CAPTION: This photograph was taken in springlike weather at the Botanical Garden in Munich.
Nature was just awakening, with the first plants and flowers stretching their blossoms towards the morning dew-kissed sunlight. Birds were singing, and the air was filled with the fresh scent of blooming flowers.
And there I was, on all fours, searching for the perfect shooting angle—much to the amusement of the visitors, I’m sure. Some even stopped to watch, curious about what had caught my attention. But the effort was well worth it, as the result captured the delicate beauty of the moment perfectly!
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EDITORIAL OFFICE
Royal Photographic Society Germany Chapter Chris Renk
DEAR MEMBERS AND FRIENDS OF THE RPS GERMANY CHAPTER
The first quarter has flown by and has been an eventful time for the Germany Chapter. Our monthly Zoom meetings continue to grow in popularity, and the first Chapter Online Talk of the year was fully booked – a success we will honour by repeating the session.
We are particularly pleased to see a growing number of members in our Chapter. This motivates us even more to expand our offerings.
In this regard, we are delighted to have welcomed two new authors to this issue of our eMagazine.
In total, you can look forward to four fascinating articles and photographic projects:
• Our Fellow Member Edmund provides a captivating insight into the fine art of greeting card creation.
• New author Bob shares his impressive journey through Eastern Germany.
• Jonathan, one of our aerial photographers, examines the impact of new data protection regulations on aerial photography and takes the opportunity to showcase stunning images of British heritage sites from above.
• Tobias, also a new author, reports on his visit to this year’s Photography & Video Show in London.
A heartfelt thank you to all our authors for their contributions, once again accompanied by outstanding imagery.
I would also like to highlight the remarkable photographs featured in the “Members’ Photo Work” section – a testament to the versatility of our members across various photographic genres.
I warmly invite you all to contribute to our eMagazine! If you have an exciting photographic project, a travel report, or an exhibition experience that you would like to share, just get in touch with us. We would love to feature your work!
As we say: “To be published, matters!”
Enjoy reading!
Chris Renk
Chapter Organiser & Editor Germany Chapter Royal Photographic Society
HOUSE OF CARDS
In his article, experienced photographer and image licensing expert Edmund Nägele shares his insights into the world of greeting cards.
38
REDISCOVERING EASTERN GERMANY
This article chronicles Bob’s adventure and highlights the visual treasures and cultural richness of Eastern Germany.
64
PHOTO WORK 1ST QUARTER 2025
In focus contemporary art, macro and street photography.
IN THIS ISSUE
FORBIDDEN ART
In his latest work, Jonathan Webb, a distinguished aerial photographer, presents a striking reflection on the intersection of art, law, and technology.
106 THE (PHOTO-) SHOW MUST GO ON
In this article, photographer and writer Michael Tobias explores how TPVS is redefining photography.
116
DATES & EVENTS
APR 2025 - JUN 2025
Online Meeting, Release dates eMagazine, Webinars and Online Training of the Chapter.
GREETING CARDS A CREATIVE MEDIUM FOR PHOTOGRAPHERS
EDMUND NÄGELE FRPS
In his article, experienced photographer and image licensing expert Edmund Nägele shares his insights into the world of greeting cards – from his early days at the legendary John Hinde postcard company to running his image library, specialising in greeting cards, puzzles, and calendars. With a keen eye on the evolving industry, Edmund reflects on cultural differences in card design between Europe and the United States. He highlights how a physical image creates an emotional connection that is often lacking in digital messages. He emphasises that combining image, design, and message is key to a greeting card’s success – and that despite declining licensing fees, the business can still be worthwhile. Let yourself be inspired by Edmund’s experiences and explore how your photography could find its way onto a greeting card.
Just recently, when I thought about the subject of greeting cards for this article, I wondered why the now legendary John Hinde postcard company never produced Irish greeting cards.
I can’t even remember if I ever sent or received Christmas or birthday cards during the 10 years I worked for this company in the 60s and 70s. Strange, I thought.
The factory had all the latest 5-colour German machinery in place, printing calendars, posh glossy
brochures for the stately home where I photographed the interiors in the evening and lions during the day.
But greeting cards? Never! Perhaps it related to the Irish people who usually greeted you with a heartfelt ‘Céad míle fáilte’ or simply just involved you in a conversation covering any subject between birth and death on the island.
Thus certainly avoiding unnecessary expenditure for fancy cards.
After I left John Hinde Ltd., I approached CLI (Colour Library International) where, amongst hundreds of different usages, licensing images for greeting cards played an important part.
I made a permanent mental note! Once I started my own stock library, I concentrated on jigsaw puzzles, calendars and – you guessed it – greeting cards.
40 years ago these licenses were practically paid for in pure gold compared to today’s peanuts.I had to leave my postcard history behind and take note of my new clients.
With the first digital tool, a Macintosh II, I soon experimented with special designs.
When creating the designs for various occasions, both the message and the design play critical roles in conveying the intended emotion and sentiment.
Though the cards do not always need a text inserted onto an image, it can be fun to play around with a variety of typefaces for special occasions. Having said this, a plain card will of course attract a larger clientele on the shop-floor.
To this day, I am still supplying this struggling trade via my agents, and even accept their peanuts. US greeting cards on the whole, are very poor, they are simply decades behind European designs.
Germany has long made use of photographic subjects, whilst in the UK, preference is given mainly to traditional drawings or an acquired taste of ‘Funnies’.
For photographers, greeting cards can be an extension of their art. The imagery and design should not only be aesthetically pleasing, but also unique pieces of art that the recipient can appreciate over time – a big difference to a transient digital image on the screen.
In simple words, physical cards can be kept, displayed or even cherished as keepsakes over time. They may serve as a lasting reminder of a special occasion, while emails can easily be lost in an inbox or simply be forgotten over time.
There are plenty of subjects close-by, or even in the home, which can be put in the right light, making it financially more rewarding than queuing at the airport for a trip to Iceland or Hawaii.
In summary, the image, the message, and the design are integral to creating a memorable greeting card. Surely, such an artistic presentation of a physical card adds a layer of warmth and personalisation, frequently lacking in a digital greeting.
Beyond Germany’s renowned Alps and the Rhine Valley lies Eastern Germany—an often overlooked region rich in historic towns, breathtaking landscapes, and distinctive architecture. Eager to capture its essence, photographer Bob Driscoll embarked on a 17-day road trip, uncovering hidden gems and documenting the contrasts between the past and the present.
His journey took him through medieval towns, magnificent castles, and breathtaking natural wonders. From the enchanting Rakotz Bridge to the towering rock formations of Saxon Switzerland, Bob explored a part of Germany rarely featured in travel guides. Despite the unpredictable weather and challenging routes, he captured golden sunsets, tranquil waterways, and industrial relics like Ferropolis, where massive coal excavators stand as monuments to a bygone era.
This article chronicles Bob’s adventure and highlights the visual treasures and cultural richness of Eastern Germany. Whether you are a traveller, a history enthusiast, or a photographer seeking inspiration, his story and images provide a compelling reason to explore this remarkable region.
Bamberg, Coburg, and Bayreuth – A Grand Beginning
My journey began in Bavaria, where I visited Bamberg, Coburg, and Bayreuth.
Bamberg, with its historic waterfront buildings, is a paradise for photographers.
The Old Town Hall, dramatically built on an island in the river, is spectacular at sunset.
Construction began in 1715 by Markgraf Georg Wilhelm and his wife Wilhelmine, who lived like hermits – hence the name. It was built in the Baroque / Rococo style and includes many interesting features, such as symmetric gardens, grottos, artificial ruins, and trick fountains.
I explored the Eremitage in Bayreuth, a grand Baroque Park and palace famous for its annual Wagner Festival.
Robert Driscoll
Just north of Dresden lies the small town of Moritzburg, home to the grand Hunting Lodge of August the Strong. This baroque-style palace is a fantastic subject for photography! It is surrounded by a lake on three sides, features a garden at the back, is beautifully illuminated at night, and even has its own lighthouse as decoration!
Moritzburg – Baroque Elegance and Sunset Views
From there, I drove northeast into what was once East Germany. My first stop was Moritzburg, home to August the Strong’s grand hunting lodge, beautifully surrounded by a lake. The palace is stunningly illuminated at night, making for a fantastic shot.
One of the most breathtaking natural landscapes I encountered was in the Saxon Switzerland region, with its towering rock formations. The Bastei, a famous lookout point above the Elbe River, offers an unforgettable view.
Continuing northeast, I arrived in Bad Muskau on the Polish border, where Fürst Pückler’s impressive castle stands.
This beautifully designed palace is surrounded by an extensive park landscape that seamlessly extends into Poland. The gardens, designed in the English landscape style, provide numerous picturesque spots, particularly in the golden light of early morning or late afternoon.
Otherwise known as the Devil’s Bridge, it was built between 1866 and 1875 by Hermann Friedrich Roetsche and has appeared (unsurprisingly!) in many Fantasy Films. It is very well visited despite its location!
The Rakotz Bridge – A Fairytale Scene
One of my highlights was the Rakotz Bridge in Kromlau. Set within a rhododendron garden, this fairytale-like bridge is a dream location for photographers. I had hoped for a breathtaking sunrise shot, but unfortunately, the weather didn’t cooperate, giving me only grey skies. Still, the location was magical, even in moody light.
Robert Driscoll
Schloss Branitz
Next, I visited Schloss Branitz in Cottbus, another creation of Fürst Pückler. The Englishstyle landscape garden features a modest yet intriguing 13-meter-high pyramid in the middle of a lake, where Pückler himself is buried. The castle and gardens are well-maintained, offering visitors a peaceful setting with impressive reflections in the water.
UNESCO Biosphere Reserve – a marshy area near the town of Lübbenau caused by an arm of the River Spree.
The Spreewald – A Mystical Water Wonderland
The journey continued westward through the Spreewald, where I was mesmerised by the tranquil canals with their mirror-like reflections. Enjoying a punt ride through the waterways was like drifting through a forgotten world.
Robert Driscoll
Fürstlich Drehna
Moving westward, I reached the small village of Fürstlich Drehna, home to a beautifully preserved Renaissance-style castle. Schloss Fürstlich Drehna is surrounded by a moat and a charming park, making it an excellent location for tranquil and atmospheric photography. The castle’s reflection in the water, particularly at sunrise or sunset, adds to its picturesque appeal.
The moat around the castle was built in 1521. This Slavic-style castle is today a hotel with rooms in the castle and in the (renovated!) stables.
Robert Driscoll
Robert Driscoll
Exploring Wittenberg and Beyond
My journey then took me westward to Wittenberg, the historic town where Martin Luther nailed his 95 Theses to the church door, sparking the Protestant Reformation.
Beyond Wittenberg, I visited Ferropolis in Gräfenhainichen, an open-air museum displaying colossal brown coal excavators. Due to recent rainfall, large puddles formed around the machinery, allowing me to capture their reflections in a unique way.
I also stopped at Wörlitz, home to a stunning English landscape garden, and Dessau, where I explored the Bauhaus Museum and the historic Bauhaus High School for design.
Further west, I reached Bernburg Castle, where I captured atmospheric shots despite challenging weather conditions. From there, I continued to Quedlinburg, a beautifully preserved medieval town in the Harz Mountains. With its half-timbered houses, narrow cobblestone streets, and historic marketplace, Quedlinburg feels like stepping back in time. The town’s elevated castle complex also provides excellent vantage points for panoramic views.
The Harz region is home to many hidden gems, including Burg Falkenstein, a remote medieval castle perched atop a rocky hill. The journey to the castle winds through dense forests, adding to its fairytale-like appeal. The Harz is also known for its dramatic landscapes, especially around the Brocken, the highest peak in northern Germany. Misty mornings and rolling hills create stunning opportunities for moody, atmospheric photography.
One of the most unexpected architectural gems of my trip was the wooden stave church in Hahnenklee. This church is a perfect replica of a traditional Norwegian stave church, built entirely of wood with intricate carvings and steeply pitched roofs. The craftsmanship is remarkable, and the surrounding forested landscape adds to its mystique. The contrast between this Nordic-style church and the traditional German architecture in the Harz region makes it a fascinating subject for photography, especially in soft morning or evening light.
One of the most thought-provoking parts of my journey was the drive from Fürstlich Drehna to Wittenberg. Passing through seemingly deserted villages with no shops or people, I couldn’t help but wonder about the region's economic challenges. The decline of brown coal mining has left its mark, with vast excavation sites now transforming into lakes. Ferropolis will likely serve as the last reminder of this industrial past.
The weather was unpredictable throughout my trip. September is usually a reliable month for photography, but that was not the case in 2024. Heavy rain caused flooding along the Neisse and Elbe rivers, forcing me to adjust my plans. I booked hotels in advance, staying three nights at each location to maximise my chances of capturing the right light.
In Moritzburg, I only experienced one good sunset, which I used to photograph the palace. Meißen would have provided another great sunset shot, but the weather didn’t cooperate. Nevertheless, I made the most of the conditions. The rain even offered unique opportunities—large puddles in Ferropolis created striking reflections of the giant excavators!
Despite the challenges, I experienced some unforgettable moments. One of the most surprising was witnessing a bridge collapse in Dresden. Fortunately, I wasn’t on it! This trip deepened my appreciation for the history and landscapes of Eastern Germany.
I had planned to extend my journey north to Schwerin, Wismar, Stralsund, and Rügen, but after 17 intense days of photography, I was exhausted. Perhaps I’ll tackle that part next year, but at a slower pace!
My Favorite Locations
If I had to choose my top photography spots from the trip, they would be:
• Rakotz Bridge
• Moritzburg Castle
• Ferropolis
• The Bastei rock formations.
If you’re looking for diverse photography opportunities beyond the usual tourist spots, Eastern Germany is full of hidden gems waiting to be captured!
MEMBER’S PHOTO WORK
Every quarter, Members are asked to send in their best photos of the current quarter to provide stimulation for the others.
1st quarter 2025
In the first quarter of 2035, the members of our Chapter were once again highly active and frequently on the move.
I (Chris) focused on experimenting with macro photography, particularly exploring the technique of focus stacking.
Wolfgang took advantage of the spring-like weather here in Munich to practise the fine art of street photography during his walks through the English Garden.
Paul followed a similar path during a stay in Dresden, where he once again impressively captured the interplay of light and shadow in the historic city centre, especially in narrow an alleyway and under a baroque archway.
Martin revisited one of the many industrial heritage sites in the Ruhr area — this time the Yarn Factory Museum — to further explore his passion for colour composition and geometric abstraction.
Eberhard travelled through the Netherlands in search of minimalist subjects for our upcoming Chapter photo exhibition “Minimalism”, and was rewarded with a number of promising finds. His photo reveals how simplicity in composition can lead to surprisingly powerful visual statements.
Siegfried turned his attention to still life photography and discovered some inspiring motifs while in Austria, and carefully arranged an everyday object.
A heartfelt thank-you to all of you for once again sharing your fantastic photographic work with us.
I’m always positively surprised by the wide range of photographic genres our members explore — from street to still life, from colour studies to minimalist compositions.
You continue to inspire and impress!
“The whole point of taking pictures is so that you don’t have to explain things with words.”
- Elliott Erwitt
CHRIS RENK
Photographer
Image title:
Image subject: Macro Photography
Country: Germany
Halyomorpha halys
WOLFGANG STRASSL
Image title: Sunset in the English Garden in Munich
Image subject: Street Photography Country: Germany
Photographer
PAUL JOYCE
Photographer
Image title: Kanzleigäßchen Dresden
Image subject: Street Photography
Country: Germany
Image title:
Image subject: Contemporary Photography
Country: Germany
Yarn
MARTIN GERLING
Photographer
EBERHARD POTEMPA
Photographer
Image title: Roses at the sea
Image subject: Nature Photography
Country: The Netherlands
Image title: Look at me!
Image subject: Still Life Photography
Country: Austria
SIEGFRIED RUBBERT
Photographer
Are you a member of the Germany Chapter and would like to submit pictures for the quarterly project “Members Photo Work” as well?
Here is a list of the deadlines for each quarter:
2ND QUARTER 2025: 30.06.2025
3RD QUARTER 2025: 30.09.2025
4TH QUARTER 2025: 31.12.2025
1ST QUARTER 2026: 30.03.2026
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:
Designed by Charlie Newington and completed in 2003, this geoglyph was meticulously crafted by digging shallow trenches filled with limestone.
FOLKESTONE WHITE HORSE
Jonathan CK Webb – ARPS
Forbidden Art: The Struggle of an Aerial Photographer
FORBIDDEN ART
THE STRUGGLE OF AN AERIAL PHOTOGRAPHER
JONATHAN CK WEBB – ARPS
In his latest work, Jonathan Webb, a distinguished aerial photographer, presents a striking reflection on the intersection of art, law, and technology.
Having spent decades capturing cultural landmarks from above, he now finds himself at odds with changing legal frameworks and technological shifts. His article, “Verbotene Kunst” (Forbidden Art), highlights not only the beauty of land art and sculptures across the UK but also the increasing challenges photographers and artists face worldwide.
As legal restrictions and artificial intelligence reshape creative industries, Jonathan’s work is a testament to the importance of preserving artistic freedom.
This feature provides insight into his extraordinary aerial photography, showcasing renowned land art and sculptures while reflecting on the broader implications for artists in today’s evolving landscape.
As an aerial artist, I have always been fascinated by the works of my ground-based colleagues. The UK is rich in cultural heritage, with its landscape adorned by incredible artistic creations. However, the art world is under threat.
The UK government is considering policies that could undermine creators' rights, while in Germany, a recent court decision has made my work impossible.
After spending 20 years documenting art from the air, I have been forced to delete much of my life's work.
Before bureaucracy or artificial intelligence drives me into bankruptcy, I want to share my collection of aerial art photography—what is now considered "forbidden art" in Germany.
LONG MAN OF WILMINGTON
East Sussex
An ancient geoglyph, its origins remain debated, though it was documented as early as 1710.
A remarkable panopticon sculpture designed by Mike Tonkin and Anna Liu, this piece won the Royal Institute of British Architects National Award in 2007.
The legal and technological landscape for photographers is shifting rapidly. While AI-generated imagery floods the internet, traditional photographers face increasing restrictions. The ability to document public art from the air is increasingly constrained, raising questions about ownership, rights, and creative expression.
My work serves as a visual archive of cultural heritage, a perspective that might soon be lost. Through these aerial images, I hope to emphasise the significance of unrestricted artistic exploration—before bureaucracy and technology make it a thing of the past.
www.webbaviation.de
THE (PHOTO-)SHOW MUST GO ON
A FRESH PERSPECTIVE ON PHOTOGRAPHY TRADE FAIRS
Photography trade fairs in Germany may be fading, but in the UK, The Photography & Video Show (TPVS) is thriving. With over 30,000 attendees, expert talks, workshops, and hands-on experiences, TPVS proves that the trade fair concept is far from dead.
In this article, photographer and writer Michael Tobias explores how TPVS is redefining photography events and why its expansion to London makes it more accessible to international visitors. Read on to discover what makes this show a success!
The concept of a trade fair for photography enthusiasts is dead. Believe me: as a photographer from Germany, you could come to this conclusion. After all, the victims have long since become legion: first, it hit old Aunt Photokina in Cologne, and its successor, Photopia in Hamburg, only managed three events.
The latter trade fair was definitely expecting a record number of visitors. However, the organisers concluded that the way to achieve this was far too expensive and pulled the plug. As the latest, but probably not the last victim, it hit the Photo + Adventure event in the Duisburg-Nord landscape park. Here, the organisers reported the record number of visitors last year and the discontinuation of the event all in the same breath. For all photographers who appreciate the hustle and bustle of a trade fair, with all the inspiration, innovations and opportunities to try out equipment they offer, these were three significant disappointments.
Does this mean that the concept of a trade fair for photo enthusiasts is no longer viable?
Not at all!
But you have to think outside the box or, more precisely, beyond Germany's borders.
A breath of fresh air in the world of photo trade fairs is coming from the UK. The Photography & Video Show shows how it can be done.
With its roots in Birmingham, this trade fair can now claim to be the largest event of its kind in the UK, attracting more than 30,000 photo enthusiasts every year. This year, the show took the next step: after ten successful years, it moved to the British capital, to the Excel exhibition centre in the Royal Docks on the outskirts of London.
It will now take place alternately in Birmingham and London. The capital is a real plus for visitors from Germany, France, Benelux or Scandinavia: for them, travelling to London is more straightforward and often cheaper. And, of course, it can also be combined with a more extended visit to an exciting city overflowing with photo opportunities.
Such photo opportunities can also be found at the Photography & Video Show itself because it was designed from the outset to be more than just a trade fair. In addition to the booths showcasing the latest developments from more than 250 brands, visitors can also enjoy over 500 demonstrations, lectures, masterclasses and workshops. Photo walks, book signings and meet-ups are also on the agenda.
The list of speakers reads like a Who's Who of the photography industry: this year's speakers included Lindsay Adler, Scott Kelby, Joel Grimes and the Canadabased bestselling author (“The Heart of the Photograph”, “The Soul of the Cameraw”, et al.), photographer and adventurer David duChemin. In the end, David seemed a bit overwhelmed by the fair.
“On the surface it’s a bacchanalia of gear and technology – a massive room full of cameras and lenses – but the enduring impression it left with me was one of connection: people who shared a love for the craft of picture-making coming together to learn and teach,” - he states after his lectures.
And this impression seems to be entirely in line with the interests of the major manufacturers. Canon, Nikon, Sony, OM Digital Solutions (formerly Olympus), Fujifilm and Pentax focused primarily on establishing contacts with their customers. The emphasis was not on direct sales, but on customer retention and dialogue alongside providing the opportunity to try out everything on the spot.
“Visitors enjoyed inspiring expert talks, an immersive shooting experience ideal for content creators, and hands-on access to our great product lineup, including cameras, video solutions, and prints,” said Jaime Chan from the Canon UK team. “The UK’s biggest collection of photography and video brands in one place, combined with exciting content, speakers, and show offers, truly contributes to the success of the Photography and Video Show.”
From an exhibitor’s point of view, the move to London has opened up new target groups. Jaime Chan: “The move allowed Canon to explore opportunities with new audiences in London. Apart from photographers and videographers, we met a good number of visitors from the creative industry as well as photography students and content creators.” The audience was also more international.
Another focus: appealing to target groups beyond the classic photo community. A special Creator Playground, for example, offered extraordinary settings for impressive photos – such as inside an oversized Tetris game or as a surfer on the perfect wave. A special stage programme gave content creators tips on creating content, visual storytelling and finding a promising niche in social media.
Also on board as partners of the show: the major photography societies, including RPS.
Many RPS members talked about photography topics and shared tips at the exhibition.
Such lectures and workshops are now forming an increasingly important trade fair focus: “There also seems to be a growing focus on education,” confirmed Jaime Chan. “With workshops and talks not just about inspiring the audience, but giving them practical tips and advice on how to achieve their goals and get the best from the equipment they have.” It was an absolute win from the lecturers' point of view, too.
David duChemin: “As an author and educator, it was a thrill to meet people I’d only known through social media and to connect more personally with people who only knew me through my books.”
Another key topic at the fair was how to deal with artificial intelligence: threat or helpful tool? In many cases, the response from the trade fair was a useful tool that made work faster and easier.
For example, Neurapix, a German technology company based in Göttingen, presented an artificial intelligence tool designed to accelerate image processing and simplify photographers' work. Neurapix's AI learns individual image processing patterns and uses them to generate intelligent presets that can be used for image processing in Adobe Lightroom Classic.
Compared to classic presets, smart presets are dynamic and adapt to a wide range of lighting situations – for a consistent look. This would significantly reduce the processing time for large volumes of images, for example, for wedding photographers.
Top Dog Adobe showed the numerous possibilities for using AI technologies in its programmes. Photo legend Scott Kelby, for instance, gave a much-publicized and passionate case for using the possibilities of AI, provided that transparency is guaranteed.
And now for the million-dollar question: was the trip to London worth it? Absolutely!
The mix of offers at the trade fair also impressed the author of this article. It is a massive shame that such an event no longer seems worthwhile in Germany.
The good news is that the concept seems to work in the UK. The trappings are also fitting, offering the opportunity to meet photo enthusiasts from around the world. In 2026, the trade fair will be back in Birmingham before returning to London in 2027.
Learn more about the current composition of the Germany Chapter, its members’ locations in the federal states, its Distinction Holders, and the Special Interest Groups in which the members participate.
46 Members
3 Countries
CHAPTER ZOOM MEETING 2025
Meetings
MONTHLY ZOOM MEETING
08.04.2025
13.05.2025
10.06.2025
Links will be provided via email. If you arn’t a member of the DEU Chapter and wish to participate as well, please contact us via the following email: germany@rps.org
CHAPTER TALKS & WORKSHOPS
Online Talk
INTRO TO MINIMALIST PHOTOGRAPHY
Wed, 09th April 2025 18:00 GMT
Book here
Online Talk THE ART OF SEEING THE BEAUTY
Wed, 07th May 2025 18:00 BST
Book here
For upcoming meetings and events, please visit frequently our Chapter Page on RPS.org.
https://rps.org/germany
Here is an overview of the specific publication dates:
The Magazine will be published via email as well as on the RPS’s account on ISSUU.
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
RELEASE DATES FOR e MAGAZINE
Here is an overview of the specific publication dates:
2ND QUARTER 2025: 05.07.2025
3RD QUARTER 2025: 05.10.2025
4TH QUARTER 2025: 05.01.2026
1ST QUARTER 2026: 05.04.2026
The Magazine will be published via email as well as on the RPS’s account on ISSUU.
DEADLINES ENTRIES e MAGAZINE
Since the magazine is published by the chapter itself, we are very flexible regarding the time schedule for submitting texts, pictures, and dates for events.
We ask for enough time in advance to avoid complicating the editor’s life.
As a rule, the editor should receive contributions about 30 days before the publication date.
Otherwise, inform us that you need additional time to contribute.
Please take the publication dates from the adjacent column.
