RPS Landscape Group Newsletter - June 2022

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Newsletter RPS Landscape Group June 2022 Volume 7 Number 4


Submissions The copy date for submissions to the next newsletter (July) is Friday 24th June 2022. 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

F r o n t c o v e r :

Widemouth Sunset by Paul Bather ARPS

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 June 2022 Volume 7 Issue 4

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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Landscape Group Conference 2023

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Projects Landscape Group Exhibition 2022 in York

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Articles by Members Flat and Minimalist Landscapes by Lindsay Southgate & Stephanie Thomas Visit to Bude by Paul Bather ARPS South Downs Workshop by Phillip Edwards Letters from America, Spring! by Candia Petersons

Committe News Profile of Richard Ellis, Landscape SIG Chair

Monthly competition Winners announcements for May

Events Landscape Group Events

Other RPS News

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EDITORIAL Peter Fortune, Newsletter Editor

I have been busy thinking about developments in photography in the last 30 or so years. Thirty years ago photography was an expensive hobby - not only did you have the cost of cameras and lenses but you also had the cost of film, developing and printing. Even if you were a very advanced photographer and could develop coloured transparencies let alone printing and enlarging images. Around the end of the ‘90s I bought my first digital camera, and i decided to buy a good quality one - it could make images of a megapixel - I was advised that any thing less was too low a quality for a serious photographer. At around that time or maybe a short time after Sir Patrick Litchfield, a professional photographer and a cousin of the Queen who had amongst other projects shot a number of Pirelli Calendars, was given a Nikon Digital Camera and said he would not ever buy another role of film - digital truly had arrived. This was the first revolutionary development in a long time. After this the pixel count offered by the manufacturers of serious cameras gradually rose until today 45 megapixels is normal and one or two manufacturers have gone even higher. Of course there were other developments too - the In body stabilisation of images which allows for lower speeds and/or higher apertures came following in lens stabilisation for example. There has been many developments in focussing systems and the control of white balance which enables taking of natural looking pictures in different light conditions. All these developments made photography easier for those who understood them. The first mobile phones were on the market in the 80s but they were hardly mobile as they were powered by a brick sized battery which was very heavy thereby reducing the mobility. Of course all they could do was to enable and receive telephone calls. However great oaks from little acorns grow and today we all have pocket sized phones that have cameras and many other features. Today we are seeing another revolution in photography. The photographic capabilities of high end mobile phones now rival the capabilities of high end cameras. This is very challenging for the camera manufacturers, not the least because the phones are significantly cheaper than the cameras. There are some things that mobile phones cannot do. The can’t compete with longer lenses for example but for even serious amateur photographers, phones represent a significant alternative and of course being phones they can send images over telephone network anywhere. If we look forward, in 30 years time perhaps serious photographers will not need a bag full of lenses or a tripod and will be able to send their images to their home base computers, painlessly, for post production processing. Gone will be days of out door photographers needing to be muscular to carry all the equipment - well maybe!

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RPS Landscape Group Ian Battersby ARPS

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

The Landscape Group passed another milestone with the start of our first ever outdoor exhibition of members’ work. The exhibition opened in St Andrew Square in Edinburgh and is set to tour the UK with the next location being York. This has been a fantastic opportunity for members to show their work and a great example of collaboration across the RPS. We are very grateful to Judy and David Hicks of the London region for sharing their expertise as this enabled us to get things up and running much more easily. A big thank you to Howard Klein and his team of volunteers who have worked tirelessly to make this exhibition happen. I have attached a couple of images below and you can see the full gallery here. If you are in the area please do pop along and see the work. We are finalising plans for our conference and AGM in Harrogate next year - March 3-5 2023. You can register your interest by contacting Dave Glenn at landscapememberevents@rps.org. We are just waiting for the RPS HQ to transition their IT systems to a new provider and then we will get bookings up and running so please bear with us whilst we wait for HQ to finish their IT work. The conference promises to be an actioned packed, fun and friendly weekend with lots of great speakers and opportunities to photograph in the local environment. The conference will build on our learnings from the successful events we held in Malvern and Skipton. I hope to see you all in Harrogate in March. The committee are grappling with succession planning and looking to fill some significant vacancies next year. If you are interested in working as part of a dynamic and entrepreneurial team making the landscape programme come to life then please contact me for an informal chat on landscape@rps.org. I hope you are all enjoying your photography. Take care Richard

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Exhibition in St Andrew Square, Edinburgh Images taken by Colin Balfour

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Landscape Group Exbibition 2022

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FLAT AND MINIMALIST LANDSCAPES By Lindsay Southgate & Stephanie Thomas Cornwall, a land of towering cliffs, rugged moorland and deeply incised river valleys doesn’t necessarily suggest flat and minimal landscapes yet living in a county, bursting with honey pot locations, didn’t stop us signing up for Alex Hare’s remote workshop, “Flat and Minimalist Landscapes”. Having listened to Alex’s talks and enjoyed the book making workshop he runs with Lizzie Shepherd, we had been inspired by how he uses classic styles and approaches to finding unique viewpoints. We wanted to move further away from planting our tripods where so many others have placed theirs. The workshop was spread over a month, beginning with a Zoom session followed by time for each of us to put into practice the principles Alex had introduced us to at locations of our choice. A final constructive review session took place online four weeks later. Alex’s introduction encouraged us to use classic approaches to landscape photography yet move beyond just taking those familiar iconic images we’ve all seen before. We discussed a number of ways to achieve this - tonality, depth, harmony between built and natural environment, the use of abstraction. He also encouraged us to look at the work of painting masters such as Turner and Constable, to use how they embrace minimalism and ideas of flatness to further inform our approach. It became obvious to us that “flat” is not just a lack of elevation, but exists in unexpected places. Our challenge was to take some or all of these ingredients and over the intervening weeks create images which offered an alternative view of classic landscape shots. The images shared in the final session had been taken in a variety of locations - coastal, inland waterways, marshland, farmland and Venice. We saw a wide range of techniques and creativity such as colour/mono, long exposures, ICM and abstraction showing new ways of seeing and interpreting locations which were familiar to us. Brave approaches were often the most successful - perhaps the photographer “broke the rules” of composition or adopted an extreme minimal style with only hints of a subject. The flat light available during the workshop, not normally preferred by landscape photographers, resulted in some very effective tonally minimal images. These images were truly unique to the photographer, showing confidence in seeing an alternative view, not just an illustrative image of a landscape. As well as enjoying the high quality images which came out of the workshop, it was encouraging to see that such competent and skilled photographers were keen to continue their learning, open to constructive criticism and determined to create ever more compelling images. This was testament to Alex’s ability to run an open and encouraging workshop. One of the unexpected consequences of the pandemic is that photographers from any location are able to meet online and benefit from this type of remote learning. Please, please Landscape Group keep making these opportunities available to us all!

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Flat and Minimalist Landscapes by Lindsay Southgate & Stephanie Thomas

West Burton Falls ©Janice Burton LRPS

Pelestrina by Lindsay Southgate (top) Misty Rocks by Stephanie Thomas (bottom) June 2022 Volume 7 Issue 4

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Flat and Minimalist Landscapes by Lindsay Southgate & Stephanie Thomas

Crossing the lagoon by Lindsay Southgate

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Flat and Minimalist Landscapes by Lindsay Southgate & Stephanie Thomas

Misty Morning by Stephanie Thomas

Pebble by Stephanie Thomas June 2022 Volume 7 Issue 4

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Visit to Bude

By Paul Bather ARPS

Widemouth Tide

To celebrate the New Year, I went with my wife and a couple of friends for a week’s break staying in Marhamchurch near Widemouth Bay just outside of Bude. It was a long-delayed break having been booked two years previously and then delayed due to Covid. Bude is a seaside town situated on the northeast coast of Cornwall close to the border with Devon. It has consistently been voted one of the best UK coastal resorts in national Travel Awards. There is a good range of facilities with something for everyone, including a small tidal harbour leading onto a canal. Bude also has a number of fantastic beaches close by including Sandymouth, Widemouth Bay, Northcott Mouth, Crackington Haven and Duckpool. All of which have their own unique qualities be it waterfalls, rock pools or formations. It is also close to a number of local attractions including a harbour at Boscastle – 15 miles, Clovelly with its cobbled steep incline and beach waterfall – 20 miles, Padstow with its working port and selection of shops and restaurants– 35 miles and Royal Horticultural Society Gardens at Rosemore a 65 acre garden in North Devon with a range of woodland walks, water features and gardens with a wide range of plants and trees, 25 miles away. All of which are well worth a visit and served by ample parking facilities. My wife and friends are not photographers and taking my tripod, a set of neutral density and graduated filters and then spending time waiting for ideal photographic conditions would I am sure, have rightfully tried their patience. So, I kept my photographic equipment to the minimum taking my trusted Nikon D500, an 80-140mm and 50mm lens along with a polarizing and ultraviolet filter. June 2022 Volume 7 Issue 4

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Visit to Bude by Paul Bather ARPS

Boscastle inlet

Boscastle rocks

Rosemoor Gardens fall

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Visit to Bude by Paul Bather ARPS

Although not a photographic holiday I did however conduct the usual research using the internet looking at local tourist sites and making use of the photographer’s ephemeris. I also looked at local tide times to ensure if the opportunity arose, I could make the best use of any available time. My usual research before going away consists of pouring over maps and going back over previous articles and travelogues which, I had bookmarked on the internet or even cutting out articles from magazines. Although I have visited Bude in the past and made mental and written notes of where I would like to return to, there is always something new to explore and record. I am a great believer in having a loose plan to make sure that, if possible, I can be prepared and able to try to capture the vagaries of weather and light effects. I also like to look for the intimate details of the landscape. Also having a loose plan enables me to diversify and look around to investigate other subjects.

p Tuition

Widemouth sunset

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Visit to Bude by Paul Bather ARPS

Clovelly Falls

The weather when we were away was changeable with periods of extreme rain and wind but going to Cornwall in January I never expected to come back with a suntan. We did however manage to visit a number of places close by of which the following are a small selection of the pictures taken. I hope you like them.

Rosemoor Gardens fall

All images © Paul Bather ARPS June 2022 Volume 7 Issue 4

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South Downs Wor kshop By Phillip Edwards

As Shakespeare wrote of “May’s new-fangled mirth” the weather did seem to be toying with us on a workshop led by Philip Bedford to the Firle Beacon and the wider South Downs on the 19th May. We were treated to three seasons from dawn to midday, which never failed to obscure the beauty in this East Sussex corner of England’s newest National Park. Meeting up pre-dawn at 4:30 in the car park, after quietly introducing ourselves so as not to disturb those camping nearby, we then marched up to a ridge alongside the 217 metres high Firle Beacon.There we positioned ourselves overlooking a series of gently rolling contoured hills. But the hope of a dramatic sunrise that would burst through and illuminate the slopes were confounded, though on several occasions we thought that there may be a light show of note. At one point, an area of the sky showed real promise over cloud-capped Mount Caburn that prominent landmark east of Lewes and 3 miles from where we were, but it never really spread over towards us, despite Phillip’s animated gesture to virtually drag it in our direction. Despite that, as we waited for the scene to develop, Philip pointed out the opportunities to focus in on the hill contours and keep vigilant for developing clouds and mist.

Firle Beacon Fog

Firle Beacon Cow Parsley June 2022 Volume 7 Issue 4

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South Downs by Phillip Edwards

Bopeep

Gradient Fields

Horse in field June 2022 Volume 7 Issue 4

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South Downs by Phillip Edwards

The peaceful scene of the carpeted slopes around us of cowslips and buttercups was then quickly obscured with a fastly spreading clump of cloud at our level of elevation. In response we headed over the ridge to see if we could pick out isolated detail as the grey curtain repeatedly descended and raised. Its thickness was such that there was rarely a subtle gradation of opaquess. The individual trees and copses simply disappeared and reappeared, and even the white exposed chalk paths looked a subdued grey. With the murk not threatening to lift, Philip decided to guide us back down to the car park to see what other vista presented themselves from the South Downs around us. By the time we’d returned visibility was improving and there he outlined alternative composition approaches that would work well in this environment, including using a longer lens and a wider aperture to look into the scene through placing an out-of-focus foreground to focus the viewer’s eye on the subject in focus in the background. A bank of white and frothy cow parsley on a verge side provided an opportunity to explore this technique. Taking an hour’s break for breakfast, earlier than planned, proved fortuitous, as the day’s forecasted rain made a rather robust appearance. By the time we left Firle Beacon and drove the 5 miles to Bopeep, it had cleared. Due east from our first location further along the South Downs Way, Philip now gave us the opportunity to explore a number of views across Alciston and Berwick. The countryside seemed revived from the downpour it has been subject to, and the greens were vibrant, under a clearing sky. We then undertook a 2 mile walk south east along the South Downs way overlooking fields of emerald green that had been ploughed with lines of a precision that made them look as if they had been manicured for the owner’s dedication to aesthetics alone. The opportunities for landscape photography were broad. Should a wide angle be employed to capture the breadth of the field layouts laid out before us while waiting for the perfect balance of cloud shadows and sun, or should the telephoto lens be attached to focus in on the detail of the field’s undulations in a more abstract way? A mixture of both were attempted, as was the consideration of varying between colour and monochrome - the green of the field were luminescent, but the consistency of the tonal range invited a capture of the contrast between light and shadow. The final stage of the workshop was enjoyed sloping down a hill to capture individual trees and buildings separate from the green sea that they were immersed in. The heat of a midday sun made the march back to the car park back up the hill a bit of a trudge, though made easier by the friendly chats with those who came on the workshop, and the friendly strangers we encountered horse riding, dog walking, cycling and hiking on the way back - it was time to let them enjoy the space. Thanks to Philip for a great day of guidance and inspiration, as well as the loan of a tripod when mine decided to break. All images © Phillip Edwards

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South Downs by Phillip Edwards

Tree against field

Light shadows lines

Undulating fields June 2022 Volume 7 Issue 4

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Spring! Letters from America By Candia Peterson

Mid-April and my favourite Sycamore stands out against a bare background The Catskill Mountains lie to the West of the Hudson River valley and about three hours north of New York City. Not really mountains in the Alpine sense, the region mixes densely forested rolling hills with arable farmland in the numerous river valleys that run through them. Villages are small and quaint, mostly dating back to before the Civil War and, for the most part, it is a sparsely populated and a very lovely part of the US in which to live.

There is, however, a catch and as I was remarking to my son earlier this week, there is no getting around it, winter in the Catskills definitely lasts six months with the other three seasons sharing the remaining half of the year. The reality is that from mid-November to mid-May, we are subject to a lot of snow, perishing temperatures with their accompanying frostbite warnings from the local met office (we managed minus 30 C for about two weeks solid this year) strong winds and a general sense of living inside a fridge.

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The last snowfall brings winter back in late April

Though the canny locals don’t put out their seedlings or hanging baskets until Memorial Day (last Monday in May) as I write on the 18th May, we have started to see some temperatures that feel like summer. Spring is gone in the blink of an eye (or an hour mid-morning). One day last week we woke up to a frost and minus 3 degrees C; by lunch time we were at plus 34. The Tuesday after Easter we had a foot of snow; by the Thursday we were up in the mid-twenties and suffered flash flooding caused by the melt. Even the trees don’t believe in spring until it’s summer – most of those that produce blossom only do so after they have sprouted their leaves and then only a little bit.

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Letters from America by Candia Peterson

Daffodils and Forsythia display their yellow around now, at least a couple of months later than those back in Blighty. In no time at all, the brief experience that is spring will give way to hot and steamy days, little respite at night, a lot of thunderstorms and lush green summer forests. The reward of course for all of that is the glory of the “Fall Colours” and there are numerous “Leaf Peeking” festivals and country fairs. It is easy to look forward to this, possibly the best part of the local year with perfect temperatures and wonderful vistas. Only problem with that is that we all know what’s coming next!

Red maple buds give an almost autumnal hue to the early Spring

The greening of May starts to creep up the hills but frosts are still prevalent

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Letters from America by Candia Peterson

As I am coming out of my third winter in the Catskills, my local knowledge has expanded, I’ve found hiking trails and woodland reasonably close by and, as I’ve developed a habit of going out in the car most Sundays (and other days when work allows, but the roads are empty on Sundays) with the camera, I’m getting to know all the sites I love to visit and revisit over the course of the year. I’ve spent the last month – in which all these images were taken – picking my way through the vestiges of winter, slipping and sliding over snow to spot some signs of greening up and enjoying the local mountains starting to change colour from ground level up.

The transition to summer is almost complete and with it come the storms

An empty country road

My silver birch one month on

Covered as they are with a mix of oak, birch, sugar maple (syrup is a local produce) and red maple, the red leaf buds of the last give the hills an almost autumnal colour to what were bare grey trees before they spring into leaf. Also common in these parts is the American sycamore, a wonderful tree with bright white bark that comes into leaf only at the tips of its smallest branches. A particularly lovely specimen is a five-minute drive from home and it is a tree that I have come to watch and photograph often. It stands across the Delaware River (which flows through the village) from the only vantage point but is backed by woodland that is entirely typical of the landscape around me.

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Silver birch are another of my favourite local species June 2022 Volume 7 Issue 4

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Letters from America by Candia Peterson

My only sadness as winter fades via an itinerant spring into summer is that there isn’t a bluebell to be seen in the local woodland. I suppose they are not native to North America and no-one has introduced them. I did try planting bulbs in the wooded end of my garden but none survived which is possibly why. Later – mid June – we will start to see wild phlox but it isn’t quite the same. Earlier this week I was doing a “searching for spring” reccie on a road close to my village that I hadn’t ventured down before. I was driving along very happily taking in the scenery looking down the banked verge to the river when what should I see but a locomotive! Screeching to a halt, I reversed to have another, closer look. This was very puzzling as the nearest useful train station is a two-hour drive away and there aren’t even any freight tracks within a 50-mile radius. What the hell was a train doing there, effectively in a ditch? I had to photograph this so I hopped out of the car and was snapping away when a battered old pick-up truck pulled up beside me. The elderly woman who was driving yelled at me through her open window that the train was hers and it was private property. Okay, I showed her the camera and smiled encouragingly and she mellowed somewhat. I asked her how she got it there, it was lifted in by crane in she told me. Why? Why not, came back the response. And with that, off she went leaving her much treasured rusty old locomotive in its ditch and me not really any the wiser. I guess that’s America!

What the…..?

All images © Candia Peterson

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Another in the series of articles about our committee members and their photographic journeys. This edition we feature Richard Ellis, Landscape Group Chair

Richard Ellis, Chair When did you first become interested in photography and how? I first became interested in my mid teens and used the family camera. Then I was given a camera for my 18th birthday. Later with marriage, family and work, photography was on the back burner but I returned to it about 8 years ago. What does photography mean to you? Landscape photography gets me out and about. I like to walk around for some time and get under the skin of a landscape which is a challenge. I also enjoy the opportunity to share with others what I have photographed. What do you most like to shoot? Landscapes mainly coastal shots – I especially like shooting Islands and exploring the culture as well as the views.

How do you approach a shooting? Do you choose the location/subject in advance, or do you drive somewhere and start taking pictures? I am a planner – I will use Ordinance Survey Maps as well as Google Maps and other aps to select a destination and become aware of tides, features of interest, and sunrise and sunset. Are you a member of a camera club? Yes I am a member of Maidenhead Camera Club. It is nice to see what others are doing photographically. What is your favourite camera? The Nikon Z7 II.

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What are you working on now? I like working on projects. For example, I am working on the changing scenery through the year in local woodland – Savernake Forrest and Burnham Beeches. I am also working on a project photographing coastal views around Land’s End and the Lizard Point. All images © Richard Ellis June 2022 Volume 7 Issue 4

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RPS Landscape Group

Monthly Competition

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

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May 2022

RPS Landscape Group Monthly Competition

1st Place

Sunday Afternoon Stroll by Brian Lunt

The location is West Kirby on a tidal washed lake looking toward North Wales hills, Flintshire. It’s a great place for photography and very close to me. A good place for walking where you can walk out to islands. There are lots of birds, some seals and a good location for sunsets. This was one of those very bright and warm days with high greyish clouds, giving a white sky. Camera is a Canon 5D SR Lens Canon 100-400 Yes, a telephone zoom which I have used for landscapes for long time. I’ve had a camera in my hands since my 10th birthday. I’m now 69 and taken many photos but sadly a lot got lost while moving but it’s a good excuse to take many more landscape photos which I love. Each month, I look forward to seeing the photos uploaded to RPS Landscape group competition. Comments made by RPS Landscape Members when voting for Brian’s image •

I liked the composition, the symmetry and the reflection and the way it faded away at the edges.

I love the simplicity and the composition. An original piece of work.

Lovely gentle treatment of a Sunday afternoon stroll. I like how the yacht and its reflection dictate the handling of the image.

I wish I had taken it!

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Winners Announcement - May 2022

2nd Place The Lie of the Land by Bill Daniels LRPS

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

I just like its simplicity and it looks good without any sky. This makes one focus on the lines of the hills and fields.

Excellent eye for composition.

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RPS Landscape Group Monthly Competition

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Winners Announcement May 2022

3rd Place

Rannoch Moor Sunset John Cuthbert ARPS

Comments made by RPS Landscape Members when voting for John's image •

I like the composition of the image generally. The focus on the rocks in the foreground and the depth of field draws the eye across the water to the reflections of the snowcapped mountains. The cloud formation and colour tones of the evening light provide an atmospheric dimension.

Beautiful image!

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RPS Landscape Group Monthly Competition

Competition Rules

Images should be sent to: landscapeweb@rps.org

One image per RPS Landscape Member per month.

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).

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

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

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

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.

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. Featuring a spectaular chance to join professional landscape photographer, Mark Banks on this five-day (six-night) residential workshop in one of the most beautiful and varied landscapes in the UK.

Based along the shores of Gairloch in the Scottish Highlands, the group will visit a variety of photogenic locations such as the beaches of Udrigle, Poolewe and Achnasheen to the north and along the shores of Loch Maree and surrounding woodland to the east. Autumn colour will be spectacular at this time of year! The highlight of this trip is photographing the famous Torridon mountain range such as Beinn Eighe, Sgurr Dubh and Liathach as well as the stunning vistas on offer around Upper Loch Torridon. Transport from and to the hotel is provided each day. Transport from and to the hotel is provided each day. Exertion level is classed as ‘Easy to Moderate’ and each location is carefully selected for its fine views and easy access. There are, however, areas of uneven terrain, which may be challenging for those with limited mobility. Please contact Mark Banks if you would like to discuss further before booking (info@markbanksphotography.com). This workshop is unsuitable for wheelchair users due to the terrain. Breakfast, packed lunch and a two-course evening meal are included in the cost of this workshop.

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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