RPS Germany Chapter eMagazine 2nd Quarter 2023

THE 50TIESA FASHION PHOTO SHOOT

MEYER-VITAL FROM A CONCRETE IDEA TO CHAMPAGNE

ANDRÉ

eMAGAZINE

About the cover image

PHOTOGRAPHER: Paul Joyce LRPS

IMAGE TITLE: Waiting for a train

CAPTION: Taken at München Hauptbahnhof. A station with great lighting, lots of long shadows and plenty of photo opportunities. I saw this gentlemen, sitting quietly, almost nodding off to sleep. He seem to be either waiting for his train to depart or perhaps waiting for a loved one to arrive. He suited the scene well and I just had to capture him.

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

©2023 RPS Germany Chapter - all rights reserved

Fuji X100 - ISO 200 - 23mm - f4 - 1/1250s

DEAR MEMBERS,

another quarter is over and we are happy to present you a new issue of our Chapter eMagazine.

Once again, we were able to win over a large number of authors who share their affinity for photography with us in the articles.

Be it Christian Weiß, who tells us about his enthusiasm for the fashion of the 50s, or our member in the far north of Sweden, Grahame Soden, who paid a visit to the famous Wood Hotel near his city.

Furthermore, our new chapter member Andre Meyer-Vitali tells us about his arduous path to ARPS distinction, which he describes with enthusiastic words and pictures.

Our sponsor MPB explains in his technical article how to capture emotions in photography.

So lots to read in the latest issue!

I also take the opportunity to draw your attention to the planned chapter webinars.

We will start with a webinar on copyright law, which will take place in September 2023, followed by a webinar on the fascination for waterfalls and a repeat webinar on the beauty of Munich’s underground stations.

Please visit our Chapter website or the Society’s events page for more details.

Regarding the tight staffing situation of our Chapter Committee, we are still looking for volunteers to get more involved in the organisation of the Germany Chapter.

That should be it again. We hope you enjoy browsing through the eMagazine and look forward to your feedback!

For the Chapter Board

Chris Renk, Chapter Organiser

PETTICOAT & FLOWER POWER

Christian Weiß tells us about his passion for Fashion Photography and how it developed into success.

42

PHOTO WORK

2ND QUARTER 2023

In focus contemporary art, architecture, sport and landscape photography.

SHORT STORY ABOUT 20-STORIES

Grahame Soden ARPS tells us a short story about “The Wood Hotel”.

IN THIS ISSUE

58

ARPS DISTINCTION ANDRÉ MEYER-VITALI

About the beauty and unexpected harmony between human-built structures and natural mutation.

82

DATES & EVENTS

JULY - SEPTEMBER 2023

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

74

TECHNIQUES - CAPTURING EMOTION IN PHOTOGRAPHY

A Guide provided by MPB for our Members.

PETTICOAT & FLOWERPOWER

Christian Weiß The 50ties - Fashion Shooting

First it was fun, then it became passion – the mid-century fashion has lost none of its fascination: Bobbing petticoats and ponytails or brightly coloured miniskirts and flashy polyester, sometimes sweet, sometimes shrill, sometimes elegant, sometimes daring.

Over time, my wife and I have accumulated a collection of about 150 outfits from the early 1920s to the 70s. So it made sense to use them for a vintage photo shoot.t the beginning, there was research.

Not only did I need the matching dresses and accessories, but also the appropriate make-up. But the right models also had to be found. Because I was using original dresses, the models had to be chosen not only according to their appearance but above all according to their figure. Zero size was not an issue. Instead,

I was looking for a variety of figures – petit and tall, slim and curvy. So we did several castings and fittings to find the right women who matched the look, dresses and attitude of my project.

CHRISTIAN WEISS

Christian

Sunbathing with elegance.

Christian Weiß

The 50ties - Fashion Shooting

Of course, the right locations had to be found. Here, ironically, I was helped by the fact that Würzburg was completely destroyed in 1945 and rebuilt in the 1950s.

So, I could fall back on many original locations and even my photo studio at the time was still originally furnished with a bar, except for the modern photo technology.

To create the right atmosphere for some images, I used my analogue camera and then scanned the images. This gave the pictures a slight vintage touch.

Despite all the preparations, the hardest thing was to create the right atmosphere. I searched in old books for inspirations that could help me.

Contemporary witnesses also helped me, such as the rubble women who had cleared the city of rubble after the war.

And Ilse Schiborr, who was a top model in Würzburg in the 1950s and 1960s and who gave me advice, as did my mother, who had worked as a clothes saleswoman in those decades.

Sweets for my sweets.

Christian Weiß

“Elegance is an attitude” - Karl Lagerfeld

Christian Weiß

The 50ties - Fashion Shooting

What emerged was a journey back in time to the buoyant era of the German economic miracle with its Fräuleins.

Soon this passion about the mid-century time turned serious: when the State of Bavaria held an exhibition in Würzburg about the post-war period and reconstruction of Germany, my pictures were exhibited as part of the supporting programme.

We organized the opening as show with a catwalk where the models wore the dresses that were also in the images.

Christian Weiß

The 50ties - Fashion Shooting

Christian Weiß

The 50ties - Fashion Shooting

Christian Weiß

The 50ties - Fashion Shooting

It was a success.

So I did a couple of vintage images, combining the models with classic cars or took a location in an amusement park. I was booked for several opportunities including press conferences or performances. Many of my images were printed in media and radio and TV reported on my exhibitions.

Cheeky sixties.

Style.

Christian Weiß

Confident.

eMAGAZINE / 2nd QUARTER 2023 / 025

Soden ARPS

Created by GRAHAME SODEN

A SHORT STORY ABOUT TWENTY STORIES

GRAHAME SODEN ARPS

Discover what our Swedish member Grahame Soden tells us about the newly built 20-story wooden Hotel in Skellefteå City, which is not far away from his hometown. In his story, he not only uses architectural photography to bring us closer to the hotel’s exterior, but he also uses his style of photography to tell us about the hotel’s interior.

Skellefteå Kommun is just down the road from me - there’s a bus every day from my village to Skellefteå city. The Kommun has an area of 10,000 sq km with a population of 75,000 of whom 33,000 live in the city.

A tiny population when compared to, say Greater Manchester, with its population of 2.8 million packed into just 1,300 sq km.

Yet, despite its small population, Skellefteå (pronounced “Shell-eff-tee-oh”) punches above its weight. It has an airport, a thriving professional Ice-Hockey team, and it is home to Northvolt, Europe’s first battery gigafactory.

In 2023 Northvolt began plans for aviation batteries plus green truck batteries capable of powering trucks

for 1.5 million kilometers. Due to their advanced recycling methods, Northvolt aim to source half of the raw materials for battery production from recycling by 2030.

In the nearby town of Boden (OK, Boden is 160 km from Skellefteå and in the next Kommun, but that’s “nearby” up here!) there is H2 Green Steel. This will be Europe’s 1st green steel plant, using hydrogen instead of coal, and production should start by 2025.

So being an innovative & progressive area, it was decided that Skellefteå would build a 20-story hotel. Out of wood.

It took just 5 years from proposal to opening on 14th October 2021. But I don’t think they wasted any time over the name, which is simply “ The Wood Hotel”.

Created by GRAHAME SODEN

It towers above everything else in the city centre and, at c75 meters, is one of the tallest wooden buildings in the world. Those 75 meters house 205 rooms, 3 conference rooms, 3 restaurants, and a roof-top bar + spa, plus the culture centre which has galleries, a museum, theatre, concert stages, and the new city library. The whole complex is called The Sara Kulturhus.

At c75 meters, it is one of the tallest wooden buildings in the world!

Created by GRAHAME SODEN

The hotel was built off-site as separate modules, which were then stacked together on site. The timber was mainly sourced locally, and all felled trees were replaced.

A technique known as “glulam” (glue laminated wood) was used to stick the timber together, and various supporting beams & joists are “cross laminated” (CLT) for strength. The resulting wooden structure will absorb more carbon than it emits.

A small amount of concrete was used on the roof, to minimise sway, and some steel was used to support generators, heating and AC units.

Created by GRAHAME SODEN

Created by GRAHAME SODEN

Created by GRAHAME SODEN

Created by GRAHAME SODEN

Created by GRAHAME SODEN

Of course, those basic facts & figures in no way prepare you for seeing the building in real life. It is so much more than just an hotel - it’s a great, welcoming cathedral with acres of honey-blond wood where all are welcome to enjoy the space, the peace & quiet.

Come in and eat your lunch, sit and think, paint a picture, read a book, enjoy the exhibitions. If you want to stay a while, then there is a hotel too.

I think that even the lady security guard was chosen to fit the surroundings - honeyblond hair and skin, 2 metres tall, gliding silently around the rooms.

Created by GRAHAME SODEN

Created by GRAHAME SODEN

Created by GRAHAME SODEN

Created by GRAHAME SODEN

Given the ambition, even a small community can reach out and touch its citizens, can make their collective lives a little better.

Created by GRAHAME SODEN

I’ve photographed a few events in Skellefteå over the years - the Ice Hockey, Winter Swimming, and the Swedish Masters Winter Sports, and a few of those photographs accompany this article too.

To photograph the Wood Hotel I visited near to the summer solstice and it was a beautiful, balmy, 30c. Skellefteå was at its best - Mediterranean climate, outdoor dining, kids & fountains, plus a digital Van Gogh exhibition.

I think everyone should spend at least a year in Lapland. It really is a different world, with a different pace. Proper winters, the Northern Lights, low crime, industrious & innovative population, good infrastructure, and some great restaurants.

Created by Grahame Soden

Created by Grahame Soden

Created by Grahame Soden

Created by Grahame Soden

I can honestly say that I do not think I’ve ever had a bad meal up here. It’s very much a “hunting, shooting, and fishing” location so expect to see local fish, elk, deer, and reindeer meat on the menu.

If you ever get to visit Skellefteå then I can recommend The Victoria Hotel, right in the city centre and there are dozens of restaurants & bistros, from street-food to gourmet. Prices around £20 - £80 per person plus drinks - be aware that alcohol can be eye-wateringly expensive!

Välkommen till Lappland!

Created by Grahame Soden

Created by Grahame Soden

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.

2nd quarter 2023

This quarter, the members of the Germany Chapter indulged their desire for travel.

Martin Gehrling again went in search of light motifs in his local area.

Eberhard Ootempa was drawn to the south of Portugal, where he captured the nighttime atmosphere of Porto.

Horts Witthüser was once again on the hunt for street art for us, where he immediately found references to the Illuminati.

Our member from the far north of Sweden, Grahame Soden, dived into the world

of macro photography this time and photographed an ant trying to move an object several times its size.

Chris Renk visited the north of Bavaria and photographed impressive buildings and cloud formations for us.

Our long-time chapter president, Siegfried Rubbert, was again on Norderney, one of his favourite islands, indulging his enthusiasm for Intentional Camera Movement photography.

A big shout-out to all the photographers and a big thank you for sharing their pictures with us!

- Mary Ritter Beard

Certainly, travel is more than the seeing of sights; it is a change that goes on, deep and permanent, in the ideas of living.

Photographer: Martin Gerling

Image title: Somewhere

Image subject: Art

Country: North Rhine Westphalia, Germany

Image title: Porto by night

Image subject: Night

Country: Portugal

Photographer: Eberhard Potempa

Photographer: Grahame Soden

Image title: Ant and Grape

Image subject: Nature Macro

Country: Sweden

Photographer: Horst Witthüser

Image title: Illuminati everywhere

Image subject: Street art

Country: Harz, Germany

Photographer : Siegfried Rubbert LRPS

Image title : Seascape

Image subject : Landscape-Photography

Country : Norderney, Germany

Photographer: Chris Renk

Image title: Birnbaum Observation Tower

Image subject: Landscape Photography

Country: Upper Frankonia, Bavaria, Germany

“Members Photo Work” as well?

Here is a list of the deadlines for each quarter:

3RD QUARTER 2023: 30.09.2023

4TH QUARTER 2023: 31.12.2023

1ST QUARTER 2024: 30.03.2024

2ND QUARTER 2024: 30.06.2023

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

You are a member of the Germany Chapter and would like to submit pictures to the quarterly project

ARPS: FROM A CONCRETE IDEA TO CHAMPAGNE

Andre Meyer-Vitali - ARPS

@ André Meyer-Vitali

Discover what Andre has to tell us about his challenging way to achieving the Royal Photographic Society’s Associate distinction.

I’ve been a member of the RPS Benelux for about a year, after joining a couple of events and some study group meetings, organised and guided by Janet Haines ARPS.

At those meetings, I got in touch with the concepts of distinctions and panels. Distinctions are rewards that one can receive in three different levels: L(icentiate), A(ssociate) and F(ellow).

They are rewarded depending on a submitted panel. Depending on the level one needs to fulfill certain requirements. For L, 10 pictures demonstrating various techniques are required.

The layout of the pictures in a panel is quite important. The L panel is where one would usually start.

However, I was hesitating between going for a Licentiate panel (demonstrating diversity and technique) and an Associate panel (demonstrating style and story).

I had followed many courses and practised many techniques and subjects before joining the RPS. What I felt lacking in my photography was not so much technique, but content.

@ André Meyer-Vitali

Andre Meyer-Vitali - ARPS

From a Concrete Idea to Champagne

Meyer-Vitali - ARPS

My goal is still to develop a more coherent and meaningful body of work, which consists of themes, series and stories. This is exactly what the Associate distinction is all about.

So, finally, I gave it a try and took a series of pictures to our study group meeting. One of my favourite themes is architecture.

Andre Meyer-Vitali - ARPS

From a Concrete Idea to Champagne

@ André Meyer-Vitali

The first feedback was a disaster: some good pictures, but no story, no theme, and no apparent intention - I missed everything that I was trying to achieve!

Incidentally, I was following a course by David DuChemin, which is all about intent ( The Compelling Frame).

Finally, I also understood the concept of the Statement of Intent (SoI) that is required for the A level.

You have to start with the SoI! Taking pictures comes second. And - very different from the L level - you have to demonstrate a consistent style.

Andre Meyer-Vitali - ARPS

From a Concrete Idea to Champagne

@ André Meyer-Vitali

Taking pictures comes second. And - very different from the L level - you have to demonstrate a consistent style. Well, that’s the theory and good practice, but some people were successful with writing the SoI after the fact... Nevertheless, I found it very helpful and inspiring to go shooting with a concept and style in mind.

It can help to look for views that otherwise might appear less interesting. So, I knew that I wanted to do “something” with architecture and cityscapes.

I also had a theory in mind that I wanted to translate into pictures for decades, but never managed before. This was the time to go for it.

Andre Meyer-Vitali - ARPS From a Concrete Idea to Champagne

@ André Meyer-Vitali

This theory is formulated in the book “The Savage Mind” by the French philosopher Claude Lévi-Strauss.

It was cited in the well-known book “Collage City” about (post-)modern urbanism by Colin Rowe. A specific passage in Lévi-Strauss deals with the relationship between structure and events.

Structure refers to the intentionally designed and built, while the events refer to the unplanned and unexpected things that happen spontaneously.

It is the interaction between these two concepts that creates exciting environments.

But how could one visualise such an abstract and generic concept?

Andre Meyer-Vitali - ARPS From

@ André Meyer-Vitali

@ André Meyer-Vitali

Andre Meyer-Vitali - ARPS

From a Concrete Idea to Champagne

@ André Meyer-Vitali

@ André Meyer-Vitali

@ André Meyer-Vitali

I had a concrete idea!

I would use the example of Brutalist architecture for my purpose. The term “brutalism” is wrongly translated -

it refers to the French term “béton brut” as Le Corbusier used it - raw concrete (no brutality involved).

The use of raw concrete is interesting in at least two aspects: the raw nature of the material invites environmental change, and the material can be shaped in any imaginable way, which often results in rather organic constructions.

Another inspiration came from a picture by Stephen Shore that I saw accidentally on Instagram: an industrial facade with plants growing all over. Now,

@ André Meyer-Vitali

Andre Meyer-Vitali - ARPS

From a Concrete Idea to Champagne

Thus, the relationship between the planned ideal and accidental modifications would become apparent in more than one way, as intended.

In terms of style, I wanted to step beyond the obvious. Again, inspired by David DuChemin, I went from colour to black & white and from 3 by 2 to square format.

This new way of composing liberated my pictures. Restricting myself to this style allowed me, at the same time, to see the subjects in a new light.

In combination with the post-processing, this style fits very well with the theme: Naturally Concrete

@ André Meyer-Vitali

Andre Meyer-Vitali - ARPS From a Concrete Idea to Champagne

A month after my poorly received first presentation of random architectural pictures at the study group, I came back with a statement of intent (see below) and a new set of pictures.

This time, the feedback was much more positive. My new panel was intended simply as an example of what I was trying to do, but it was far closer to a potential A panel submission than anything I had ever produced before.

Apparently, I was on the right track. It was now or never and the idea of an L panel was definitely left behind.

More pictures were made and the selection of the best ones only became more difficult.

Not only does one have to select perfect pictures, but they also have to fit in the panel and complement each other. The SoI was fine-tuned in many iterations.

Andre Meyer-Vitali - ARPS

@ André Meyer-Vitali

This process is the hardest part and the one which benefits the most from discussions in the study group. After selecting, printing and framing the pictures they had to be sent to Bath, just in time for the next assessment day.

The panel was accepted and I received confirmation a few days later. A bottle of Champagne was ready to be opened for the occasion!

Although the ideas and intentions were ripening for decades, the period from the first idea for a panel to a concrete result in terms of a submission was rather short.

It took less than half a year from conception to award. Sometimes, it can take ages before you’re ready, but there’s nothing to stop you when you are.

Andre Meyer-Vitali - ARPS

From a Concrete Idea to Champagne

@ André Meyer-Vitali

The support that I got from the study group and my wife and children was extremely important. The best way to learn is to try and get feedback. And, for me, learning and improving myself and my photography are extremely important.

I have learned a lot in this process and become a better photographer. Now, I’m ready for new challenges, again. Never stop learning...

Andre Meyer-Vitali - ARPS

From a Concrete Idea to Champagne

@ André Meyer-Vitali

ARPS HANGING PLAN

STATEMENT OF INTENT

Naturally Concrete

We make the world that we live in—at least, that’s what we believe. We create structures that organise our lives. We construct the buildings that we inhabit. Yet, not everything happens as planned. Our structures are subject to unpredictable events that modify them. The wrongly-named Brutalist architecture plays with the concepts of the raw matter and accidental events, as well as their juxtapositions and relations to organised structures (according to Lévi-Strauss [1]). The use of raw concrete enables free-form buildings that sometimes assume organic textures, patterns and shapes. Moreover, age and environmental conditions leave marks on the concrete buildings and assimilate metamorphosis. Raw concrete invites the symbiosis between built structures and events in nature.

It is my intention to show the beauty and unexpected harmony between human-built structures and natural mutation.

Andre Meyer-Vitali - ARPS From a Concrete Idea to Champagne

[1] Claude Lévi-Strauss, La Penséwe Sauvage, Librairie Plon, Paris, 1962

FACTS ABOUT THE GERMANY CHAPTER

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

36 Members

3 Countries

HOW TO CAPTURE EMOTION IN PHOTOGRAPHY

AN MPB GUIDE

Whether it’s to tell a story, set the scene or remember a fond feeling, one of the most important opportunities in portrait and documentary photography is to capture raw emotion.

As photographers, we are often in the room for special moments, or we bring to the table an idea that is closely linked to the study of human emotion. It is important that we honour these moments and concepts with the best techniques. From laughter and joy to contemplation and sadness, emotions can make a striking impression and relatability for viewers. Keep reading to learn how to hone in on emotion and help change the way we see the world.

Ask questions and connect with your subjects

In order to best tell a story fueled by authentic emotion, and properly decide on things like the environment, kit and compositions, get to know your subjects. Speak to them in a one-on-one manner, get details of their stories that they feel comfortable sharing, and use these small details to paint your work.

For instance, if they go on their balcony often to contemplate, perhaps place them there at a time that the light hits it just right to amplify their facial expressions of contemplation.

Photo documentarians must use their empathy to display it. Let your observations take your photographs to a deeper level where their individuality shines, they are in full focus, and they have control over the narrative that you facilitate.

Your photos will be more well-informed and responsible, and you’ll have more context for the artistic choices you make.

Allowing the subjects to get comfortable also might let them open up to you and your presence on-location, so that more candid moments will happen in a natural way. Emotion isn’t always shared easily.

Let the light lead the way

Light matters so much in communicating the right mood, so it is no surprise that lighting should be a priority in shooting emotional photography. If there is a sole subject, their entire face should be well-lit. If you are capturing many emotions of a crowd or group, the lighting should be even.

Whether it is in high contrast to reach a dramatic result, like using a spotlight or sun shining through trees, or even lighting, to evoke softness and to bring attention to details and skin texture, remember that light plays a huge role in the message. Backlighting, in most cases, doesn’t give us enough detail to convey emotion. Work with the light instead.

Be intentional with your kit

In a sea of kit options, emotional photography is best executed with some of the sharpest on the market that allows for detail, isolation of subject and background, and speed to be able to shoot on continuous modes without too much lag.

Classic portrait lens choices like Canon EF 50mm f/1.2 L USM and Nikon AF 85mm f/1.4D, or even a zoom like fashion photography-favourite 24-70mm would work perfectly well. But a focal length too far away might make the viewer feel detached from the subject unless it is a portrait tight in on the face.

Try a wide angle, and physically move closer in to get a documentary feel. Choose a camera body that is perhaps lighter weight to move around easier with. Change up gear, always, to explore possibilities and what feels right. Right now, we are loving Sigma 35mm f/1.4 DG HSM ART, Fujifilm XF 23mm f/1.4 R and mirrorless favourites Sony A7 III, Canon EOS R and Fujifilm X100V

Figure out your vision and follow it through

Have a story in mind or a visual plan before entering emotional environments, like protests or family events, to make sure that you don’t have to think as much on the fly about concepts.

When it’s time to execute, make sure to be ready and focus on observing. And, as always, don’t be afraid to move around to get the compositions you envisioned.

Take in the environment

Use the environment to tell a story as well. If you are working with someone’s living space, or a space that coincides with the emotional narrative, be sure to incorporate pieces of the environment in interesting compositional ways that aid the subject, not take away from them.

Shoot in continuous or burst mode, and just keep going

One of the virtues of photographers is patience—keeping our eyes open and observing for the perfect moment. But when that moment comes, you have to be ready to take in the wide range of emotions present that may never be repeated.

Be sure to set your camera on continuous mode, available on most contemporary digital systems.

Even though you’ll have more to cull through later, it’ll be worth it. Some of the best emotional scenes are in the in-between moments. Start shooting earlier, and right after a pose, where they might relax a bit. Just keep shooting.

Are you thinking about upgrading? Sell or trade in your camera kit.

MPB is the largest global platform to buy, sell and trade used photo and video kit. We are the simple, safe and circular way to trade, upgrade and get paid for kit.

Scan the code to learn more

CHAPTER EVENTS 2023

“HOW TO LICENSE YOUR PHOTOGRAPHIC WORK”

27 September 2023

18:30 - 20:30 CEST via Microsoft Teams Webinar

“THE FASCINATION FOR WATERFALLS”

25 October 2023

18:30 - 20:30 CEST via Microsoft Teams Webinar

“THE BEAUTY OF MUNICH’S SUBWAY ARCHITECTURE”

22 November 2023

18:30 - 20:30 CEST via Microsoft Teams Webinar

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

https://rps.org/germany

CHAPTER EXHIBITIONS

Please revisit our exhibition page for the latest updates!

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

RELEASE DATES FOR e MAGAZINE

Here is an overview of the specific publication dates:

3RD QUARTER 2023: 05.10.2023

4TH QUARTER 2023: 05.01.2024

1ST QUARTER 2024: 05.04.2024

2ND QUARTER 2024: 05.07.2024

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

Created by Paul Joyce - Green Chairs

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:

3RD QUARTER 2023: 05.10.2023

4TH QUARTER 2023: 31.12.2022

1ST QUARTER 2024: 30.03.2024

2ND QUARTER 2023: 30.06.2024

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 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.

DEADLINES ENTRIES e MAGAZINE

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.

Created by Paul Joyce - Peeling Paint

THE ROYAL PHOTOGRAPHIC SOCIETY