of view.

It uses a similar design to the more expensive Widelux and creates panoramic images by exposing a curved film plane from one side to another, as the lens pivots or swings from left to right.

Standard 35mm film is used to take images with a 2.4:1 aspect ratio and with a negative size of 24x58mm it means on a 36 exposure film you get around 22 photos.

The available shutter speeds are limited to 1/2–1/4–1/8, and 1/60–1/125–1/250s so you have to work with what you've got.

The build quality is nothing in comparison to the more expensive Widelux and the Horizon models have a hard plastic shell which covers the aluminum body however overall it’s an effective shield for the mechanics inside.

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Horizion 202

by Paul Joyce Lrps

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Loading Film The first challenge is to load film as the film needs to be fed behind and over some rollers before attaching to the take-up spool on the right-hand side. Inside the back cover is a small diagram giving you a reminder of how it should be done and after doing it a couple of times it does get easier

Shooting When looking through the viewfinder two things can be seen, a wide horizontal field of view and just below that, a large mirror that lets you view the bubble level - or spirit level which is mounted on top of the viewfinder which can be seen in daylight through its plastic shell.

This helps you to compose a photo and take the shot you want.

Get the bubble center and the photo will look like those taken from a traditional flat-plane panoramic.

Anything off-center you will see the curvature of the 120° view giving a distinct look.

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Horizion 202

by Paul Joyce Lrps

Optically the results are very good and if stopped down to f11 the lens gives an extremely sharp result and with careful composition and the choice of subject the resulting photos are excellent.

One word of warning is that you need to shoot with a slightly different holding style with your hands well away from the viewfinder or else your fingers will be in view!

Depending on the shutter speed of course the swinging lens will be relatively quick or will rotate slowly so you need to make sure you're both very still and keep the bubble level in the center until finished

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Horizion 202

by Paul Joyce Lrps

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Horizion 202

by Paul Joyce Lrps

Horizion 202

by Paul Joyce Lrps

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Sometimes looking through the viewfinder the image looked skewed and not straight, even though the bubble level was dead center.

I think this is because with such a wide view and looking through the viewfinder with one eye and no parallax correction the brain finds it difficult to judge what is level.

From my limited experience I have learnt to trust the spirit level.

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Horizion 202

by Paul Joyce Lrps

Experimenting Some may consider it wasting film but this is a camera you just have to experiment with and see what results you get.

Vertical panoramas of course are possible but you lose the ability to see what is level and you just have to trust your instinct and try things out.

The same goes for the curvature view mentioned earlier and it can be used to good effect to get some interesting images.

I'm still experimenting and so far I have only shot B&W film in the camera and during the lock down finally decided to teach myself how to home develop film and to start I used CineStillFilm Monobath Df96.

This is an all-in-one single-stop DeveloperFix solution and a 1 ltr container develops approx. 16 films. I'm happy with the results and like anyone developing film for the first time had a smile on my face when I saw that everything worked out and I could see some negatives! After drying, the negatives were then scanned using an Epson V550 flat-bed scanner I have some ideas to use this camera for a project/zine and will hopefully start work on it as soon as I can get out more and start shooting on a more regular basis

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Horizion 202

by Paul Joyce Lrps

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Horizion 202

by Paul Joyce Lrps

Horizion 202

by Paul Joyce Lrps

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Conclusion The Horizon 202 camera has a lot to offer to many different types of photographers.

It's big, strange looking and a little heavy at 910g but if you like panoramic, landscape or experimental photography this camera is something you will probably enjoy and have fun with.

It's great that there are cameras that enable a photographer to shoot in different perspectives.

References Jeff Bridges https://jeffbridges.com/photography Horizon 202 - Detailed specs/info/history http://cameras.alfredklomp.com/horizon202/ Horizon 202 - Manual http://www.zenitcamera.com/mans/horizon202/horizon-202-eng.html Horizon 202 Panoramic Camera Shutter Action - https://youtu.be/a8knbwHbMAI CineStillFilm Monobath Df96 https://cinestillfilm.com/products/ df96-developer-fix-b-w-monobath-singlestep-solution-for-processing-at-home

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2nd Quarter 2021

MEMBER’S PHOTO WORK 2nd quarter 2021 Every quarter, Members are asked to send in their best photos of the current quarter to provide stimulation for the others.

Here the accumulation of member’s photo work, taken during the 2nd Quarter 2021

Photographer: Siegfried Rubbert LRPS Image title: Industrial Sculpture Image subject: Minimal PhotographyCountry: Germany

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2nd Quarter 2021

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Photographer: Martin Gerling LRPS Image title: Round Image subject: Contemporary Country: North Rhine Westphalia, Germany

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2nd Quarter 2021

Photographer: Ute Gerling Image title: Frozen soap bubble Image subject: Contemporary Country: North Rhine Westfalia, Germany

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2nd Quarter 2021

Photographer: Grahame Soden, ARPS Image title: Still Water Image subject: Landscape Photography Country: Sweden

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2nd Quarter 2021

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Photographer: Horst Witthüser LRPS Image title: original and copy Image subject: Contemporary Country: Iserlohn, Germany

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2nd Quarter 2021

Photographer: Chris Renk Image title: The Three Observers Image subject: Architecture Photography Country: Munich, Germany

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Eberhard Potempa

Eberhard Potempa

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CHAPTER MEMBER INTERVIEW Eberhard Potempa Today we welcome our member Eberhard Potempa for a Chapter member interview.

Eberhard has been a member of the Chapter since 01. Jannuar 2014 and serves as thhe Chapter’s Cash Auditior Let’s see what he answers to our questions!

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Question No. 1: How did you get into photography?

My father worked for decades for the company ROBOT, which is now a wholly owned subsidiary of Jenoptik AG. I had a 35 mm camera from this company in my hands when I was a little boy. At the age of 18, I had my first contact with analogue photography.

At that time, I mainly took my camera with me on holiday and captured people and landscapes in pictures. With the advent of digital photography, I expanded my photographic knowledge more and more.

Question no. 2: Who are your photographic role models?

I have no photographic role models who have influenced me in a special way.

However, I like to look at the two books “Perfect Photos with System” and “Perfect Light with System” by Roberto Valenzuela, world-renowned photography trainer and best-selling author..

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Eberhard Potempa

Eberhard Potempa

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Eberhard Potempa

Eberhard Potempa

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Question no. 3: What do you like to photograph most?

I like to photograph landscapes on my holiday trips and people in foreign countries.

But also my 4 grandchildren are photographed as often as possible and every year I create an individual photo book that each grandchild gets as a birthday present. I pay special attention to detail shots.

A long time ago I discovered how colourful rusty metal looks in the sunlight.

As a long-time hobby pilot, I also have the opportunity to photograph landscapes from a bird’s eye view and then compose them on the screen.

The camera is with me on every flight! It is only now, in Corona times, that I have taken up abstract photography ICM and discovered a new photographic field of activity for myself.

Question no. 4: Is there anything you don’t like to photograph at all?

Since I am very broadly positioned photographically, it is difficult for me to say what I don’t like to photograph at all.

For lack of suitable equipment, I have refrained from taking underwater pictures so far. But what is not yet can still become ...

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68 | MEMBERS INTERVIEW |

Eberhard Potempa

Question no. 5: How do you approach a shooting? Do you choose the location/subject in advance, or do you just drive blindly somewhere and start taking pictures?

Rather rarely do I have a specific motif in mind and go there several times, e.g. to test the best light conditions and the suitable location.

Quite often the motif “spontaneously appeared” and I try to put it in the right light.

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Question no. 6: Are there a few dream places you would like to photograph?

Within Europe, I’ve already seen a lot of beautiful places and I’ve let off steam photographically there.

Outside Europe, there are so many dream places that would attract me.

For example, the Grand Canyons in the USA, Uluru (Ayers Rock) in Australia and the natural landscape of Patagonia in South America, to name just a few.

Eberhard Potempa

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70 | MEMBERS INTERVIEW |

Eberhard Potempa

Question no.7: How necessary is high-quality equipment for you?

So far, I have not attached importance to high-quality equipment.

I shoot with a full-frame camera and a standard lens and try to avoid changing lenses as much as possible.

That certainly sounds a bit conservative, but I get along very well with it for my needs.

Question no. 8: What 3 tips would you give to someone who is just getting interested in photography?

1. It is very important to develop a good eye for the lens to be photographed. a template with an open area (2:3) can be very helpful in determining the correct photographic detail.

2. Develop an enjoyment of photography and start with not too much equipment. The more photos that are taken and admired by friends, the more likely you are to want to improve, and this can develop into a passion.

3. Contact like-minded people as early as possible to exchange ideas and learn from others.

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Eberhard Potempa

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“Thank you, Eberhard, for giving us an insight into your photographic motivation and inspiration.”

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72 | EXHIBITION |

Proportion

PROPORTION

Common Exhibition of the Germany Chapter during the pandemic

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Proportion

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74 | EXHIBITION |

Proportion

WILL THE EXHIBITION TAKE PLACE AFTER ALL? That is what the German Chapter asked itself for after the 3rd postponement of the exhibition date. It was 2019 when the Chapter set the theme “Proportion” for its next Exhibition in 2020.

Months of waiting followed. The mood within the Chapter fluctuated with the CORONA case numbers. Twice a new date was set, but these had to be postponed again and again because of high CORONA case numbers.

At first, the preparations went exceptionally well, almost too well! The invitations and press releases had already been sent out and published.

After almost a year of waiting, the members were all the happier when a new date for the Exhibition appeared to be feasible.

The gallery services were distributed among the members, and the setting up and dismantling of the Exhibition was completed.

With great enthusiasm, everyone went hand in hand into the final preparations for the Exhibition, which finally took place in the HAGENRING Gallery from 30 May to 27 June 2021.

But then the pandemic hit, and with it uncertainty. With a heavy heart, the German Chapter had to cancel its Exhibition at the last moment and postpone it indefinitely.

Despite the expected low turnout, all members agreed to hold the Exhibition after all to quench the thirst of the population for culture.

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Proportion

The theme of proportion, in particular, provided a tremendous impetus for interpretation by the participating photographers and the visitors to the Exhibition.

The 60 photographs exhibited showed a variety of different motifs. Be it the size ratio between one or more objects or the number or quantity of a group or part of something compared to the whole!

PROPORTIONEN Royal Photographic Society - Germany Chapter

30. Mai bis 27. Juni 2021 Anthony Cutler - Hösbach Martin Gerling LRPS - Fröndenberg Ute Gerling - Fröndenberg Dr. Nikolaus Grünherz - Hagen Andreas Pfeiffer - Backnang Eberhard Potempa - Hagen Chris Renk - Garching Siegfried Rubbert LRPS - Hagen Eberhard Vogler - Wuppertal

After the Corona case numbers at the beginning of the Exhibition made it impossible to hold a vernissage, the Chapter decided to have a finissage.

This was the first big meeting of the Chapter members for a long time and was, of course, celebrated by an extensive round of talks in a large circle!

To sum up, the Exhibition was a complete success despite all the difficulties! For the art lovers as well as for the photographers of the German Chapter!

True to the motto of the Chapter: To exhibition matters!

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Bitte beachten Sie bei Ihrem Besuch die dann geltenden Sicherheitsvorschriften.

Der Besuch unserer Galerie ist für eine begrenzte Besucheranzahl mit Mund-/Nasenschutz möglich.

Um die erlaubte Personenzahl im Ausstellungsraum nicht zu übersteigen, könnte der Einlass geregelt werden - bitte, rechnen Sie mit Wartezeiten.

BUND BILDENDER KÜNSTLER HAGENRING E.V.

HAGENRING-Galerie HAGENRING e. V. Wippermann-Passage · Eilper Straße 71-75 58091 Hagen · www.hagenring.de

Do und Fr von 17-19 Uhr So von 11-13 Uhr

u. n. Vereinbarung unter 02331 - 3 49 49 40

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76 | CRAFT & EQUPMENT |

Being an Aerial Photographer

by Jonathan C.K. Webb arps

BEING AN AERIAL PHOTO

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Being an Aerial Photographer

by Jonathan C.K. Webb arps

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OGRAPHER ...

Jonathan C.K. Webb ARPS

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Being an Aerial Photographer

by Jonathan C.K. Webb arps

Being an aerial photographer is a strange mix of skills and interests.

In my own case I have a passion, verging on obsession with history but also a keen interest in aviation, architecture and landscapes.

I combine all these interests by focusing exclusively on aerial photography which affords a unique perspective for observing the world around us, or in my case below me.

Much of the world is chaotic, cars strewn around a car park or houses built higgledy piggledy in an apparent random fashion around a village.

In such a haphazard world, islands of order and symmetry stand out which is why aerial photographers are particularly attracted to them. Its the draw of the unusual, the fascination of the not normal. Here is a little collection of symmetry grabbed from our chaotic world.

First up is Schloss Schwetzingen , a spectacular 18th century palace built for Kurfürsten Karl Philipp and Karl Theodor.

I’ve wanted to photograph it for years but have had to wait for the rare combination of cloudless blue skies and an available aircraft.

Eventually the planets aligned and my luck was in. It a hot sunny day, very hot. I didn’t realise how hot until we got to the end of the runway and found we were only just clearing the trees.

We were two up in a small 2 seater aircraft, fully loaded with fuel and cameras. As we very slowly edged above the trees I was regretting filling the fuel tank to full and there were several tense minutes as I feared a downdraught might push is down into the trees or the River Rhein just beyond them.

Fortunately after a little uncertainty we soon got to a safe height and when we hit 1000 feet I breathed a sigh of relief.

The initial drama was soon forgotten as Schloss Schwetzingen came into view.

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by Jonathan C.K. Webb arps

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Being an Aerial Photographer

by Jonathan C.K. Webb arps

Being an Aerial Photographer

by Jonathan C.K. Webb arps

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Schloss Nordkirchen, often referred to as the “Versailles of Westphalia”.

It was built 1703 to 1734 and is one of the largest moated palaces in NRW. Its also one of the most often photographed subjects, including by many passing aviators and I wanted something a little different to most of them, so I chose to photograph it from some distance away using a long lens.

It gives the impression of flying low, without the dangers of low flying. Its a little tricky to manage as a 300mm f2.8 takes up a lot of room in the confines of a small plane.

It also needs to be taken at just the right moment. Travelling at over 100 mph shooting a second too early or a second too late is noticeable in the photograph.

I wonder if Henri Cartier-Bresson considered aerial photography when he talked about the decisive moment. Its a bit like clay pigeon shooting, track the target and press the button.

The only difference is the clay pigeon shooter can shoot anywhere along the track but for this sort of aerial photograph the shot can only be taken at one point along the track.

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Being an Aerial Photographer

by Jonathan C.K. Webb arps

Schloss Benrath, Düsseldorf.

Schloss Benrath is a Baroque Palace constructed between 1755 and 1770 for Kurfürsten Karl Theodor von der Pfalz.

Shooting it from the air has its own special problems.

Its a residential area so shooting with drones is not allowed and the area is very close to controlled airspace for Düsseldorf Airport so we can’t fly around hither and thither.

As long as we don’t wander off to the north , or climb too high we can shoot it during daylight hours without a special clearance

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Being an Aerial Photographer

by Jonathan C.K. Webb arps

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Being an Aerial Photographer

by Jonathan C.K. Webb arps

Being an Aerial Photographer

by Jonathan C.K. Webb arps

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The Herrenhausen Garden, Hannover.

The garden had its origins in the 17th century Kitchen Garden for Schloss Herrenhausen which were extended through the years with most of what we see today being laid out under the directions of Sophia of Hanover.

Sophia was the wife of Ernst August von Braunschweig-Calenberg , Duke of Braunschweig and Lüneburg.

Sophia died in June 1714 and had she lived a couple of months longer would have been Queen of England.

As it was, her son inherited the throne as George I.

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Being an Aerial Photographer

by Jonathan C.K. Webb arps

Kurfürstliches Schloss, Koblenz.

The Kurfürstliches Schloss was built in the 18th century as residence of the Archbishop Trier.

I had a stroke of luck in being able to photograph it in 2011 during the Federal Horticultural Show which makes for a wonderful photograph.

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Being an Aerial Photographer

by Jonathan C.K. Webb arps

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Being an Aerial Photographer

by Jonathan C.K. Webb arps

Being an Aerial Photographer

by Jonathan C.K. Webb arps

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New Palace, Stuttgart.

The New Palace was built by the Duke of Württemberg at the end of the 18th century.

On of the disadvantages of aerial photography is almost all of it is taken in the summer months and unfortunately that’s the time much building work is carried out.

Many times I fly to something interesting only to find it covered by scaffolding. At least in this photo, the scaffolding is at the side.

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Being an Aerial Photographer

by Jonathan C.K. Webb arps

Schloss solitude, Stuttgart.

Schloss solitude was built for the Duke of Württemberg between 1764 and 1769.

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Being an Aerial Photographer

by Jonathan C.K. Webb arps

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Being an Aerial Photographer

by Jonathan C.K. Webb arps

Being an Aerial Photographer

by Jonathan C.K. Webb arps

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The Zwinger, Dresden.

The Zwinger was designed by Matthäus Daniel Pöppelmann as an orangery and constructed between 1716 and 1728, on the site of a medieval fortress, for Friedrich August I of Saxony, (aka August the Strong).

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Being an Aerial Photographer

by Jonathan C.K. Webb arps

Moritzburg Castle.

Moritzburg Castle was built in 1723–1733 on behalf of Friedrich August I of Saxony, aka August the Strong, on the site of a 16th century hunting lodge.

One of my favourite subjects it is simply stunning from any angle. This another one I took with the long 300mm lens to give the impression of low flying while still being at a safe distance.

Working with a big heavy camera and lens is challenging as the air is very unstable , especially in summer. The result is we are thrown around quite a bit. Its nothing like flying in a commercial airliner and more like being on a rough sea in a rubber dinghy!

At the time I shot this, there was a minimum flying height of 2000ft , but this has since been reduced to the EU standard of 1000ft over towns and 500ft over the country.

I usually work between 1000ft and 1500ft as this is a comfortable and safe working height. Any higher and its difficult to spot interesting things to photograph.

Before each flight there is a huge amount of planning to decide what will look interesting from the air. I usually spend several days making up a shooting list which I plot on a moving map.

Despite having many preprepared subjects, a lot of what I shoot is unprepared and simply because I have spotted something interesting while flying over it. The wonderful thing about taking aerial photography is you never know what you are going to see next. I am as exited by flying now as when I started in the 1990s and I hpe to be flying many years into the future.

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by Jonathan C.K. Webb arps

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96 | DATES & EVENTS |

April 2021 - July 2021

CHAPTER EVENTS 2021

CHAPTER EXHIBITIONS

RELEASE DATES FOR eMAGAZINE

AGM (HYBRID)

Please revisit our exhibtion page for the latest updates!

As already mentioned in the foreword, we plan to publish the Magazine quarterly starting in January 2021.

13. November 2021 (planned) https://rps.org/germany/proportion/ Dortmund U Leonie-Reygers-Terrasse 44137 Dortmund Timings and any further information will be published on our Chapter event page on RPS.org

....

This will take place on the 5th day after the end of the respective quarter.

Here is an overview of the specific publication dates: 3RD QUARTER 2021: 05.10.2021 4TH QUARTER 2021: 05.01.2022

For registration, please email to: 1ST QUARTER 2022: 05.04.2022 germany@rps.org 2ND QUARTER 2022: 05.07.2022 For any other upcoming meetings, please visit frequently our Chapter Page on RPS.org.

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

https://rps.org/germany Here the link: .... https://issuu.com/ royalphotographicsociety

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April 2021 - July 2021

DEADLINES FOR PHOTO WORK

DEADLINES ENTRIES RPS JOURNAL

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

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

Here is a list of the deadlines for each quarter: 3RD QUARTER 2021: 30.09.2021 4TH QUARTER 2021: 31.12.2021 1ST QUARTER 2022: 31.03.2022 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

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

Events of the German Chapter are automatically included in the journal if they are published on the Chapter website under the heading Event.

Here the lead time is about one month before the publication of the journal.

Please note this when planning events and articles.

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DEADLINES ENTRIES eMAGAZINE

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

In order not to make the editor’s life too complicated, we ask for a sufficient amount of time in advance.

As a rule, contributions should be received by the editor about 30 days before the publication date.

Otherwise, simply inform us that you need some additional time for the creation of a contribution.

The publication dates, please take from the adjacent column.

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

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THE ROYAL PHOTOGRAPHIC SOCIETY

GERMANY CHAPTER