RPS Landscape Group, Summer 2021 Magazine

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Summer 2021

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Landscape Magazine Summer 2021

CONTENTS Editor Robert Brittle ARPS Assistant Editor Gaynor Davies ARPS Layout and Artwork Paul Cayton Contributions please send to landscapemagazine@rps.org

Committee Richard Ellis ARPS (Chair) Sue Wright (Web Editor) Peter Fortune (Newsletter Editor) Andy McLaughlin (Secretary) Mark Reeves ARPS (Vice-Chair and Pro-Events Manager) Diana Wynn (Treasurer) Dave Glenn (Member-Led Events Manager) Robert Brittle ARPS (Magazine Editor) Fiona McCowan LRPS (Member Without Portfolio)


Viktoria Haack describes her photographic journey from the Jurassic coast to the wilds of the Canadian wilderness.

8 12 John Miskelly FRPS discusses and

illustrates his ‘vision’; what it means and its relation to the images he makes.

12 26 Tony Worobiec FRPS expands on

his presentation to the group’s AGM by taking us to the water’s edge.

26 THE ROYAL PHOTOGRAPHIC SOCIETY RPS House, 337 Paintworks, Arnos Vale, Bristol, BS4 3AR, UK Patron HRH THE DUCHESS OF CAMBRIDGE President SIMON HILL FRPS Chief Executive Officer EVAN DAWSON Hon Treasurer JOHN MISKELLY FCA FRPS © 2021 The Royal Photographic Society All rights reserved.

FRONT COVER IMAGE: “Allepy fisherman” by Ashok Viswanathan FFIP, EFIAP, PPSA REAR COVER IMAGE: “Hoar Frost” by Tim Pearson

Printed and Published on behalf of The Royal Photographic Society by Henry Ling Ltd, The Dorset Press, Dorchester, DT1 1TD.

Landscape Magazine Summer 2021

32 Emma Stokes assesses her

photographic direction, staying close to home and trying new techniques to create her images.


GROUP MEMBER SPOTLIGHT 36 Group member Tim Hodges ARPS

shows us that it’s not all work; sometimes the opportunity to grab a few shots, while on location, can create stunning Cityscapes.




Indian Chapter



Jayne Winter FRPS



Inspirational Places




Musings from the chair

Landscape is the Magazine of the RPS Landscape Group and is provided as part of the annual subscription to the Group © 2021 The Royal Photographic Society All rights reserved on behalf of the contributors and authors. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise without the written permission of the copyright holder. Requests for such permission must be addressed to the Editor. The Royal Photographic Society, RPS Landscape Group and the Editor accept no liability for any misuse or breach of copyright by a contributor. The views expressed in this magazine do not necessarily reflect the policies of the Royal Photographic Society or of the Landscape group.


INSPIRATIONAL PLACES Bird’s eye view of the River Thames and its surroundings from the Shard by Tim Hodges ARPS

Canon 5D Mark III Sigma 12-24mm lens at 15mm 1/1600 secs @ f8, Hand-held, LENSKIRT 4

Landscape Magazine Summer 2021

Landscape Magazine Summer 2021


EDITORIAL Welcome to Landscape; the magazine of the RPS Landscape Group. Welcome to the Summer 2021 issue of the group’s magazine. As we tentatively move out of lockdown here in the UK, most of us will have been tempted to venture further afield for some photographic inspiration. In this issue we feature several photographers who still feel their best source of inspiration is in the area they call home. We continue to feature recent landscape distinctions award recipients and I had the pleasure of posing a few questions to Jayne Winter FRPS, who was recently awarded a Fellowship distinction for her winter images of a local woodland. This issue continues to feature the work of some of the top professional landscape photographers and here we feature Tony Worobiec FRPS, a member of the Landscape Distinctions Advisory Board and Eva Worobiec FRPS, who have kindly allowed us to show some of the images they have included in their latest book. As travel from the UK is still limited, the least we can do as an editorial team is try and bring the world to our members. Viktoria Haack discusses her family’s journey from the UK


to Canada, John Miskelly FRPS features the coast of Northern Ireland and elsewhere, plus we have the pleasure of including two photographers from India in our Chapter Spotlight pages. Our members’ spotlight shines on Tim Hodges ARPS, who discusses his Cityscapes and shows us how taking advantage of public spaces can provide a different perspective. Finally, Emma Stokes looks at different techniques to illustrate how the same place can give the viewer a sense of how she feels about the imagery she is making and the sense of place she experiences.

and images; we will happily guide you through the process. All it leaves me to say is, stay safe, be positive and reach out if you need to. The Editorial Team and Group’s Committee are all looking forward to seeing the group’s members in the not-toodistant future. Next copy date is 30th October 2021. The Editorial Team

Unfortunately, in the last issue a gremlin got in to the works, so a big apology to Tim Pearson for the duplication of one of his images. To hopefully make up for our error, we have published the correct image on the back cover of this issue. If any reader would like to contribute to the next issue of the group’s magazine, please get in touch. To date, everyone who has been in touch has been published; maybe you’ve had time to tidy up your Lightroom catalogue and have found images you would like to send us? Please don’t be worried about the technical elements of sending text

Landscape Magazine Summer 2021


Richard Ellis ARPS, Chair, RPS Landscape SIG Landscape group reaches one thousand members We are delighted to announce that the Landscape Group has hit a very significant milestone as our membership reached one thousand members. This is a great achievement after only five years and is testament to the strength of our programmes. We are very grateful to each and every one of you for your support of the group and hope that you will continue to enjoy your membership. The committee continues to be very busy on your behalf. We will shortly be publishing some guidance on how to carry out landscape photography whilst minimising your impact on the environment and we have put our first field guide on the website. We hope that you will find both of these useful. As we emerge from the recent phase of Covid-19, we are seeing increased enthusiasm for our day trip and hybrid workshops, but some reluctance to book longer field trips. We will continue to seek opportunities for photography which obviate the need to stay away and are focussed on being outdoors for the duration of the event. If you have ideas for events you would like to see us organise, then please let the committee know.

Landscape Magazine Summer 2021

As you may have seen in the newsletter, we are now organising some events for photographers with mobility restrictions. These events will become a permanent feature of our programme provided they are supported, so if you know of someone who may find this type of event beneficial, please let them know. The magazine continues to showcase a diverse range of photography, but we are always searching for more articles. If you feel you could contribute, please get in touch with the editor. By the time you read this, the autumn colours will just be starting to form here in the UK, so I do hope you will get outside and enjoy the spectacle. Richard



Viktoria Haack Viktoria finds the wild landscapes of Canada fascinating and is inspired by the weather, and especially, the Canadian winters. She finds snow and ice extremely interesting and loves exploring how winter changes the landscape: Lakes become frozen waterfalls, canyons full of water morph into cathedrallike spaces: The ordinary becomes magical, as snow and ice transform the landscape. Much of my work is inspired by the landscape and nature of Canada. As a native of the United Kingdom, I often wonder what direction my photography might have taken if I had not emigrated. I should begin by telling you a little about myself: As I mentioned above, I am originally from the UK and moved to Canada in 2007. My photographic journey started when I picked up a camera whilst living on a small island called Brownsea Island in Dorset. The island is owned by the National Trust and is a nature reserve. At the time, I worked for the Trust and there were approximately 30 residents, including children, who lived on the 500-acre nature reserve. Boats to and from the island were limited after 4:30 in the afternoon and before 8:00 in the morning. I would spend many hours walking the island pathways and enjoying how the seasons and weather changed my surroundings. My initial pleasure with photography was recording the changing beauty of the environment around me.

ability to leave home at a whim, jump in my car or hike a good distance at any time of day without thinking about boat times was extremely freeing. I felt inspired and overjoyed at the possibilities after 10 years of photographing a very limited geographical area. Coming to terms with the wildness of Canada took a little bit of time:

It felt strange to be considering whether there might be bears, cougars or other wildlife on the trails as I headed out at pre-dawn or after dusk. As I have settled into Canadian life, this notion of stepping into a landscape that still contains ‘the wild’ has added to my love of Canada.

In 2007, after 10 years of living on Brownsea, my husband, daughter and I decided to make the move to Canada. I had family members living in British Columbia and we had visited on several occasions and loved how wild and expansive the landscape was, as well as the lower population density. On arrival in Canada, I felt a little bit like a kid in a candy store: The


Landscape Magazine Summer 2021


I think it is this very notion of ‘the wild’, that inspires me the most. Whilst living in the UK, life on a small island nature reserve brought me pretty close to nature. Life in Canada, however, takes that to a whole other level. My home province of British Columbia gives me access to rainforest and wild beaches, as well as high mountains and alpine meadows, with the Canadian Rockies just over 4 hours away. My first experience of a backcountry trip was incredible and I was bitten by the bug of wilderness experiences. The lack of access to cell and wi-fi and the feeling of being fully immersed into the environment was something I had never experienced before and brings me the most joy when I am photographing.

Landscape Magazine Summer 2021

Along with the wild landscapes of Canada, I am equally inspired by the weather and, most particularly, by the Canadian winter. I find snow and ice extremely interesting and love exploring how winter changes the landscape: Lakes become frozen dreamscapes of ice bubbles; waterfalls freeze into spaces that remind me of fairy-tale ballrooms; canyons full of water morph into cathedral-like spaces that you can walk through. The ordinary becomes magical as snow and ice transform the landscape. Being prepared to photograph in these harsh temperatures and conditions adds another level of enjoyment to the process for me; I guess I can’t stop feeling like I’ve moved from Enid Blyton’s Dorset to Jack London’s ‘Call of the Wild’.

It’s not just the grand landscape in Canada that captures my attention. I’m equally drawn to intimate natural scenes such as ferns unfurling or rock textures, for example. The lower population density in this area means my journeys into nature are often solitary and I am able to have an almost meditative experience. Would my photography have taken the same path if I’d stayed in the UK? I can’t say, but being surrounded by the wild beauty of Canada has impacted my photographic journey for sure!



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Landscape Magazine Summer 2021



John Miskelly FRPS John believes that vision isn’t about sight, but rather, insight. It is what you see in your mind’s eye and, therefore, what you want to communicate through your images: The sense of finding your creative voice, which is simply about what you’re trying to say with your photographs. For John, it’s often more about what he feels when on location than what he actually sees at any particular moment. Understanding Vision As a photographer, it’s important to me to have a clear vision for what I’m trying to achieve with my images, yet vision is something that is rarely discussed by photographers. In this article, I’m going to consider what vision is, what it means to me and my photography and finally, I’ll discuss how this relates to some of my images.

Anyone who has attended one of my talks or been to one of my workshops will know that I talk a lot about having a ‘vision’. So, why do I consider vision to be so important? Well, vision is the place we all begin, the road we travel on the way to our goal of creating compelling photographs that express something we’ve no other means of expressing but through

Fishing Hut, Gironde Estuary, Bordeaux, France

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the frame of the image. I imagine that we can all identify with this goal, even if we haven’t given it much thought in the past. It’s most commonly the reason that we picked up the camera in the first place. I believe that vision isn’t about sight, but rather, insight. It is not the thing that others see, but what you see in your mind’s eye and, therefore, what you want to communicate through your images: That sense of finding your creative voice, which is simply about what you’re trying to say with your photographs. For me, it’s often more about what I ‘feel’ when I’m at a location than what I actually see at any particular moment. Some call it the art of seeing the invisible. In practical terms, my own vision involves capturing not just the ‘moment’, but a slice of time through my long exposure images, which are typically between 4 and 8 minutes in length. It’s where I aim to record what I felt whilst at the location; the actual sense of being there, the changes in the environment over the duration of my exposures. As such, my images aren’t based on realism as we tend to think of it, but rather, my own sense of being at a particular place at a specific time, to record the unique light and weather conditions that I experienced.

Landscape Magazine Summer 2021


Portstewart Strand, Antrim Coast, Northern Ireland My vision is also firmly rooted in my deep-seated love of being somewhere around the coast, listening to the sounds of the sea and watching the gradual change in the light as the sun comes up or sets: The constantly changing environment of sand, sea and sky, in all weathers and at various times of the year that I experience whilst at a location. It’s that sense of total freedom from the hustle and bustle of day-to-day living, being there to capture the unique

Landscape Magazine Summer 2021

mood of the day, because the exact combination of composition, light, tides and weather will never be repeated. Add to this my carefully considered, but simple, compositions and you will get a sense of my own personal vision that I aim to communicate through my images. I’m also heavily influenced by the Japanese garden aesthetic where, at their heart, Japanese gardens honour our relationship

with the elements of nature. Trees, stone, gravel and other elements are chosen carefully, for texture and colour, though mainly subdued. Any added ornaments are essential, rather than trivial, and it’s where every detail counts. The Japanese aesthetic brings elegance and serenity to any setting and this is a key element of how I compose my images, with simplicity and gentleness of tone being significant elements that form part of my personal vision.



Mussenden Temple at Downhill Beach, Northern Ireland The Portstewart Strand Image on page 13 is a great example of this approach. It was a mild summer’s day, but there had been light rain for most of the morning along with soft grey skies and, as a result, there were very few people on the beach. The soft tones and ‘quietness’ of the image, along with the posts leading into the water, into infinity, represented these feelings, all accentuated by my choice of a four minute long exposure. We so often forget that photography is not a technical pursuit, or at least it shouldn’t be; instead, it’s an art form, an aesthetic. When we discover this, this is when our photographs can


become something of beauty and communicate to the viewer our own unique and special vision. Now that we better understand the importance of vision, I’m going to consider how this translates to my particular style of photography and I’ll use some images as examples. This above image was taken on Downhill Beach, a short distance from where I live. The sun was setting to the west, which was behind me. I rarely shoot directly into the sun, as I find the effect of using the indirect light gives a much more subtle effect and often gives beautiful, but delicate, tones in the

clouds. I often see photographers producing images of sunrise or sunset with this bright ‘burned out’ sun that contains no detail and the resultant image is often harsh, with unpleasant contrast. Certainly, this approach rarely works for the more subtle type of landscape image that I’m aiming to create. I derived my composition using the ripples in the sand as leading lines, along with the reflections in the wet sand left by the receding tide. It was important to ensure the headland was placed in a manner that left ‘room’ for the eye to go around it and up towards the sky. Once I had decided on my composition, it was simply a case

Landscape Magazine Summer 2021

FEATURED PHOTOGRAPHER of waiting for the light. When the sun finally sets, there is often a great window of opportunity with the beautiful golden light that can last for around 30 minutes. This is a great time of day to capture the beautiful colours and soft light that we often get just before sunrise or after sunset. While I normally shoot around the coast, there is one city which I love to photograph and that’s Venice. While I have, of course, photographed the classic scenes, I’m always looking for something a little bit different. The image below is a result of that, where several years ago I discovered that there were a number of fishing huts located further along the Venetian lagoon. After some research, I pinpointed their location and planned to make a visit there on my next trip.

Again, it’s a long exposure of some 4 minutes and this gives a softness to both the water and the sky, while still retaining a sense of layering in the sky, all of which are compositional choices to allow the actual fishing hut to become the prominent part of the image, without any significant details to distract the viewer. The positioning of the posts is also very important and it’s these seemingly less significant details that are just as important in how I bring all of the elements together. It’s also worth noting that while I find the effect on the sky and water of long exposures aesthetically pleasing, it’s the compositional opportunities this provides that is of most interest to me and is a key aspect of how I remove details (such as ripples in the water) to express my vision of simplicity.

I’m often asked about what work I do to my images in postproduction. The reality is that I tend to do fairly minimal processing in Photoshop or Lightroom, usually just removing any distracting elements such as a piece of seaweed or dust spots. I aim to get the image as ‘right’ as possible ‘in camera’, so I take the time to make sure my composition is carefully considered and I use my LEE filters to balance my exposure. I don’t want to spend large amounts of my time trying to merge separate exposures for the sky and the land in post-production afterwards or trying to fix problems with light or composition. If this is your thing, then that’s fine, but it’s just not for me.

Venetian Fishing Hut, Venice, Italy Landscape Magazine Summer 2021


FEATURED PHOTOGRAPHER I will typically make any adjustments to my exposure, changes to colour temperature or the overall colour balance, as well as subtle changes to contrast and maybe add some sharpening if required. My process is quite the opposite of what I see many photographers doing, where they try and ‘improve’ the photograph by excessive contrast or saturation adjustments. The result is so often an image that doesn’t look natural, with the post-processing getting in the way of what the photographer was trying to say with their image in the first place.

I normally know when I’m at the location whether I’ve captured the image that communicates what I’m feeling while I’m there. Sometimes I get nothing at all, but that’s fine, as it’s about being out in the landscape, experiencing the natural world. Getting a good image is really the icing on the cake. Of course, there are occasions when luck plays a part in the process and the image below was a great example of where this was the case. I had been to this location at Flakstad on Lofoten a few days earlier, but the weather conditions were not really what I was looking for,

with the light being particularly flat and uninteresting. However, on my last evening in Lofoten, I stopped off for one final shot of this beautiful location. As I was setting up my camera, I noticed that there was a momentary break in the heavy cloud cover. Using the leading lines created by the foam left by the waves, along with the reflection in the wet sand, I was able to compose the image I was looking for with some beautiful golden light on the mountain, just as the sun was setting. I had to limit my exposure to a very short, one minute exposure, as with a longer exposure, the foam

Flakstad Beach, Lofoten, Norway 16 16

Landscape Magazine Summer 2021

FEATURED PHOTOGRAPHER lines simply disappeared. It was a case of reacting to the conditions that nature provided. This light lasted for no more than 5 minutes, so sometimes we just have to be ready to move quickly.

on the Isle of Harris in the Outer Hebrides. It had been raining heavily as I drove to this location in the dark and the rain certainly didn’t stop as I looked for a good composition.

While there are times when we do get great light, there are other occasions when we don’t get the light we might want. In fact, I can often be found shooting my landscapes in poor weather, as the softness in the light such conditions often provide works perfectly for my style of photography. The image below was a great example of this, taken at sunrise on a winter morning

The land in the background is the island of Taransay where, on this morning, the low cloud was just sitting on the top of the island. The sand dunes of Luskentyre can be seen in the distance, along with the largely obscured mountains of Lewis in the far distance. I found this pattern in the sand as the tide was receding and was able to have the rain on my back, so avoiding raindrops on my filters. An eight

minute exposure provided precisely the feeling of isolation and moodiness that these islands off the coast of Scotland are famous for. In fact, these beaches are probably my favourite photographic location anywhere in the world as they perfectly illustrate how conditions can change, not just from season to season, but within minutes, as the weather moves in from the Atlantic and you can literally experience four seasons in the space of an hour.

Image 7 – Through the Heath Seilebost Beach, Isle of Harris, Outer Hebrides, Scotland Landscape Magazine Summer 2021



Groynes, Hunstanton Beach, Norfolk, England


The final image that I’m going to show to illustrate my own personal photographic vision was taken on a very recent trip to Norfolk, specifically to photograph the groynes at Hunstanton beach, somewhere I hadn’t been to before.

Standing there in shorts and tee shirt while photographing these groynes was an unusual experience for me as a UK-based landscape photographer, so maybe the idea of photographing in summer isn’t such a bad idea after all!

As is normally the case, I aim to achieve the right combination of tides, weather and the position of the sun. I don’t normally photograph much in summer, as often this doesn’t give me the interesting skies that I like, but this was one of those exceptions. The tides were a little higher than my ideal, but my window of opportunity at the location was limited, so I just recomposed a slightly different shot to allow for this. The sun had just dipped beyond the horizon, leaving some lovely delicate tones in the sky.

By using the symmetry of the zigzag groynes, placing the top of the marker pole above the horizon and ensuring all the posts were separated and not merging into each other, while capturing the texture of the weathered wooden groynes and the smoothness of the water, I found that simplicity of composition I have already mentioned. The reality of developing a clear photographic vision is that it’s something which is very personal to each and every one of us. What I intend to communicate through my

images is my intimate connection with the landscape, particularly the seascapes I visit around our coastline. I don’t take photographs to simply document the appearance of my subject matter, no matter how objectively appealing they may be. Instead, I photograph as a means of exploring and expressing things that I cannot express in any other way; what I have described as my feelings and experiences of a place in time and because it is how I communicate my own personal vision. It is my sincere hope that we can all find more meaning in the things we photograph and can use our visual experiences to communicate in a more mindful way with those who view our work. John Miskelly FRPS, FBIPP, FIPF www.johnmiskelly.co.uk

Landscape Magazine Summer 2021


Jayne Winter FRPS The editor had the pleasure of posing a few questions to Jayne Winter FRPS about her recent distinction success. Hopefully, some of the answers Jayne gives will help current group members who are considering taking the next step on the distinctions ladder.

Photography has been my passion for many years, starting in film days when my dad bought me a second-hand Pentax Spotmatic from the first Jessops store in Leicester. I moved on to Canon AE1 Programme SLRs and later a Nikon F100, before going digital with a Nikon D50 in 2006. I currently use a Nikon D850 and a Z6 with a variety of lenses. I also have an infrared-converted Nikon D90. I’ve been a member of various camera clubs during that

Landscape Magazine Summer 2021

time: I am currently Competition Secretary of Kempsey Camera Club and am also a member of Worcestershire Camera Club. Until recently, I ran my own High Street business for nearly 20 years; a bookshop with gallery wall space, which allowed me to successfully sell prints and greetings cards of the local area, as well as some of my Fine Art work. Post-Covid, I now sell online only.

My main photographic interest is landscape but I also enjoy flower and macro work, creative, black and white and infrared photography. My favourite landscape locations are the Highlands and Islands of the West coast of Scotland, especially during winter when the conditions are often challenging but very rewarding.


DISTINCTION SUCCESS Ed: When you considered completing a distinction that you have thought about for a while, how important would you say it was to have an interest / passion about the landscape being photographed? I think having an affinity to my local woodland helped enormously. I regularly visit with my camera during the winter, spring and autumn and know the paths and areas well. It takes on completely different personalities during these seasons. To me it feels a very intimate wood and has wonderful displays of bluebells in the spring and vibrant colours in the autumn. If you are lucky, a chance sighting of roe deer adds to the enchantment, and there is always an abundance of bird life. The local council have an area of land very close to the perimeter of part of this woodland which they are keen to develop for new housing and the local community petitioned not too long ago to try to prevent this. So far it appears to be on hold. This was another reason why I wanted to try and capture the delicate and peaceful nature of this woodland.


Ed: How long have you been considering applying for a Fellowship? I gained my Associateship in 2008 with a panel of creative macro flower prints but didn’t consider the Fellowship route until many years later. I suppose I first started to think about it around 2016 and I had a few ideas which I was pursuing using ICM. I built up quite a body of work over the next couple of years but, somehow, I didn’t feel it was getting there. I also created a collection of powerline images which had been another idea but, again, couldn’t quite see the end result. It was only during lockdown in November 2020 that the possibility of creating a panel of work in my local woodland occurred to me. Ed: Your chosen location of Tiddesley Wood; can you explain the reasons why this particular choice? I suppose the seeds were sown after I had seen a presentation by another FRPS member who explained he had gained his Associateship by visiting his local pool and was

able to access it whenever he needed, giving him the flexibility of being able to go back again and again to perfect his panel. I had a ‘lightbulb’ moment. Perhaps I could work on a similar project in the wood that has provided me with so much photographic inspiration over the years? Ed: The submission of 21 prints, “taken on frosty winter days between November 2020 and February 2021”; how difficult was it to find the uniformity required within the qualification? It was quite difficult. I was using two cameras, a Nikon Z6 with a 24-70mm zoom and a D850 with a 70-200mm zoom, shooting in RAW, but the results from each camera were subtly different. With the whole panel needing to have uniformity, work was needed in post processing to achieve this. The light levels were changing as the season went on; for example, during November, even when there were frosts and fog, there were still traces of the warmth of autumn in the remaining leaves, whereas later in January, the woodland was much

Landscape Magazine Summer 2021


more barren. Then approaching late February, as the sun moved round, I was aware that the tones were warming up, even on misty mornings. Ed: The prints that were submitted; were they printed by yourself or by another source? I print all my own work. I see this as the most satisfying part of the whole process; choosing which paper to use to enhance the subject, the print size, the colour and size of the mounts. As I mention in my introduction, as a result of owning my own business, I have two A2 printers, an Epson 3880 and P800. I use the 3880 for matte work and the P800 for everything else. I used Permajet Portrait White for my panel, which is a lovely white fine art paper with a very subtle texture. The square prints were double mounted in a soft white smooth mount. I consider that having total control over the printing process is a prerequisite to a successful print panel. Ed: Did you have any significant problems/ experiences while you were working on this project?

Landscape Magazine Summer 2021

I think the main issues were relating to the weather. Because I wanted to portray the woodland in the frost and foggy conditions of the winter months, I had to get out (usually very early in the mornings) whenever these conditions were right, which this last winter were few and far between. Therefore, part of my pre-planning was to work out the ‘design’ of the shots that I needed before setting out, given these limited opportunities. Ed: How important do you think your Statement of Intent was in the judging process and how long did it take to write? The Statement of Intent was vital. I wanted to convey the feelings I felt when walking through the wood on a cold winter’s morning and this was particularly poignant during the pandemic, as I was able to use it as a kind of escape from the months of lockdown and restrictions we had all been experiencing for so long. I wanted the viewer (or the panel of assessors in this case) to be able to appreciate the peaceful calm I was feeling when in the wood and how the winter frosts and mists transformed

it into a place of beauty. The challenge then was to capture these feelings and moods in my photographs. I wrote the statement very early on, as the germ of the idea developed. My panel grew out of my words; it really helped focus my work and required only slight tweaking in the latter stages. Ed: The panel submitted contains 21 images. How did you go about firstly selecting the images and then arranging them? Having been a member of various camera clubs for many years, viewing numerous presentations during that time, together with my Associateship experience, I had a good idea of the sort of layout that was required. I knew the importance of the use of balance, structure, composition, tones, style and variety, so I began with a basic arrangement of images and then continued to refine and replace as I acquired more. I had decided I was going to use a square format to keep the panel uniform in layout and I also knew the type of shot I wanted as the ‘bookends’ for each row. I printed out 8cm square thumbnails of all the


DISTINCTION SUCCESS potential images and spent ages over the weeks laying them out, swapping them around, removing ones that didn’t work etc. Having got a basic panel together, I booked on an Advisory Day in February just to establish whether I was on the right track. The feedback from Ray Spence FRPS was very positive so I knew it was worth pursuing. The next month I had a 1:1 with Susan Brown FRPS who was extremely helpful and, with a few suggestions, I further refined my panel. In the end I replaced the three centre images with new ones that hadn’t been critiqued, but by this stage I felt I knew (hopefully!) what was needed. Ed: Any advice you can share to help those members thinking of applying for a Fellowship in the Landscape Category? I would say you don’t necessarily have to travel the world to put a panel of images together. The benefit of staying local is that you can easily return to refine your submission. The panel needs to show a distinctive style, where all images are obviously the work of the same photographer. Uniformity of style, tone and processing is therefore key. The advisory and 1:1 sessions are a fantastic way of getting feedback on your ideas and images. The former also allows you to see the work of other applicants which is very helpful, as it is to watch an actual Assessment Day. You soon get a feel for the whole process!


Landscape Magazine Summer 2021

DISTINCTION SUCCESS Statement of Intent - Landscape Fellowship - 13th May 2021 Tiddesley Wood is a 6,000-year-old ancient woodland near Pershore, close to where I live, previously owned by the Abbots of Pershore Abbey. It is currently in the hands of Worcestershire Wildlife Trust. In winter, the frosts and mists transform it into a wonderland. I call it my happy place where, in a world of constant change and uncertainty, I can find solace by immersing myself amongst the trees as they stand majestic and patient. I like to capture those quiet, early morning moments when the mists create a timeless atmosphere, adding mystery to the woodland whilst the frosted carpet protects the dormant life under my feet. I loved creating this body of work, which allows me to portray the calmness and beauty of my local woodland during the sometimes harsh and lonely winter months.

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Tony Worobiec FRPS Tony Worobiec FRPS and Eva Worobiec FRPS have created a new book as a joint project, which has meant that the new publication will have a broad appeal. For them, it was a pleasurable experience, to be able to share one’s passion with a partner. Eva is an outstanding photographer in her own right and, in fact, they have previously co-authored four other books. The Water’s Edge It is the ambition of most landscape photographers to publish a book of their work; it is hard to imagine a more appropriate and permanent means of celebrating one’s photography, so it is hardly surprising that increasing numbers of photographers are selfpublishing, using well-respected printers such as Blurb or Bob Books. Whether you purchase just a single copy or buy several for friends and family, it is the perfect method for collating your much-valued images. Wearing my Distinctions Panel Member hat, it is worth mentioning that the various Panels positively welcome submissions made for an Associateship or a Fellowship in book form. Having recently sat on the Landscape Panel, one of the most memorable submissions was a wonderful book which illustrated some of the otherwise ‘unloved’ structures on the south coast of England; intelligently constructed and wonderfully printed, I’m delighted to report it was a successful application.

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ILLUSTRATION: “Albufeira, near Valencia, Spain”. Eva Worobiec. Often when landscape photographers think about possible subjects for coastal photography, they assume that it should feature open beaches or rocky shorelines, but the coast is vastly more varied than that. It is worth noting that many people make a living working by the coast and this should be considered should you wish to do a project on the theme of “coastal landscape”.

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One might think that self-publishing is a bit selfindulgent, but that rather depends on the intended audience. If it is for you, and for your friends and family, then I can only positively encourage you all to give it a go. I’m sure many of you are fortunate enough to be invited to present lectures to clubs and photographic organisations and, of course, these are the perfect venues to sell copies of your books. Publications can, however, serve a wider function, and most are valued because they are also ‘instructional’. Much as a reading audience might enjoy your fabulous photography, at some point they will ask a perfectly valid question; “what do I get out of this”? The overwhelming majority of serious photographers buy books because they want to learn. By sharing your experiences in this way, your publication will prove of even greater value. Even simple information such as where the photograph was taken is of interest to the reader.

My recent publication, “The Water’s Edge”, is a joint project shared with my wife Eva. In my experience, this has many virtues. Whilst it is of course always a pleasure being able to share one’s passion with a partner, my main reason for inviting Eva is that she is an outstanding photographer in her own right. In fact we have previously (and very successfully) co-authored four other books, and so I know that working with her will positively broaden the book’s appeal. Just think of it logically; by sharing the book with a photographer one greatly admires, not only are you widening the pool of images you can use, but the input of ideas is also greatly increased.

ILLUSTRATION: “Horseman on Dunraven Beach, South Wales”. Tony Worobiec. In order to capture a beach when it is at its most reflective, aim to get there about two hours after the tide has started to recede. Any earlier and there will be too little beach, however much later, and the water will begin to seep into the sand, thus losing its reflective qualities.

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ILLUSTRATION: ”Eastbourne Pier in the rain.” Eva Worobiec. When taking this shot, Eva and I were virtually standing shoulder to shoulder; however her sense of timing proved much better than mine. Whilst I was entranced by the reflective qualities of the rain, she also kept her eye on the cloud formation and, as a consequence, got the better shot. This isn’t untypical.




So why the choice of the British coast? Eva and I are keen travellers and our work is frequently associated with our numerous trips to the USA; in fact three of our previous publications feature road trips we have made in America, so it would be easy to assume that we have little time for photographing locations here in the UK. In truth, we have been enthusiastically photographing the British coast ever since we both started our photography almost 40 years ago. It is only recently however, that we fully appreciated just how special and unique the British coast really is; it is its variation we find so fascinating. We live not far from Swanage in Dorset, which is a typical, lively seaside resort and yet, just a few miles to the east, we have the port of Poole which has a certain industrialised element to it. By way of contrast, if we travel just a few miles west, we find ourselves in the Purbecks, home to Durdle Door, Lulworth Cove and Kimmeridge Bay. When we considered other parts of the British coast, we realised that this exciting variation exists elsewhere. Fortunately, the UK is a moderately small island, so most of us can get to a coastal location relatively easily; it is worth considering that within the UK, Burton-on-Trent is the furthest point from the sea, and even then, you are only 70 miles away.

When planning this book, we realised that there was little value just lumping together our favourite photographs; it was important that it was meaningfully structured. Each chapter is dedicated to a particular aspect of coastal photography; for example, the first explores several of the splendid headlands that are a feature of many areas along the coast, which we then contrast with the numerous empty beaches that are a draw to so many visitors to the British shoreline. An aspect of the British coast which could so easily be overlooked are the many lighthouses. Wearing my RPS panel-member hat once again, it does occur to me that, should you wish to submit a portfolio for a potential ‘A’ or ‘F’, your submission would appear far more cohesive if it concentrated on a particular feature of the coast, such as rocky headlands or lighthouses, rather than present a more comprehensive view of the coast.

ILLUSTRATION: “Clavell Pier, Kimmeridge”. Tony Worobiec. It is wonderful having this beautiful location virtually on my doorstep, but many of you, especially those who live near the coast, will have similarly impressive places you can visit on a regular basis. Whilst at first glance this might look like a natural formation, it was in fact constructed in the 19th century as a staging post for small boats shipping Portland stone to London. Over a period of time the rocks have become beautifully eroded.

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ILLUSTRATION: “Lighthouse, Burnham, Somerset”. Eva Worobiec. Once you begin to do your research, you will come to appreciate that there are quite a few interesting lighthouses scattered along the British coast, making it a potentially interesting and accessible theme. Whilst this has become a ‘honey-pot’ location in recent years, you cannot help but admire Eva’s wonderful sense of composition.

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FEATURED PHOTOGRAPHER WEATHER: WONDERFULLY REFLECTED BY A COASTAL LOCATION. Something we have both come to appreciate is that the coast is the ideal location for featuring interesting weather. Looking out to sea, generally we are in a position to see an uninterrupted view of the horizon; therefore weather plays an important role in our photography. Unlike most other landscape genres, the coast can accommodate just about any weather conditions. Whether you are experiencing a becalmed period of weather, or a raging storm, there will always be suitable coastal locations you can visit that make best use of the conditions. I would go further and suggest that weather is the major determining factor, with regard to which part of the coast I choose to visit on any given day. ILLUSTRATION: “Groynes, Sandsend, Yorkshire.” Tony Worobiec. It would be easy to assume that it was the line of groynes that caught my attention, but what initially stopped me in my tracks was that awesome sky. In order to ensure that the movement of the water chimed with the character of the clouds, I purposefully used a shutter speed of 1/4 of a second.

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INDULGE MINIMALISM. I have long had a passion for minimalism and photographing the coast positively encourages this genre of photography. In order to succeed, it is important to assess the remaining visual elements. Try to identify simple relationships regarding colour, tone, texture, line and rhythm. It is important that you are able to establish a simple visual balance using one or several of these key visual elements. What makes so many of our coastal settings worthy photographic locations is that they are so wonderfully nuanced and understated. ILLUSTRATION: “Isolated barrier Brixham, Devon”. Eva Worobiec. This is one of my favourite images from the book and, not surprisingly, a lovely print of this image occupies a prominent position in our living room. We were introduced to this interesting pool by fellow photographer Sue Brown FRPS, joining her this time on a quiet late afternoon. By purposefully using a ‘big-stopper’, Eva has been able to eradicate any hint of texture in the water and thus present the viewer with a very minimalist interpretation of this deserted lido.




Whilst often when we think of ‘landscape’ we have visions of some grand panoramic vista featuring a dramatic foreground set against a distant horizon and sky, increasingly many landscape photographers are being drawn to the ‘intimate landscape’. They recognise that, by looking carefully at seemingly inconsequential elements such as marks in the sand or low lying rocks, they are able to discover elements that serve as a microcosm for the whole. By looking for exciting colour combinations, rich textures or patterns, these can provide the basis for the photograph. This can prove to be a deeply satisfying, almost contemplative, aspect of photography, as it requires you to work slowly. Once you discover a potentially exciting area, scrutinise it carefully, checking out worthy bits of detail. This is a genre that encourages individuality; the images you produce often lack scale, so having an appreciation of the graphic arts will help you spot potential subject matter. The essential thing is to be guided by your own judgement and pare the composition down to the simplest elements.

We all do it! No doubt inspired by a wonderful image we see published in a book or magazine, there will always be a temptation to visit a location where we feel we are guaranteed to succeed, but of course it does bring with it its own problems. Living here in Dorset I am accustomed to seeing countless photographers all trying to take the same shot which occasionally spills over into ‘camera-rage’! So how do you overcome it? Try taking a fresh look at the elements you have to photograph. Rid your mind of what you saw published and seek to put your own spin on things.

ILLUSTRATION: “Rocks near Ringmore, South Devon”. Tony Worobiec.

ILLUSTRATION: “Waterfall, Kimmeridge”. Tony Worobiec. Many photographers, unfamiliar with the other interesting features within Kimmeridge Bay, choose to photograph the famous rocky outcrops with Clavell tower in the distance. It was only when I was photographing the waterfall that I realised that the tower can also be included; however this shot can only be safely taken when the tide has fully receded.

It is often assumed that this was taken with a tripod, but they can prove a hindrance; sometimes these shots are better taken hand-held. Using an ISO rating of 800 at f 8, it was important to ensure that the camera, (or what used to be known as the film-plane), is absolutely parallel to the rocks to ensure that every part of the image is in focus.


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FEATURED PHOTOGRAPHER USING LIGHTING FROM BEHIND. Whilst the old Kodak adage was that one should always have the light over one’s shoulder, this useful bit of information rarely seems to apply when photographing coastal locations, largely because water is so reflective. However, should you wish to photograph a headland, it is generally wiser to ensure that the light is behind you; this is especially significant when photographing pre-dawn or after dusk. The key to success, though, is to balance the illumination on the headland with the light in the sky directly behind it. Often that occurs about 30 minutes after the sun has set, or 30 minutes before the sun rises. ILLUSTRATION: “Headland, Nash Point, South Wales”, Tony Worobiec. Despite the fact that the sun had set behind me, for the first 20 minutes the contrast between the headland and the sky was too great. The longer I left it however, the sky behind the headland progressively darkened, whilst the foreground largely remained the same, thus allowing a sense of equilibrium to be established.

CONCLUDING WITH IMAGES FROM ABROAD: TRANSFERABLE SKILLS. When planning this book it had been our intention just to feature locations within the UK, but we then realised that many of the skills and techniques we were covering also applied to various inland water locations we had visited in Europe and America, so we decided that we would include a final chapter called “Exploring the water’s edge in non-coastal locations”. ILLUSTRATION: “Mono Lake Dawn No 3”, Eva Worobiec. When considering ‘transferable skills’, this is a classic example of what we mean. This photograph was taken about 40 minutes before dawn. As we walked to the edge of the lake it was still quite dark, but we could see that the sun would be rising to our immediate right. Eva therefore made the decision to point her camera to her left, thus ensuring that there was a balance between the illumination of the sky and the foreground.

Tony and Eva have copies of their book for sale; if you want one, the cost (including package & postage) is £15. Contact Tony at tonyworobiec@gmail.com, or via his website tonyworobiec.com, giving him an address he can send a copy to. Purchases can be made using either BACs or PayPal. Landscape Magazine Summer 2021



Emma Stokes Emma has always enjoyed the slightly other-worldly look to images, drawn to minimalist scenes or long exposure techniques which add a sense of mystery and atmosphere. Emma has occasionally dabbled with intentional camera movement (ICM) and multiple-exposure photography and, although she admits that the results have been somewhat eclectic, her time in June 2020 on the coast gave her the inspiration to try and improve on her techniques and, as the images included show, she was very successful. Creativity at Camber

I suspect I’m not the only photographer who found themselves exploring new genres during lockdown. While some seemed to embrace doorstep portraits, others tried their hand at macro-photography as our newly restricted lives encouraged a closer examination of the world around us. The surplus time we found ourselves with also allowed


for a more reflective approach; an opportunity to step back and assess our photographic direction. As a landscape photographer, I have always enjoyed a slightly other-worldly look to images, drawn to minimalist scenes or long exposure techniques which add a sense of mystery and atmosphere. I have occasionally

dabbled with intentional camera movement (ICM) and multipleexposure photography and, although I have to admit that the results have been somewhat eclectic, I thoroughly enjoyed the process of creating images using this more artistic approach. It was this creative process which I started to adopt during lockdowns, drawn to practising a

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FEATURED PHOTOGRAPHER more contemplative photography and enjoying time out with my camera, almost irrespective of the result. When the opportunity arose therefore to spend a few days on the coast this June, it was the perfect chance to explore the world of coastal ICM. Camber Sands in East Sussex was ideal for this, not simply because of its five miles of dune systems and sandy beaches, but also because of its vast intertidal zone which

I did choose to shoot hand-held where possible. Early morning and late evenings were my preferred times to shoot, in part forced by the popular nature of the resort with crowds descending by day, but also because of the reduced contrast and the preferred pastel colour palette witnessed at dawn

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stretches 500m and which would provide the perfect canvas for the play of light required. Tidal lagoons, channels and pristine sand ripples are revealed with each receding tide and, with big skies in every direction, the reflections would provide the perfect environment for what I hoped to achieve. The weather during my few days’ stay was mostly uneventful, with calm, sunny conditions and cloudless skies. This would be far

from ideal for my usual landscape approach, which will often include clouds as compositional elements; however, it was liberating to lose some of the constraints that we sometimes rely on for our work. Some of the text-book landscape photography rules could, in fact, fall by the wayside in place of a more creative approach, where the use of larger compositional elements and the importance of tonal variations and colour could come into play and although I didn’t ditch the tripod completely,

and dusk. I found myself using my 70-200mm lens most of the time, with 6- and 10-stop ND filters which gave me between 0.5 and 5 seconds of exposure depending on the light available. With such wide expanses of beach exposed, the telephoto lens was ideal at eliminating unnecessary distractions and isolating a particular feature or

selection of colours. I would love to be able to tell you that the ICM technique was a fine art; however, it proved to be a fairly arbitrary ‘swishing’ motion which produced the results I liked. The key I found was to use the orientation of the shapes to determine the camera movement and to stay with a more exact left to right movement if I wanted a defined horizon.


FEATURED PHOTOGRAPHER My aim was to avoid distracting details and to capture instead an artistic interpretation of the scene with the reflected tones, colour and lagoonal curves to give the viewer the impression of coastal light and space, as well as to portray the sense of peace felt. A large proportion of images were to be destined for the cutting-room floor but that is par for the course with this type of photography. Instead, it was a time for experimentation and creativity, without pressure or expectation.

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Although much of my time was spent learning what worked creatively, I couldn’t resist the occasional hand-held or tripodmounted ‘non-ICM’ photograph. The minimal landscape, and, in particular, the red-roofed hut along the banks of Rye Harbour, were far too tempting to resist and I tried to do them justice with a few images along the way.

All in all, the few days I spent exploring this genre of photography were rewarding photographically and also mentally, providing a therapeutic outlet. With that aside, it is a form of photography which is great to have in your back pocket for when conditions are far from ideal. It was an itch which I needed to scratch and although I still have a lot to learn, it is a genre I will most definitely continue to explore over time. Emma Stokes www.emmastokesphotography.co.uk

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Tim Hodges ARPS We are always pleased to receive contributions from the group’s members and, even more so, when the member’s images are of a landscape not normally associated with the genre we all love. Tim gives us an insight into how our cities can be just as interesting as the wildest of landscapes when it comes to photography. Hitting the high spots of London As a corporate photographer, most of my work is London-based. I cover all sorts of corporate assignments and have the good fortune to have worked in some wonderful buildings. It is therefore no surprise that I find the built landscape a subject of great fascination and London provides an ever changing skyline to explore.

One of my passions is to view London from high vantage points. Whilst many are available to the general public to view, some are private vantage points. It has been a privilege to gain access during my professional assignments.

My equipment has been Canon-based for both pro and recreational use. I have valued Canon advice and support at the various shows and their repair centre in Elstree over the years. I do like to use a tripod or monopod wherever possible, plus a LENSKIRT or collapsible hood to eliminate reflection when shooting through glass.

London Eye, framing Elizabeth Tower with Victoria Tower and Shell Building. Canon 50D 70-200 lens at 195mm 1/250 secs @f8, Tripod This is one of my favourite photographs which I have had made into a large canvas print. This was taken from a penthouse at the top of a Chelsea 36 36

Embankment development and provides a unique perspective of Westminster and the City. It was the London Eye framing the Elizabeth tower which caught my

eye. At first sight it could seem like a photoshopped montage, which I stress is not the case.

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Westminster Abbey. Canon 5D Mark II EF17-40mm lens at 19mm 1/125 secs @ f10, Tripod This view was taken from the top of Central Hall Westminster’s pinnacle; the same place where the TV cameras positioned themselves to capture William and Kate’s wedding.

I used The Photographer’s Ephemeris (TPE) app to plan where the sun would be. It was a lovely sunny day with cotton wool clouds. The visibility was also excellent so one can see Parliament plus the Shard building taking place, very clearly.

Climbing up the rickety stairs in the roof was an interesting experience. Andrew Lloyd Webber’s father was an organist at the Central Hall and this may have provided an inspiration for “Phantom of the Opera”, as it was quite spooky.

I was asked by Central Hall’s Management to capture an image of the total exterior of the building. The only way to accomplish this was to take an aerial view. They arranged for me to climb the northern tower of Westminster Abbey to take the photograph of this wedding cake structure. It is 110 years old and is a fusion of Baroque, Edwardian and Renaissance architectural styles.

Central Hall Westminster. Canon 5D Mark III EF17-40mm lens at 24mm 1/800 secs @ f6.3, Tripod Landscape Magazine Summer 2021



St Paul’s Cathedral and the City Nightscape. Canon 5D Mark II 200mm lens 2.5 secs @ f11, Tripod, LENSKIRT This was taken at the top of the Centre Point Building in Oxford Street, which has a chequered history and is now a residential development.

I simply admire how the iconic dome of St Paul’s Cathedral shines out in front of the modern Canary Wharf structures: A true London landmark.

The notable technical feature about this photograph was that it was taken through glass. To do this, I used a LENSKIRT with suction pads which prevented any reflections appearing. There are other types of flatpack Lens Hoods available.

The Shard security are a bit strict on the use of tripods and monopods so this is a hand-held shot, through glass, using my lens hood. The appeal in this photograph is to follow the bend in the river, taking the eye past St Paul’s and ending up at the London Eye in the distance. This was taken mid-morning and, luckily, the clouds and sun appeared at the right time.

Bird’s eye view of the River Thames and its surroundings from the Shard. Canon 5D Mark III Sigma 12-24mm lens at 15mm 1/1600 secs @ f8, Hand-held, LENSKIRT


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Canary Wharf at Sunset. Canon EOS M 85mm 1.8 lens 1/100 secs @ f2.8, Hand-held Another fabulous vantage point, originally available to workers or dinner guests, is the bar at the top of the Gherkin, now called the Iris Bar and Helix restaurant.

This was one of those occasions when the stunning views were matched by stunning light.

The way the River Thames curves round provides a strong leading line into the scene, whilst the golden light on One Canada Square and buildings nearby makes an interesting focal point. The glass structure of the Gherkin provided clear external views without reflection; quite clever, in fact.

North Bank of the Thames looking West. Canon EOS M3 EF-M 11-22 lens at 22mm 1/100 secs @ f10, Hand-held, LENSKIRT This view was taken from the Sky Garden on the 43rd floor of the “Walkie Talkie” building in Fenchurch Street. Unlike other panoramas, this shows a jumble sale of architecture. Again, St Paul’s rises magnificently above the mess of buildings. The River Thames does its best to steer away from it all, providing an element of calm to this frenetic scene. Landscape Magazine Summer 2021

In summary, whilst some of these viewpoints are not accessible to the general public, there are many locations which are now open to the public, particularly post-pandemic. Examples are The Shard, The Sky Garden, Westminster Cathedral, St Paul’s Cathedral, Tate Modern Café, Iris and Helix Restaurant at the Gherkin and ArcelorMittal Orbit at Olympic Park, to name but a few.

In many locations the wonderful views are through glass, so I recommend using some sort of lens skirt or hood to eliminate reflection. I hope my photographic experience will encourage others to explore London from on high.



Ashok Viswanathan In an occasional series, we are delighted to include some landscape images from one of the RPS Chapters and, in this case, two photographers from the Indian Chapter have kindly allowed us to feature their images in this issue. Hopefully, when travel becomes a bit more practical, some of us will be inspired to visit some of the places featured.

Storm clouds, Gokhrana: Gokhrana coast in Karnataka just before a storm. When one thinks of India, one thinks of a colourful, faraway land where Maharajas rule along with lesser kings and mortals. A land of strange cultures, food and languages but, nevertheless, an interesting place. Apart from all this, there is another side to India; a destination for landscapes from the Thar desert in Rajasthan to the mighty Himalayas in the north bordering Tibet. India has something for everyone. There are also the long coastline and backwaters that support all form of living creatures and offer the opportunity to shoot some interesting images. I have been able to visit some of these


locations and have been able to get some nice images that have been exhibited at national and international exhibitions. The same locations merit several visits as the conditions vary during the year, yielding very different images.

Nikon 105mm f 4.0 lens fitted with a Metabones adaptor. I have not abandoned film. My old Rolleiflex f 3.5 has come out of retirement and was recently CLAd (cleaned, lubricated and adjusted) in the UK and I am looking forward to also shooting FP4 and HP5 again.

The best time to shoot is usually early morning, when the sun rises around 6am, and late afternoon. The camera is no longer a novelty and no-one will pay attention to someone with a tripod and a camera. My kit consists of a Fuji XPro1 and an XE3, with 10~24mm, 18~55mm and 50~140mm f2.8 lenses. I recently added a 30-year-old

I hope you enjoy these images and they leave you with a feeling of being there.

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Palani Hills: The Hindu temple perched up on a hill in the town of Palani in south India. The temple is dedicated to the God Murgan and access is via cable car.

Gathering storm, Palani Hills: Driving up the hills towards Kodaikanal town, I saw this view of the hills of Palani with the lake and the gathering storm clouds. I used a 3 stop soft grad filter to darken the sky, adding mood to the image. Shortly after this, the heavy downpour began.

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Gadisargar lake: Early morning at Jaisalmer in Rajasthan. The centuries old Rajasthani architecture gives this image an old-world look. Rocks, Kovalam: An exposure of 10 seconds on a Manfrotto tripod using the Fuji 10~24mm lens gave this beautiful smoothness to the water. I waited for the waves to bring the water between the rocks. The white highlights are caused by the foam generated by the waves on the rocks.

Ashok Viswanathan is a retired company executive living in Chennai, India, and is passionate about photography. He started with film in the early ’70s and continues to mix the traditional format with digital. A regular exhibitor at national and international exhibitions, he has been honoured with several distinctions. Besides exhibiting his work, he has a considerable body of published work in magazines, books and on the web. His interest is in travel, landscape, portrait, culture and fine art images.

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Desert dune: The road to Jaisalmer in Rajasthan has huge dunes beside the road. The sunset and the lone tree make a fine image.

Rajasthan landscape: This canopy of rocks greets you at the entrance of the Mehrangah fort in Jodpur, Rajasthan. There wasn’t a cloud in the sky that day.

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Urmimala I had struggled up the hard terrain with a basic digital camera into a village set deep in the mountains. There was a turn in the atmosphere and the wind blew in gales. There was a cascade of snow in the time of late March in the Himalayas.

There was a pause in the journey and my eyes were upon the high mountains. I was in the village briefly before I moved up, higher and higher to the place where I have been teaching. I had to reach the silent white mountains - up and ahead.

The camera I had was almost laughable to use. The series of photos I have submitted have all been taken in the span of a day, all in colour, in progressive sequence up till the time light broke through. After the tumult of the day, the darkness crept in silent; the trees, ink black, beneath the farmstead and lights in the village, below.

Evening Still – Rushing River – f/5; 2.5 sec; ISO 100 Deep evening and darkness around; there was a complete stillness on earth and in the sky. The winds blew a hush in the darkness and from the space below, came the sound of the river, distant, but close in the stillness. I was in my room that was neat, pretty and warm and I simply took the shot on impulse, hand-held, without flash and without any image manipulation. I rested still, in an old mystery of the atmosphere.

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Descent of Snow – f/3.2; 1/800 sec; ISO 100 It had been a brooding day, with faint light in the early morning. The winds came on strong and the sky clouded, heavy and ominous; then followed an abrupt descent of mist and snow that covered the mountains surrounding the homestead.

Up in the higher reaches, distant and faraway, the trees, swirled in powdered white, stood as apparitions. They stood merged in earth and sky; the horizon blotted in a sweeping expanse of white.

Trees – Distant Spectres – f/5; 1/1250 sec; ISO 100 Landscape Magazine Summer 2021



The Sky Opens to Light – f/4.5; 1/2000 sec; ISO 100 Towards late afternoon, the winds changed course, turning and turning around. The winds broke through the clouds and there emerged, in the sky, a spot of light that burst into a radiance that dissipated the mist and snow. And the shadows of the evening began to emerge.

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Landscape Magazine Summer 2021