DI ONLINE NOVEMBER 2025
| COVER IMAGE |
COVER IMAGE ALL ABOUT THE COVER IMAGE
The Photographer: Ian Boulton LRPS The Image Title: Paper Pattern 2 About the Image: This is from a series of ‘Paper Pattern’ Images. They are of pieces of coloured paper, placed on a light box and taken with a mobile phone, using Blend Camera app. They were then given post production in Snapseed.
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Editor DI ONLINE: Melanie Chalk Contact: dionline@rps.org
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CONTENTS
CHAIR’S CHAT
4
EDITOR’S WORDS
5
DI MONTHLY COMPETITION
6
T-W-T 2026
10
DI WORKSHOPS 2026
11
DIGITAL IMAGING COMPETITION
13
A MEMBER WRITES
20
NEW MEMBERS
28
E-CIRCLES
30
A MEMBER’S STORY
36
ACCOLADE
43
AI COMPETITION
44
BILLETTO AND NOTION
50
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|CHAIR’S CHAT|
CHAIR’S CHAT
THOUGHTS FROM THE CHAIR I’m often asked about the difference between DIGIT (our quarterly print and online publication) and DI Online (our online-only publication released in alternate months). This issue of DI Online really highlights the distinction: DI Online focuses on our members - their stories, achievements, and images. While DIGIT features inspirational articles spanning a range of genres each quarter. In this issue of DI Online, we present the results of our most recent competitions. The winning images are showcased beautifully, and in some cases we’ve included comments from the photographer - or authors, in the case of AI-generated work. With three competitions featured, the variety and quality on display are truly fascinating. We are also approaching our annual flagship competition, the Print Portfolio (see page12 for details). This competition culminates in a DI exhibition in book form. The top 30 images are selected for inclusion, and each of those members receives a bound Portfolio 2026 book. All entrants receive a catalogue edition. We hope as many of you as possible will take part - you have to be in it to win it! .
DI Online also features member stories, and this issue includes two excellent examples. These articles highlight the depth and diversity of our members’ work. If you have something you’d like to contribute, please contact Melanie, our DI Online Editor. In total, DI produces four publications: • DIGIT – latest copy can be found HERE • DI Online – past issues can always be accessed via the web page • Accolade, which celebrates members’ Distinctions. Latest copy HERE • DI Pulse, produced monthly and lists all upcoming webinars, workshops, and competitions, with each listing linked directly to the relevant booking or information page. The most up to date copy can always be found HERE Whether you are DI full or online member all these publications are available to you. Full members get printed copies of DIGIT; all other publications are online only. I would heartily recommend you book-mark these four pages so you can always find them in the future. Regards Janet
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EDITOR’S WORDS This issue is a true celebration of our members’ competition successes, featuring results from three different contests alongside the winning images. Following the impressive performance of one of our newest DI members in the Digital Imaging competition, I invited him to share his photographic journey. Enjoy his engaging story and superb images. Peter Taylor-Medhurst’s article reminds us how a chance meeting can change one’s direction and lead to something deeply rewarding, not to mention how all that walking must have enhanced his sense of wellbeing! At present I am into creating AI images, I thought I would change my Editor image! Created in Gemini, some say its not quite me, but not bad! We are now looking ahead to a New Year, more competitions, exciting webinars, and varied workshops. A new theme for T-W-T. The Print Portfolio and a Date for you 2026 diary, our AGM on February 22nd. As this is the last DI ONLINE for 2025 I will wish you all well for Christmas and best wishes for the coming year. Next DI ONLINE will be published mid January, but look out for Pulse on December & January 1st
The DI Webinar team needs YOU You will be familiar with our monthly programme of international speakers on Saturday afternoons. These sessions do not happen without some work from the DI webinar volunteer team. This small team divvy up the work between them, each having a defined role. At the end of 2026 our DI Producer is unfortunately leaving us and so we need to replace him. The role is purely admin, with the Producer liaising with the speaker, writing the promotional text for the booking site, organising the practise session and then the follow-up email that goes out to all those who register. They are part of the overall DI Committee but work within the happy webinar sub-team. The individual taking on this role needs to be a good organiser and communicator, and able to respond to emails promptly. They would be given plenty of training and support to take over the role to ensure they are comfortable. All work is done online. If you feel you might be interested in knowing more before making a full commitment to the role – or if you want to jump straight in – then please digchair@rps.org
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| BI MONTHLY COMPETITION |
DI MONTHLY COMPETITIONS
SEPTEMBER/OCTOBER 2025 1st Place - Crossover by Roger Newark ARPS
19 votes
2nd Place - Magical Woodland by Valerie Walker ARPS
14 votes
3rd Place - Into the Vortex by Morag Forbes ARPS
8 votes
There were 61 Images - 32 entrants -17 voters - 51 votes total
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Crossover by Roger Newark ARPS |7|
|BI MONTHLY COMPETITION |
Magical Woodland by Valerie Walker ARPS |NOV| 2025 | DI ONLINE | 8
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Into the Vortex by Morag Forbes ARPS |9|
| T-W-T 2026 |
T-W-T 2026
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DI WORKSHOPS 2026 We’re delighted to announce a new range of DI Workshops for 2026, with both returning favourites and exciting new sessions ready for you to book. The darker days of January and February, when the weather encourages us to stay indoors, can be the perfect time to explore a new skill, experiment with different approaches to image processing, or simply find inspiration in fresh ideas and creative perspectives. We’re currently in discussion with several new presenters as well as some well-loved regulars, and more events will be added to the programme as dates are confirmed. Keep an eye on the DI Billetto page for current listings, and remember that Pulse, published on the first of each month, will include details of any newly added workshops.
SEE BILLETTO FOR FULL RANGE THAT ARE BOOKABLE NOW
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| DIGITAL IMAGING COMPETITION |
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DIGITAL IMAGING COMPETITION
As we approach the final months of the year, we also reach the conclusion of our Annual DI Competitions. In October, we held the Selection and Awards Evening for the Digital Imaging Competition, showcasing 30 images—ten from each of the three rounds: Colour, Altered Reality, and Mono. A slideshow of all 30 images was presented in no particular order, with titles and photographers’ names displayed. The Selectors—Cherry Larcombe, Jonathan Vaines, and Joe Houghton—took turns offering brief commentaries on each entry. Each had already chosen their personal favourite as well as their selections for first, second, and third place. They spoke about their chosen images and discussed the overall top-placed photographs. The photographers, whose images were placed, were invited to share a few words about their work. Phil Johnson, the winner, was virtually presented with the Raymond Wallace Thompson trophy, which was later sent to him to hold for the year. See Page 28 Plans are already in progress for the 2026 Competition year, starting with the DI Print Portfolio Competition. Time to start choosing your images, 2026 might be your year!
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| DIGITAL IMAGING COMPETITION |
Light Painting I joined the RPS at the end of July and booked a place on a London Landscape field trip to the Barbican Centre. This collection of iconic Brutalist buildings is one of my favourite London locations. As I wandered around the site, I stumbled upon a lower, shadowy area where a worker was busy painting the ceiling. It felt like stepping into a scene straight out of the Barbican Theatre. The stage was bathed in light from skylights, casting pools of light on the ground, and an arc of round ceiling lights guided your gaze to the performer in striking white dungarees. On the right, columns stood like stage wings, framing the performance. I waited for the perfect moment when the paint roller was vertical, and then I took my shot. I’m so thrilled to have won this prestigious award - it’s truly an honour. The final was packed with amazing photographs, and it feels incredibly humbling that my image was picked by the judges. Phil Johnson
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The Overall Winner
First Place Light Painting by Phil Johnson
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| DIGITAL IMAGING COMPETITION |
Second Place Tulip by Melanie Chalk ARPS
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Tulip I enjoy flower photography, using my large lightbox, and follow the style of Harold Davies in how he captures the images. I started following Harold in 2006 and have used his technique ever since, taking several exposures of each flower in varies poses, some very over exposed. I absolutely love tulips, more especially as their stems soften, creating interesting positions as they fade. I had taken lots of exposures of my bunch of orange tulips and after attending a talk by Judy Hancock Holland, for the Mono Project, all about High and Low key images, I decided to practise the High Key processsing techniques that she had demonstrated. I liked my result and others had also been inspired by Judy’s talk and were posting their results on Facebook, I added mine and had positive comments So, I tucked it away and decided to enter it in the Mono Section of the Digital Imaging Competition. From a very strong entry of varied Mono shots my Tulip was chosen to be in the10 to go forward to the Final. Then from the 30 images from the three rounds, I was thrilled when the Selectors placed my delicate Tulip in Second Place. Melanie Chalk ARPS
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| DIGITAL IMAGING COMPETITION |
‘Captivity’ The image - Captivity - shows a dreamlike scene where animals and objects are placed in strange ways. A giraffe and a flamingo are trapped inside glass bottles, showing how humans try to control or keep nature instead of letting it be free. A bee is inside a light bulb, mixing nature with human ideas and inventions. Smoke and a small cloud float above, suggesting that imagination and life cannot be trapped. At the front, a hat with a leopard pattern reminds us how people often copy or use nature for decoration. Altogether, the image suggests that while humans admire the beauty of nature, we often harm it by trying to own or contain it. This image is obviously a composite, the animals were captured at Colchester Zoo, the bottles photographed in my light box, the hat is my daughters, I then brought everything together in Photoshop to create a realistic (as possible) surrealistic image. Katherine Raynor ARPS
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Third Place Captivity by Katherine Rynor ARPS | 19 |
| PETER TAYLOR-MEDHURST |
A MEMBER WRITES
WALKING THE DOG BY PETER TAYLOR-MEDHURST What began as daily dog walks on Banstead Commons has turned into a deeply rewarding creative adventure - one that has combined my love of photography, design, and the natural world in ways I could never have planned. When I retired, I promised my wife that we wouldn’t take one of her son’s Labrador puppies. Over Christmas with them that resolve collapsed and I fell under the spell of a chocolate Labrador with a white blaze on his chest, and “Patch” became part of the family. He has been the perfect walking companion always ready to go out, whatever the weather - and, in truth, the reason I now spend more time outdoors than ever before. We’re lucky to live next to Banstead Downs, one of four commons in the Banstead Commons Conservators’ care, covering more than 400 acres of chalk grassland and woodland in Surrey. It’s a place rich with wildlife and history: orchids, butterflies, and a sense of open space that feels increasingly rare so close to London. For Patch, it’s an endless playground; for me, it’s become an ever-changing source of photographic inspiration.
Banstead Heath
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patch
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| PETER TAYLOR-MEDHURST |
A chance encounter It all began quite innocently. After one of our early walks, I emailed the Clerk responsible for the day-to-day management of the Commons with a small query. A few days later she replied - a lady, as I would soon discover, of persuasive energy and great vision. When we met, she mentioned that she had looked at my website and wondered if I might take some photographs for a new website the Conservators were planning. At the time, it felt like a pleasant diversion - something to keep me busy and perhaps a chance to give something back to a place I was already enjoying so much. What I hadn’t realised was how quickly it would grow into something far bigger and more rewarding.
Burg Heath Pond
Exploring new territory My usual photographic subjects were quite different - motor racing, horse racing, travel, and product photography. Nature photography was new to me, but with Patch always ready for an outing, I was soon exploring all four commons: Banstead Downs, Banstead Heath, Burgh Heath, and Park Downs. The Clerk and several volunteers, including local naturalists, showed me around, pointing out wildflowers, butterflies, and habitats that made each site unique. This was photography with a purpose. Instead of shooting for myself, I was documenting a landscape for others to understand and appreciate. I began to see familiar paths in a new light, noticing the subtle differences between seasons, the play of light on chalk grassland, the sudden appearance of orchids in early summer, or the shimmer of dragonflies over a pond in August.
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Beulah Speckled Face sheep conservation gazing on Banstead Downs
Coal Post on Banstead Heath
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| PETER TAYLOR-MEDHURST |
Building the new website As the photography project progressed, my background in publishing proved useful helping with suggestions for the new Banstead Commons Conservators website. The aim was to create something modern, simple, attractive, and informative - showcasing the Commons through fresh imagery while making information easy to find for visitors and local residents. Once the site went live, I continued to supply images for it and for the Conservators’ social media channels. Photographing community events, volunteer days, and seasonal highlights added variety.
Dragonfly on Banstead Downs
Female Mallard on Burgh Heath Pond
Glow-worm on Banstead Downs
Roman snail on Banstead Downs
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A shared effort One of the great joys of this project has been the way it’s brought together so many local enthusiasts. I make no claim to be an expert on plants or insects, but I soon discovered that many of my fellow walkers were. Several were keen amateur naturalists, photographing butterflies or fungi on their phones. I invited them to share their images at the highest resolution possible so we could start building a digital archive of flora and fauna for each of the four commons. What began as a small idea has grown into a collaborative image bank. With the superb quality of modern smartphones, we now have an informal network of citizen photographers helping to document the changing seasons, record sightings, and provide fresh material for the website and social media. It’s a great example of how photography can connect people and strengthen community ties.
Goat conservation Grazing on Park Downs
Learning and evolving Around the same time, I became more involved with the RPS Digital Imaging Group (DIG). Their online courses proved invaluable - especially one led by Joe Houghton on Lightroom. Although I’d used the software for years, it was eye-opening to realise how much I didn’t know. Learning new editing techniques, improving workflow, and understanding colour management gave my images greater polish and consistency. Later, I took a DIG course on Canva, an intuitive design tool for creating posters and publications. This turned out to be a perfect fit for the volunteer work I was doing with the Conservators. Using Canva, I produced a series of event posters, an illustrated, page-turning version of the annual Report and Accounts, and a new Guide to the Commons - all now available online. It was satisfying to see photography, design, and local engagement come together in such a practical way.
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| PETER TAYLOR-MEDHURST |
Inspiring the next generation Last year, the Clerk organised “Nature Detective Days” to encourage families and children to explore the Commons and learn about the plants and wildlife that live there. I was asked to create a series of twenty posters to display on the day, each featuring different species - from butterflies and birds to wildflowers and trees. Using my own photographs and those submitted by others, I designed the posters in Canva, they were printed at large scale, and put up around the site. The response was heartening. Children were stopping to look at the pictures, matching them to what they saw in the meadows, and asking questions. Parents were taking photos of the posters on their phones to learn more later. It was a reminder that photography doesn’t just record - it can educate, inspire, and create a bridge between people and the natural world.
The bigger picture Volunteering with the Banstead Commons Conservators has shown me how much can be achieved with a small but dedicated team. The Clerk, supported by a couple of staff and an evergrowing band of volunteers, coordinates everything from habitat management and litter clearance to education and community outreach. Photography and design are just one part of that story - but they play an important role in making the work visible, accessible, and engaging. For me, the experience has been unexpectedly fulfilling. It has kept me active, given structure to my days, and opened new creative doors. I’ve learned more about wildlife and the environment, met fascinating people, and honed my photographic eye by working with a clear sense of purpose.
A final reflection What started as an innocent offer to take a few photos has become something much more meaningful, a way to combine photography with community, learning, and the simple pleasure of being outdoors. Each walk with Patch brings something new: the way light catches on frosted grass, a kestrel hovering over the Downs, the pattern of clouds across the horizon. Photography, at its best, teaches us to notice. And in noticing, we connect - with place, with people, and with the passing moments that make up our everyday lives. Patch, of course, remains blissfully unaware of all this. For him, it’s still about the next walk, the next puddle, and perhaps the next stick. But without him, I might never have discovered this rich new chapter of creativity. Sometimes the best photographic projects really do start by just walking the dog.
About the Author Peter Taylor-Medhurst is a member of the RPS Digital Imaging Group. A retired publishing professional, he enjoys combining photography and design with his passion for the outdoors. Peter’s recent work with the Banstead Commons Conservators has focused on documenting local wildlife and creating visual materials to support community engagement. When not behind the camera, he can usually be found walking his Labrador, Patch, on Banstead Downs Peter Taylor-Medhurst website
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Banstead Commons Guide
Banstead Commons Conservators
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Evening on Banstead Downs
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| NEW MEMBERS |
NEW MEMBERS Our membership continues to grow each month, and we’re delighted to welcome our newest members to the group. Digital Imaging is a lively and creative community, and we aim to meet the varied interests of our members through a wide range of activities, competitions, Accolade, e-circles, and our extensive workshop programme, to name just a few. We always enjoy hearing from you, let us know what you’re finding most rewarding, and share any ideas for improvements or new opportunities you’d like us to offer. As Editor, I also welcome your contributions to this publication. It’s a great way to share your photographic journey and showcase your work with fellow members. This month, Phil Johnson, one of our newest members, has done just that. You can enjoy his superb images on page 36. Phil’s striking monochrome image also achieved first place in the recent Annual Digital Imaging Competition, earning him the Raymond Wallace Trophy.
Phil joined the DI group in July 2025 Here he is pictured with the Raymond Wallace trophy.
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A very warm welcome to our recent new members joining the Digital Imaging group. I laboured for a long time in creating this list, please accept my apologies if there are any errors. Excel sheets are not my favourite things! Sometimes for whatever reason we might be welcoming a ‘Re-joiner’ so we also welcome you back. Enjoy all the great things membership of DI, has to offer.
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| E-CIRCLES |
E-CIRCLES One of the many activities provided by DIG for it members are e-Circles; these provide an opportunity for a small group of likeminded individuals to come together on Zoom to either learn and/ or share experiences in a number of different areas. Currently DIG run e-Circles covering the following, Books & Zines, Image Critique, Image Editing and Projects. From December we are launching a new e-Circle for those who just wish to share and discuss their, and others, images with a like-minded group. If you are interested in joining any of the groups please contact me at DICircles@rps.org. Below is a brief synopsis each e-Circle. Books & Zines is for those interested in creating a lasting record of their images in a book, zine or anything in between. The two current Books & Zines e-Circles has brought together both those who are new to creating a book or zine as well as those who bring a significant amount of experience and have been doing it for a number of years. The intricacies’ of using Affinity Publisher and Canva, as well as other tools, to develop a book or zine layout are discussed, as are experiences of using different publishers. Members of each e-Circle will often share books they are working on, discussing their approach to it and seeking advice feedback from other group members. Image Critique e-Circles provide an opportunity for members to have their images critiqued by a group of their peers and contribute to the group by critiquing other member’s photos. It should be noted image critique e-Circles are not there to provide advice or feedback towards gaining a distinction but do serve as useful forum to gain feedback from other DIG members on how they see your images and where they think they could be improved. Likewise, it affords members of the group to seek advice from you on their images. Those who have attended the image critique e-Circle have found the feedback invaluable helping them to raise their standard and become more self-critical through examining their images more closely. Image Editing provides an opportunity to demonstrate your skills in image editing and, potentially, learn from other members. Prior to each meeting a RAW image/ images, supplied by one of the circle members, is circulated to the group and each e-Circle member edits the image in their own way. (Although the e-Circle started with the member who provided the RAW image sharing their intent with other members and those other members editing the image to show how they would create that ‘intent’ it was at the suggestion of group members that the e-Circle evolved to a ‘free’ edit.) At the monthly Zoom meeting each member shares their edit of the image/s demonstrating the edits they made and explains why and how they made them. Typically the member who supplied the image/ images is the last to share their edit when they then explain their intent behind the image/s. Occasionally, a theme or specific technique is introduced e.g. mono/ blend if where the final image presented at the meeting must be in the form of a black and white image or have incorporated. The image editing e-Circle is not intended to be a tutorial on image editing, however tips and tricks are often picked up and shared with other members of the group. [N.B. There is no mandated software which can be used for processing an image.] Projects e-Circles provides an opportunity for members bring along either an idea or body of work they are planning or involved in producing. This can be anything from a book, development of a new technique, a specific project encompassing a body of work, in other words absolutely anything a member is committed to producing over a period of time. The aim of the group is to share ideas and solicit feedback which could assist them in reaching the projects conclusion.
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Share & Discuss is a new group aimed at those DIG members who like to view others work and display and discuss their own work without the pressure of a formal critique. This doesn’t have to be limited to a members own work, although it is envisaged this will be the primary objective of the group, as occasionally the group may choose to select a well-known photographer and discuss their work. It will be up to group members to determine how the e-Circle will be run for each session and how it will evolve over time. It should be noted all e-Circles are run as peer groups; whilst there is a co-ordinator there is no leader and each voice holds equal weight. Members are expected to be civil, diplomatic, open to receiving feedback and contribute to making the group a success. An Introduction to an Image Critique and Image Editing e-Circle Below are examples taken from an image critique e-Circle, an image editing e-Circle and a Projects e-Circle and provides a brief overview of the activities of each group. Image Critique e-Circle The image below by Guy Robertson is from one of the image critique e-Circles where the coordinator for the group says: “I selected this image because it is an example of someone trying something new and seeking the group's feedback. We see a wide variety of work in the group, some experimental, some trying new things and some images taken on courses shot to a brief. This makes for a very interesting group and the feedback is always constructive and helpful.”
Image by Guy Robertson
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| E-CIRCLES |
There is no restriction on the genre or type of image which can be submitted for critique, the feedback provided by e-Circle members is each individual member’s personal view and can be acted on or ignored by the member submitting the image. Often it is used as way of submitting an image for peer review prior to releasing it to a wider audience or entering into a competition. Whilst the feedback can be useful as to how an image is perceived by a group of the photographer’s peers it does not necessarily guarantee its acceptance by a wider audience or a camera club judge. It is down to the photographer to decide how to act on the feedback provided by their peers. Image Editing eCircle The three images here are representative of how the image editing e-Circles operate. The first image, taken by Chris Hynes, is the original RAW image (for the purpose of including in this article it has been converted to a .jpg) which was circulated to members of that particular eCircle for post processing. The other three images are the result of members post processing efforts, the first by Michel Claverie, the second by Kevin Payne and the third by Chris Hynes himself. This is what Chris said about his image “Apart from the fact that "Street Photography" is something I find quite challenging (it worries me that someone may take offence) on this occasion the conditions were exceedingly challenging! It was very cold, very windy and very snowy - hence I was unable to spend much time assessing and composing the image. There were a number of distractions in the image I felt should be removed but, at the same time, I felt it captured the nature of typical Norwegian conditions and the way this couple seemed to take them in their stride.”
Image by Chris Hynes As is self-evident the image is rather dark however, as can be seen in the resulting post processed images the image could be recovered without any significant loss of detail.
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(image edited by Michel Claverie)
(image edited by Kevin Payne)
(image edited By ChrisHynes)
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| E-CIRCLES |
As mentioned in the text regarding the image editing e-Circle there is no constraint on how any individual member edits an image making the resulting output and discussion interesting in identifying how a particular result is achieved. More recently, in the image editing e-Circle I co-ordinate we have started to incorporate specific post processing techniques into a monthly edit e.g. blend if, luminosity masking, etc. If a member is unfamiliar with a specific technique they will investigate it prior to incorporating that technique in their edited image; plus there is always a member who has more experience with many of the techniques and who is prepared to share their knowledge. Projects e-Circle In the project group coordinated by Jean Robson members bring along bodies of work; these can be anything from discussing development of techniques, a member’s journey in learning to use new equipment, sharing emotion in abstract photography, documenting the development of a wildlife garden, production of a project in combination with other artists to tell the story of ancient monuments, creating a menu for a new restaurant and many other projects which are represented by a body of work. A couple of recent examples include an exhibition on Neolithic monuments in France by Gary Davis and changes witnessed in her garden over a year by Jill North, this is what both had to say: Gary Davis - “I have been working on a contribution to an exhibition about Neolithic monuments in France and couldn’t have finished this work without the help and support of the group” The image here is one from the body of work which make up Gary’s exhibition of Neolithic monuments in France. Image by Gary Davis
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Jill North - “I think it is that one really important thing about the group is that we look at what images work well together for the aims of the photographer” The image below is one from the body of work that was taken from Jill’s project of changes witnessed in her garden.
Image by Jill North
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| A MEMBER’S STORY |
A MEMBER’S STORY
FROM A NEW MEMBER PHIL JOHNSON In 2024 I retired from a 30-year career in Visual Effects. Whilst this afforded me the time to devote to my photography, it lacked direction and clarity. I tried various online photography groups for inspiration, but none worked for me. After a year of indecision, I joined the Royal Photographic Society. Due to my location, I was assigned London as my region and additionally joined the Digital Imaging Group to cover my main interests. The London region is highly active with meet-ups and numerous photowalks each month introducing me to unfamiliar areas of the city. The DI Group provides competitions and a wide range of varied and interesting workshops and presentations by renowned photographers from around the world. This has provided me with a structure and framework for my photography. I am learning new skills and applying them with the aim of achieving RPS qualifications. I turned to photography over 12 years ago, as my career progressed from artist to management, as a way of maintaining my creative interests. I tried to attend at least one landscape photography workshop annually, either in the UK or overseas, gradually building up a portfolio of work. This pursuit deepened my appreciation for photography and the community of other photographers. I have always enjoyed the company of fellow photographers and the Royal Photographic Society also provides this.
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Residing just outside London, I decided to turn my attention to architectural and urban photography. I have photographed London many times before, but struggled with creating a consistent style. Two photography workshops, focusing on black and white architecture and people in geometry, had a huge influence on me. I combined the teachings and techniques of both and started a London project to develop a style. Whilst my landscape photographs are fairly conventional in nature, I wanted to try something different and challenging. This new work is characterised by geometric compositions and negative space to create minimalist images. In camera I expose for the highlights, allowing the shadows to go to black. During postprocessing I use dodging and burning techniques to emphasise essential elements and create a deliberately graphic aesthetic. Having consistently avoided people in my landscape photographs, I have chosen to feature isolated figures in this project. The RPS London photowalks are providing a constant source of varied locations, beyond the usual London icons, to feed into this body of work.
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| PHIL JOHNSON |
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| PHIL JOHNSON |
Images from Phil’s Landscape Project
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| PHIL JOHNSON & ACCOLADE |
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ACCOLADE
THE DIGITAL IMAGING GROUP REGULARLY PRODUCE THIS ONLINE PUBLICATION
The latest issue is now available online HERE The idea is that we not only celebrate our members Distinction successes, but we read their story too. In doing so we learn and that might inspire or help us on our own Distinction journey. By viewing their panels it also helps us to gauge the standards required at all three levels.
If you are considering working towards your LRPS why not join our online LRPS Support Group. It makes working through the process far less lonely as you work alongside others and discuss your work with our facilitators.
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| AI COMPETITION |
AI COMPETITION
DIGITAL IMAGING FUN AI COMPETITION AWARDS
Fun AI Competition – Selection Report The selection for the first Fun AI Competition took place on Friday, 14th November. The selectors were Christine Widdall, Joe Houghton, and Simon Newlyn. Although Simon was unable to attend in person, he submitted his chosen image titles in advance. There were two classes: Photorealistic and Fantasy. Unfortunately, a few entries were submitted in the wrong class, which affected the results. It’s always worth reading the rules carefully, sometimes more than once, before submitting! Some entrants may have been placed higher had their work been entered in the correct category.
The Selection Process Prior to this session each selector had viewed and marked all the images in both classes. Yesterday as they worked through the entries, they provided comments and selected their favourites, to around ten images from each class—to go forward to the next stage. From these, they refined their choices down to the final five in each category. During their pre selection process all the selectors had absorbed and read the Prompts that the entrants had attached to their entries. People were praised for their sometimes complex descriptive prompts and how they had used their own creative ability to guide the AI rather than just allow the AI to have its way! The selectors then once more reviewed the top five images in both classes and reached a unanimous decision on the overall winner: ‘Time Dissolves, Memory Remains’ by Katherine Raynor ARPS. Katherine was virtually presented with the brand new FUN Trophy, a delightful replica of Harry Potter’s Golden Snitch! It was an enjoyable and inspiring afternoon. Christine and Joe clearly relished the opportunity to judge this exciting new event, and it was evident that participants had had great fun creating imaginative, fantastical images with the help of AI. Photographers are naturally creative people. We’re used to thinking about light, composition, and storytelling, and those same skills can be brought into the world of AI image creation. Using prompts and digital tools, photographers can explore new ideas, experiment with imagination, and make exciting pieces of digital art. It may not be photography in the traditional sense, but it certainly has its place as an art form and offers a fresh way to express creativity. And it’s just plain FUN, although not everybody agrees with that conception !
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Overall Winner
‘Time Dissolves, Memory Remains’ by Katherine Rynor ARPS
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| AI COMPETITION |
Photorealistic Class Top 5 Fishing at Sunrise by Martin Tomes
We did it! By Pe
One more for the road by Ian Boulton |NOV| 2025 | DI ONLINE | 46
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Broken Hearted by David A Taylor
eter Boazman
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Red Love by Melanie Chalk | 47 |
| AI COMPETITION |
Fantasy Class Top 4
Old Masters New Tools by Katherine Rynor
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Selfie World by Luca Arfini
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Mannequins by Melanie Chalk
Tango Dancers by Marie-Ange Bouchard | 49 |
| BILLETTO & NOTION|
BILLETTO AND NOTION The advantage to using Billetto and Notion effectively. The DI volunteer team have worked exceptionally hard to streamline how our workshops are booked and how you access the associated supporting resources. However it still remains a mystery why some members get in a muddle with it all, so we thought a reminder document (for you to keep and refer to) might be useful.
Booking a workshop couldn’t be easier. • •
You can find the list of workshops by going to the DI home page and clicking on ‘Workshops’ from the top list. Alternatively you can go direct to Billetto and all that is bookable HERE
As an example let us assume you wish to book the Fotospeed Print workshop. • • • • • • • •
You click on the Billetto tile and it takes you to the booking page. For more information about the workshop open ‘Read More’. Booking is via the blue ‘Get Tickets’ button – click this. As a DI Member you modify the ticket number to read 1 and then click ‘Next’. If you are a registered user then you see your details and order summary. Click ‘Next’.…This is where some people go wrong ! Under ‘add on services’ click No and No then it will look like this
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Click ‘Next’. You have now placed your order but this screen is VERY IMPORTANT as it is here that you find the link to the Notion document for this workshop. It is the blue text – you cannot miss it !
Click on this blue text and it takes you off to the Notion page – a Notion page is nothing more than web page which you will need to refer to again – BOOK MARK it now. The Notion page provides you with the workshop details and the Zoom link. It is where you will find any resources the tutor provides. Plus post event it is where you will find the recording.
You even get a confirmatory email and that too contains the blue Notion link. To make life even easier for you we also send out the Zoom link to the email you used to book. It goes out 2 days and on the morning prior to the event. If you don’t see these emails check your SPAM. If you follow these simple instructions you cannot go wrong. It saves you time hunting for things as everything is on the Notion page and saves you emailing us. It saves us time in not having to respond to your emails. So please, please, please, get to grips with it. Once you have registered for an event you don’t really need to go back to Billetto, everything you need is contained in the emails. Your co-operation is appreciated as it saves a lot of work for our over worked volunteer team. Thank you Janet Haines DI Chair
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|RECORDED |
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