RPS Landscape Group Newsletter, July 2022

Newsletter RPS Landscape Group July 2022 Volume 7 Number 5

Submissions The copy date for submissions to the next newsletter (September) is Friday 26 August 22.

Please note that it may be necessary to hold some submissions for a future newsletter.

If you have an idea for an article, please send a brief synopsis (up to 50 words) of the purpose and content of the piece.

Please submit your images as jpeg attachments, sized to 72 dpi with 1200 pixels along the longest edge and borderless. Do not embed images in an email.

Please send all submissions to: landscapenews@rps.org

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Galloway Evening by Peter Stott LRPS 1st Place winner for June 22

RPS Landscape SIG Committee Richard Ellis ARPS (Chair) Mark Reeves ARPS (Vice Chair & Pro Events Manager) Dave Glenn (Member Led Events Manager) Diana Wynn (Treasurer) Andy McLaughlin (Secretary) Sue Wright (Web Editor) Peter Fortune (Newsletter Editor) Robert Brittle ARPS (Magazine Editor) Fiona McCowan FRPS (Member without Portfolio) Colin Balfour (Member without Portfolio)

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C O N T E N T S July 2022 Volume 7 Issue 5

Editorial Peter Fortune, RPS Landscape SIG Newsletter Editor

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Quick links RPS Landscape SIG Website

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Chair Chat Richard Ellis RPS Landscape SIG Chair

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Join Us RPS Landscape SIG Committee vacancy

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Landscape Group Conference 2023

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The Projects Updates

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Articles by Members

The Marais By Gerald Phillipson ARPS 12 Developing a personal style by taking Control of Colour

By Ingrid Popplewell 18 2022 - A year to learn how to take Landscape Photographs

By Matthew Little 22

Monthly competition Winners announcements for June

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Events

Landscape Group Events 34

Other RPS News 35

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EDITORIAL

By Peter Fortune, Newsletter Editor After four very hot and sunny days in early June led to me taking a large number of shots (and getting some sunburn). At the time of writing (July 4th) the weather has been less damaging and better for photography with days of sunny intervals and some interesting clouds. Long may it continue! Well they do say that an English summer consists of 4 warm days and a thunderstorm so who knows.

All the major suppliers of serious cameras have had varying financial problems in the last few years to the extent that there could well be mergers/takeovers and it is hard to identify who will be the winners and losers with the exception that Canon which is the largest manufacturer is almost certain to be a winner. Regular readers of the editorials will know that I am a Nikon man and despite the huge range of new products they have been launching, they being a winner in the competitive race cannot be assumed. That would be a great shame particularly in view of their long prior history of commercial success.

In the June edition of the Newsletter I reviewed some of the major photographic developments that have happened in the last 30 or so years (from around the time that digital cameras started to become available). I ended with the semi flippant remark that in the future even wholly serious photographers might be using a device that included a phone but had a camera function that would replace digital SLRs and Mirrorless Cameras. I thought it might be interesting to speculate on developments that I would like to see happening in the next 30 years. In doing this I am ignoring what might be developed in mobile phones as I know very little about them beyond using one to make calls and send and receive texts.

Others who know about mobile phones are welcome to speculate about them.

Perhaps the biggest change I would like to see is for Manuals both on line and in print to be much more clearly laid out and be much more user friendly. Although I carry my manual in my camera bag whenever I want to change some settings beyond Shutter Priority/Aperture Priority/ Manual Priority going to the Camera Manual always takes longer July 2022 Volume 7 Issue 5

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than it should. This is (I think) because camera makers put more time into the design of cameras and systems, than into the writing, layout and design of the camera manual.

This must put off a lot of potential serious photographers from getting deeply involved.

The second development that I would warmly welcome would be making cameras lighter. I know that a big proportion of the weight off the camera is the glass but it should become possible to develop lighter glass and better lenses as well as designing the camera body for lightness.

Speaking purely personally I only use less than 20% of my cameras functionality and talking to other members of my club I find the same thing (but not the same 20% of the functionality). If camera companies surveyed their customers they might be able to develop a camera model that had the same basic functionality but had a number of different bodies each one with a cluster of features with would be used by a different group of users. There are some common features that could be left off the camera all together. The example I am thinking about is White Balance which can be adjusted in any post production software.

Another idea would be for cameras only to have on board the features that cannot be replicated in software, for example shutter speed, aperture, and focus. this would leave all the other aspects of modern photography to be developed on a computer with Photoshop, and or Lightroom or the several other equivalents.

I suspect that some readers will be saying to themselves that it is a good thing that camera manufacturers don’t read this Newsletter!

With that final thought I wish leaders a good summer’s photography and will start to work on the next edition with will be out in September.

Peter Fortune

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All images © Peter Fortune

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RPS Landscape Group Credit: Tim Hodges

Advancing the Art of Landscape Photography

Q ui ck L i n k s t o t h e R PS L a n d s c a p e Gro u p ’s We b s it e

The Landscape group website features photography submitted to the Landscape group’s monthly competitions. Member’s images are proudly displayed throughout the RPS Landscape Group website.

Click on the image links below to open pages on the RPS Landscape Group’s homepage or go straight to the homepage from here, www.rps.org/groups/landscape/.

You will find information on how to take part in the Landscape group’s Events, Circles, Competitions, Projects, read informative articles written

by Landscape Members and more!

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Chair Chat

Richard Ellis ARPS, Chair

Traditionally, summer is a quiet time in the Landscape Group year with a chance for the committee to enjoy a well earned summer break. This year has been the exception. As many of you will be aware HQ had some significant problems with the implementation of the new booking system for events and payment of membership fees. Consequently we have had to carry out a lot of the automatic functions of the system manually. We are aware this has been far from ideal both from the viewpoint of the person booking and the course leader. A big thank you to Chris McIntosh, Sue Wright, Dave Glenn, Diana Wynn and Mark Reeves who battled through all of this to keep the show on the road. It does appear there is light at the end of the tunnel and the new system is promised to be up and running on 22 July. We hope this will give a smoother experience all round.

The outdoor exhibition which started in Edinburgh has just finished and been dismantled and shipped to York. We have had lots of complementary feedback, much of it from non-photographers and it seems many people just enjoyed the art on their walk through St Andrew Square. The panels have held up well in the Scottish weather - mostly blazing sunshine with very occasional rain (!) and we are looking forward to seeing the work up in York.

I am delighted to announce that Fiona McCowan FRPS member without portfolio on the Landscape Group Committee has been appointed as an assessor to the distinctions panel for Photobooks. I am sure that you will all join with me in congratulating Fiona on this prestigious appointment.

Mark Reeves has been awarded a Fellowship in Visual Art. I am sure you will also join with me in congratulating Mark on his much deserved photographic success.

Following on from the AGM presentation by Mark Banks I have been experimenting with producing a pinch book of my autumn woodland photographs. I find projects a great way to enjoy displaying my work.

Have a wonderful summer.

Richard

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JOIN US

TREASURER Diana Wynn has decided to step down as treasurer as she will be moving house shortly. I would like to thank her for her diligent contribution to the group and for steering us to a strong financial position.

We would like to recruit a treasurer for the committee.

This is one of the three officers of the group required by the constitution and as such gives an opportunity to shape the future direction of the landscape group.

The role encompasses payment of invoices via HQ, preparation of the cashbook and the annual accounts.

Full training can be given but a knowledge of Excel would be very useful. This role would also suit an accountant/book-keeper looking to make a contribution to a voluntary organisation.

If you feel you are able to take on this role please contact Richard Ellis, Chair Landscape group landscape@rps.org

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THE PROJECTS Members Outdoor Exhibition: York; Volunteers

Following the successful showing in Edinburgh, our Landscape Members’ Exhibition is open in York. See rps.org/Landscape-EXPO22/ for details, including a gallery of images.

We must give a big “thank you” to our volunteers at both locations. These exhibitions could not happen without their help on local promotion, panel transportation, set-up/ dismount, and periodic checks.

London is next, and we will announce dates in due course – we are seeking dates around October. Naturally it may be little more complex, so we are seeking volunteers early-on. We are looking at a couple of locations, but might have to widen the search.

If you know of a central location let me know – we are looking at railings (25 metres, minimum 5ft high), with good footfall, in a [relatively] safe location. Similarly if you have contacts within local authorities or land-owners.

Promoting the exhibition in such a large City is more challenging – ideas & contacts would be welcome.

Mounting the exhibition requires some help - we’ll need 5-6 people for around 2-3 hours.

If you can help, contact Howard Klein: RPS_Landscape_Exhibition@gmx.co.uk

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Close to Home by Mike Lloyd The Close to Home Project has created considerable interest with 72 RPS members registering, so far, via the RPS Landscape website.

We are now over half way through 2022 and I am sure sets of images are taking shape and remember up to 4 sets can be entered before the end of the year. Details will be shortly available of where to post your images which will be displayed in a gallery on the RPS Landscape website.

In the meantime, here are another set of images … of trees!

West Burton Falls ©Janice Burton LRPS

All images © Mike Lloyd

By Degrees Project by Mark Reeves There are still two locations without images that comply with the project rules and these are 57N 3W in Aberdeenshire and 58N 5W in Assynt. Many thanks to everyone who has taken part so far and who has contributed extra images during the extension period. We will announce the next steps once all the images have been received and reviewed.

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The Marais

By Gerald Phillipson ARPS The Marais is a region of wetland in SW France. Covering an area of 25 hectors it is the largest limestone wetland in the Dordogne and is protected by the Regional Nature Reserves of Aquitaine.

Access is by a two kilometre circuit of duckboard walkways and footbridges.

I have been photographing the Marais for several years in all seasons and hours of the day. What first drew my attention was the quality of the light when the sun penetrated the alders and willows casting shadows across the water enhancing the luminosity of the scene. In spring and summer the ponds and channels are enclosed by the emerald greenness of the dense woodland. This provides a habitat for distinctive plants and flowers while the water courses host a variety of birds, mammals and fish. The water level is fed by a small river flowing into it from the south and maintained buy a controlled exit into a large neighbouring lake.

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The Marais By Gerald Phillipson ARPS

While the nature reserve was the location, my subject was not the natural history of the Marais nor the manmade duckboards and bridges by which it is accessed, as my Statement of Intent explains: “The Marais is an area of wetland about nine kilometres from my home in France. It consists of inlets, ponds, winding watercourses and streams that infiltrate the dense woodland around it.

There is only minimum maintenance, thus fallen logs and foliage are left to rot in the water while some of the narrower channels become overgrown with trees hedging them in and hanging over them. The result is that the light is often sombre.

The Marais is not a location for dramatic landscapes but for those of a more intimate kind that capture the sense of enclosure and containment, and the quietness and stillness of an environment in which all the various features are inter-related. My purpose is to show this close-knit inter-relationship between the forest, plants and the water.”

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The Marais By Gerald Phillipson ARPS

During One2One Zoom meetings with advisors and the Benelux Chapter, the concept of “intimate landscape” became a subject for discussion. It appears to be somewhat unusual to present for assessment a group of photographs specifically in the intimate landscape genre. For reasons of required brevity this was something I could not discuss or define in the SOI. There were different opinions offered in trying to define, “intimate landscape,” and therefore the kind of photographs that might suitably represent it, so I could never be sure how the submission would be received or on what criteria it would be assessed.

The term “intimate landscape,” was first used by Eliot Porter as the title for an exhibition of fifty-five of his photographs at The Metropolitan Museum of Art, New York, in 1979. (https://www.metmuseum.org/art/ metpublications/intimate_landscapes_ photographs) Porter’s exhibition set the parameters and standards for the genre to which many photographers have since contributed.

The definition will always be subjective but in general terms an intimate landscape can be defined by both its subject and geography. That is, it sets out either to show a small detail of the greater scene, or a close up of a specific subject that has caught the photographer’s eye because of its patterns, colour, shapes, textures etc. which most would walk past without noticing.

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The Marais By Gerald Phillipson ARPS

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The Marais By Gerald Phillipson ARPS

Discussing this with Joe Cornish, he wrote, “You might ask yourself whether the pictures include at least a little bit of geography in them, as opposed to none. So a spider’s web might be shot in the landscape, but if the picture is all web then I’d suggest natural history (or fine art say) rather than landscape. However, if the web is an interesting (but not dominant) element in a composition that also includes rocks and/or vegetation, and is more a suggestive/metaphoric element within the composition then it could certainly still be landscape.”

An intimate landscape is at the opposite extreme to the grand vistas and wider expanses which are favourite subjects for landscape photographers. However, it’s not simply a matter of deciding to photograph a small part of the greater view, but of finding an aspect of it that will make an equally compelling image. Such an image can tell its own story about the wider location, a series of images can tell a more detailed and complete story that concerns the mood, ambience and character of the location.

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The Marais By Gerald Phillipson ARPS

The fifteen images of the Marais I submitted set out to do that. Through an addition of intimate scenes I wanted the viewer to sense the character of the wetland, and to feel something of its personality and mood and what it is like to be there.

Acknowledgements My grateful thanks to the following for their guidance and advice during One2Ones and other zoom meetings: Joe Cornish, Paul Mitchell, Tony Worobiec, Carol Olerud with members of the Benelux Sangha, Dennis Anguige and Noémie Phillipson.

All images © Gerald Phillipson ARPS July 2022 Volume 7 Issue 5

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Developing a personal style by taking Control of Colour

By Ingrid Popplewell

Lomagnupur Mountain Iceland This excellent workshop on Taking Control of Colour run by David Rosen, consisted of three 2 hour Zoom sessions on 3 successive days with 6 participants (one of whom was in Perth in Australia!)

David started by talking about colour in photography and how it contributes to the success or otherwise of both representational and fine art photography. He explained how he has been influenced hugely by cinematography where colour grading is very sophisticated in its purpose to create a desired emotional response in the audience. He shared the work of 5 photographers where a consistent colour palate contributes significantly to their style.

Technical points We discussed the technical side of colour management in the computer and camera software.

David talked about the different colour spaces, sRGB, AdobeRGB and Prophoto and their significance and how to work with them.

We then discussed Basic Colour Theory: the meanings of hue, saturation, luminosity, shade, tint and tone and ways of combining colours.

We were shown how to create a fill layer in Photoshop and fill it with a colour from our image and then blend this layer with the original image. This allowed subtle manipulation of the colours without the introduction of a ‘new’ colour. The blend mode and opacity can be changed for the desired effect and can be applied locally rather than globally by the use of a mask and brush to either paint in or paint out the effect as desired.

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Developing a personal style by taking Control of Colour By Ingrid Popplewell

We were then introduced to the very powerful Adobe Colour tool. This is part of the online package when you subscribe to Photoshop and Lightroom. It allows you to explore the colour palette of any image you can bring into the tool and extract a colour swatch, which can then be used to alter the colours in another image. The most obvious use would be to create a cohesive portfolio for a project by using the colours from one of the images and applying this swatch to the whole set, however it has enormous creative potential beyond this.

We used the Blendif tool in PS to apply colour depending on luminosity levels, almost painting in the colour rather than washing it in.

David showed us his version of the Orton Effect and how to work with this to produce subtle changes both globally and locally in an image.

We used the linear and radial gradients combined with blending modes to change the look of the sky or to help draw the eye to the subject in a picture.

We used the Gradient Map to apply a desired colour palette where the colour is assigned to a particular tonal level.

We discussed the pros and cons of presets. David felt they had value as a starting point. It is now possible to see the sliders in a preset in Lightroom and to alter its opacity which has made them more useful.

Iceberg Joulsarlon Lagoon Iceland July 2022 Volume 7 Issue 5

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Developing a personal style by taking Control of Colour By Ingrid Popplewell

Personal Style We discussed an approach to developing our own style. David shared his approach: he created a ‘Visual Mood Board’ of images , photographic and cinematographic, that resonated for him. He used this as a starting point to understand and reflect on his own photography. He also suggested a ‘Word Cloud’: collecting words that describe 80% of your images to find underlying themes that you might not even have been aware of.

Floating Ice Jokulsarlon Beach Iceland

He recommended 3 books: Steal Like and Artist by Austin Kleon Find Your Artistic Voice by Lisa Congdon The Art of Photography by Bruce Barnbaum He showed images from 5 photographers whose work he admires, where colour is a significant part of their personal style: -

Rachel Talibart Laars van de Goor Verity Milligan Edward Burtynsky Sandra Bartocha

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Developing a personal style by taking Control of Colour By Ingrid Popplewell

Swanage Pier (Dorset)

Man O War Cove Dorset Summary This was an excellent course. We discussed basic colour theory and learnt many techniques for applying or changing colour in different ways. I would say that you would need a good working knowledge of PS to follow most of the technical learning. The message was to do this with intent and to do it in a subtle manner. We discussed personal style, whether we had it and how we might explore it. We had a chance to experiment with the techniques between the sessions and to share and discuss our results.

The sessions were really well organised and presented. David responded to questions as they arose. He was encouraging and I believe, inspired us all to be more aware of the possibilities offered by understanding and manipulating colour.

All images © David Rosen July 2022 Volume 7 Issue 5

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2022 - A year to learn how to take Landscape Photographs

By Matthew Little

I spent the pandemic shielding as a clinically extremely vulnerable person. I followed the guidance diligently, isolating indoors and having all my needs delivered to me. After shielding had ended, having spent so many months inside I had lost my confidence in going out and in total it was very nearly 2 years that I did not leave the house. In order to provide myself with motivation and to force myself to get outside again I decided for 2022 I would set myself the challenge of learning how to consistently take good landscape photographs (not just the odd lucky snapshot). I have had a DSLR since 2007 so I know my way round a camera; however, I have never taken landscape photos. The few attempts I did make were so disappointing that I really never bothered with it. So I dusted down my rarely used tripod, bought some filters, started reading some books on the subject and of course joined the royal photographic society and the landscape SIG. My first attempt to try out some of things I had read was a trip to Padley Gorge on the National Trusts Longshaw estate in the Peak District. I would have to say I found it a lot more challenging than I originally thought it would be. Here are my initial thoughts on the experience.

1. I found getting the exposure right really hard especially on the longer exposure shots with the white water.

2. I take mostly street and wildlife photos and for this the focus point is nearly always on the eyes.

Yes, you often have to change the cameras focus point quickly and often as the subjects move but that comes easily with a little practice. However, sat in front of a static landscape when I had all the time in the world to set the focus point I had no idea as to where to set it. I had read that I should aim to set the focus point with 1/3 in front and 2/3 behind. In the field however, I had no idea what that meant. When I tried to implement it I often had to focus on something completely inconsequential in the image. As a consequence a lot of my shots didn’t achieve the sharp focus front to back focus I was intending, even shooting with a small aperture.

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A year to learn how to take Landscape Photographs By Matthew Little

3. I clearly do not have a natural eye for good composition of a landscape photograph. On reflection, the images were often too busy or had distracting elements in them. Also I was spending far too much time worrying about getting the technical aspects right that the most important elements light & composition was getting forgotten.

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A year to learn how to take Landscape Photographs By Matthew Little

I was sure these were common experiences for novice landscape photographers and I knew the RPS has a wealth of really useful information available to members and ran a number of online talks and workshops. So I booked myself onto the RPS course, Landscape Fundamentals

by Robert Harvey ARPS. To my astonishment Robert addressed all of my issues. I can highly recommend it to anyone starting out in landscape photography. I also attended the RPS course on The Art of Creative Composition by Simon Ellingworth. Though Robert had covered composition,

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A year to learn how to take Landscape Photographs By Matthew Little

this course really challenged me to think differently about how to compose a photograph. For good measure I also attended the Long Exposure Photography workshop in Brighton with Nigel Wilson, which I thoroughly enjoyed. While I took many photographs practicing on my own, I did attend 2 professionally led events on location in the South Downs with Peter Bedford. He guided us to good locations; suggested composition ideas and when to use different focal lengths etc, but left us to our own creative devices to make the most of his input which was great.

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A year to learn how to take Landscape Photographs By Matthew Little

At the start of the year I had booked up 6 days in June to explore the Isle of Skye with my camera.

This would mark the half way point in my year long challenge and gave me focused time to take photos in order to assess how far I had progressed. The weather was challenging to say the least.

Lots of rain, gale force winds and a constant blanket of thick cloud. I had to be patient (once finding a good location), waiting hours for a window of reasonable weather with no rain and (if lucky) the sun briefly breaking through the clouds in order to get a few photos. I have included some of the results for you to see, I hope you enjoy them.

I still have a long way to go. While I now understand about hyper focal distance I am still finding it difficult to implement (you don’t carry a tape measure with you!) so some of my shots are still not as sharp as I would like. Robert taught us about focus stacking but I have yet to try it and I am sure some of my shots would have benefited from the technique. Still my ability to control exposure under difficult lighting has been transformed. Composition remains my weakest area but at least they are thoughtful and considered now and I have a much greater appreciation of light and it’s effect. I am also able to enjoy the creativity of choosing longer or shorter exposures to convey different moods.

“While my focus now is to practice what I have learnt as much as possible I am keen to attend the Landscape Masterclass by Robert Harvey ARPS, later in the year”

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A year to learn how to take Landscape Photographs By Matthew Little

All images © Matthew Little

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RPS Landscape Group

Monthly Competition

Winners Announcement Members submitted another stunning collection of images to the Landscape Group competition during June

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June 2022

RPS Landscape Group Monthly Competition

1st Place

Galloway Evening by Peter Stott LRPS This picture was taken in Galloway, just north of Gatehouse of Fleet in the Galloway Forest Park, Scotland. The lowland area of Dumfries and Galloway lies between Cumbria to the south and the Scottish Lowlands to the north. There is arable farming along the coast and inland valleys, and cattle and sheep farming on the shallow soils of the more windswept and barren uplands. The northern area of Galloway (to the right in this picture) is an area of wild landscapes, reputed to be the last remaining wilderness in Britain south of the Highlands.

To the south (left in this picture) lies more arable land descending to the coast and the Solway Firth. Galloway is largely undiscovered by tourists who pass it by on their way to the Highlands.

This is exactly how the locals like it.The picture was taken in April when a cold wind was blowing across the hills from the north, giving misty conditions in both the morning and evening; but in the late afternoon there were occasional shafts of bright sunlight. I had found this spot when we first arrived on vacation, noting the leading lines created by the stone wall, the focal point of the distant hillside and the opportunity which would be offered by strong sunlight from the east. I like this picture because it highlights the rapidly changing weather in this rural area and the effect that farming has had on the natural landscape.

Canon EOS 5D Mk4, Lens EF 24-70 @ 30mm, 1/125 sec f9, ISO 100 Comments made by RPS Landscape Members when voting for Peter’s image • • • • • • • • • •

The light and highlights on the hill really stand out.

The transient light transforms an otherwise mundane scene.

Arresting light and composition Stunning use of the evening light Advantage has been taken of light in the moment and adds to other factors to lead the eye into the shot Beautiful light.

A lovely capture of beautiful light!

Perfect lighting. Image evokes a deep sense of peace.

The atmosphere in the sky, the light on the land and composition with leading lines makes this image a very effective landscape photograph. Liked it the best of the lot. Thanks The image appears sharp, good thoughtful capture with colour and form that pulls me in for an amazing visual experience that touches my emotions.Very dramatic and atmospheric light; a well composed image.

Great Light!Lovely light. There is a feeling of total peace with this image.Lovely scene with great lightingIs so atmosphericWell executed nice composition July 2022 Volume 7 Issue 5

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Winners Announcement - June 2022

2nd Place Lambda by David Travis ARPS

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RPS Landscape Group Monthly Competition

Comments made by RPS Landscape Members when voting for David’s image

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A really striking monochrome.

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It was well seen and exposure is well done considering the dynamic range of the subject.

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It is a very challenging image when you first look at it but once you recognise it is buildings the light is excellent both in the sky and on the buildings. Excellent

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The light, the shapes, the cleanliness of the image, I love everything about it!

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Clever and striking image, very well executed. Drama, composition, sharpness

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Powerful structured black and white image.

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Great use of leading lines, space, light and composition

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A unique take and visually stunning.

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It was close with yesterday’s industry but went for it because out of the 2 it’s the one I could put on a wall. Tough

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Lovely minimal shot, great use of b&w

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Drama at its best.

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Winners Announcement June 2022

3rd Place Misty sunrise Corfe Castle contre-jour

by Richard Broomfield LRPS

Comments made by RPS Landscape Members when voting for Richards’s image •

Great composition with ideal weather conditions.

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Frosty foreground leading the viewer through a welcoming open gate to the misty image of the castle with the sunrise behind . Very evocative.

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Because I love the atmosphere caused by the lighting.

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Much photographed spot but the mist makes it.Beautifully timed and crafted.

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First: the atmospherics of the picture. Second: the Contre Jour works perfectly Third: the mistiness in in the distance around the castle but the exquisite sharpness of the foreground.

Fourth: how those two parts of the photo make the eye go back and forth to take them both in Fifth: the dew or frost on the grass Finally: How the open gate makes you feel that you want to walk through it and walk in to the field

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RPS Landscape Group Monthly Competition

Competition Rules

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Images should be sent to: landscapeweb@rps.org

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One image per RPS Landscape Member per month.

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Images should be 2000px wide - there is no restriction on how tall your pictures are. So please resize them up to 2000px by XXXXX px. (NOT XXXX px by 2000 px).

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Please name your jpeg file as follows - Image Title by Your Name, e.g. Brighton Beach By Hazel Smith LRPS.jpg

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Winners and runners up will have their images showcased in RPS Landscape publications, RPS Landscape Facebook, RPS Landscape Instagram and the RPS website.

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Open for entries 1st to 23rd of each month.

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Voting takes place 24th to 28th of each month. All Landscape members will be emailed a link where they will be able to vote for their favourite 3 images or look out for the voting announcement link on the Lanscape Group’s homepage and on our Facebook page.

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The Prize 1st place prize in 2022 is Robert Harvey’s book in hard cover, Britain’s Best Landscapes and How to Photograph Them.

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Landscape Group Events While the RPS make changes to the Events booking system the purchasing of some tickets will be affected but once the new system is opererational tickets will be on sale. The date for this is currently unknown, so please check back periodically.

Apologies for any inconvenience.

To view all events organised by the Landscape Group, go to the Landscape Events web page here

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Other RPS News

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