DIGITAL IMAGING
Print Exhibition 2021
OUR THANKS TO THE THREE SELECTORS
Janet Haines FIPF ARPS EFIAP DPAGB
John Miskelly FRPS FBIPP
Martin Addison FRPS
Janet’s chosen genre is more or less studio work these days. Having started out as an ‘all purpose’ worker, she narrowed it down to studio and models following a successful weekend workshop, where she simply fell in love with the genre.
John was a child of the 70s (he claims to have pretty much missed the 60s!) and now lives in the beautiful Northern Ireland countryside.
Martin started taking photographs when he was about 15 and started to do it more intensively when he joined a camera club in 1970, since when he has never stopped. It has remained one of his most important hobbies ever since then.
Because she also loves producing fantasy photographic art, working with models allows her to create images in her imagination and then reproduce the poses and looks with the help of beautiful models. Over the years she has assiduously worked towards gaining many different awards through different photographic organisations. In doing this it has given her standards to aim for, which in turn helped to raise her skill levels as she reached ever higher. Janet previously was the Chair of the Digital Imaging Group for 6 years and now is a trustee of the RPS, working hard on modernisation therein.
Since he was a child, he has always taken photographs. It’s how he expresses himself creatively and it was this that led to his early career in the BBC. Many years later and after a variety of different jobs, he now spends his time as a professional landscape photographer and loves to teach and share his passion with others, whether leading a workshop or speaking to groups of photographers in camera clubs and at events. As for his photographic influences, John has long had a passion for the great outdoors, having taken part in adventure sports since his teens, and he’s also heavily influenced by the Japanese garden aesthetic. In terms of industry recognition, he is a Fellow of the Royal Photographic Society and a Fellow of the British Institute of Professional Photography. John is a qualified accountant and holds the post of Treasurer of the RPS.
Initially he used colour slides and was awarded his ARPS in 1992 with a creative set of them. He started making audio-visual sequences in 1977 which were presented initially on a two- and later a four-projector system. Now he creates AV’s digitally. He started printing colour images on Cibachrome in 1992 and was awarded his FRPS in 1994 with such prints. In 1997 he began using Photoshop, scanning slides for a few years before purchasing his first digital camera in 2004. His photography tends to be wide ranging, but he is perhaps best known for making images that are just that bit different. He loves images that are not obvious at first viewing and which use movement, multiple exposure and close-ups of unlikely objects to help him do that.
RPS Digital Imaging Print Exhibition 2021
Digital Imaging Committee: Rex Waygood (DI Co-Chair) digchair@rps.org Deborah Loth (DI Co-chair) digchair2@rps.org Lyn Phillips LRPS (Secretary) digsecretary@btinternet.com Trevor Pogson LRPS (Treasurer) digtreasurer@rps.org Jeff Hargreaves LRPS (DI Print Exhibition) digexhibitions@rps.org Dennis Knowles (Accolade Editor) digaccolade@rps.org Ken Ness (Web and Social Media) digweb2@rps.org Neill Taylor LRPS (On-line Events) digevents@rps.org Ian Thompson ARPS (Competitions) digcompsec@rps.org
Co-opted:
Gary Beaton (DIGIT Editor) digiteditor@rps.org Sue Hutton LRPS (Web Editor) digweb@rps.org Jean Robson (Membership Secretary) digmem@rps.org Holly Stranks ARPS (Accolade) hollystranks@gmail.com
DI Centre Coordinators Eastern
Mark Gillett mark_gillett@icloud.com
North West
Malcolm Blackburn mblackburn@redseats.net
Southern
Dr Barry Senior Hon FRPS digsouthern@rps.org
South Eastern
Melanie Chalk ARPS digse@rps.org
Western
Sheila Haycox sah2@live.co.uk
07984 518959
01298 812233
01425 471489
07768 265897
01392 468859
Yorkshire and North East Susan Gibson sue.gibby@gmail.com
What a year! We continue to labour under the cloud of the COVID19 ‘lockdown’ (oh, how we will hate to hear that word when it’s all over…) and - without too much self-congratulatory fanfare – our group seems to have succeeded in its efforts despite the problems caused. The on-line offerings of the group have become almost legendary by now and by using across-the-internet methods, the Projected Image competition worked well last September. At that time we had an eye on the future for this year’s Print Competition, wondering how we might be made (or able!) to run it. As it turned out, we had to manage it on-line but many brows were furrowed in our team: surely running a print selection process on-line is a bit of an oxymoron? Much debate ensued: at first the whole event was ‘on’, then ‘off’, then ‘on’ again. Ultimately the decision was taken to copy the methods used by the RPS distinctions team where one person would assess the technical quality of the prints, with the selectors viewing the digital copies of those prints which were uploaded as part of the submission process. Further, we decided to offer printing services to any member, not just those from overseas – (35 members took up that offer, incidentally). It is with some admiration that I report that there was not one print from anyone that was rejected due to quality problems – this is quite a feat, so well done to all entrants! We received work from 178 members, which surprised us because PrintEx20 received only 138. We surmised that our beloved membership was concentrating on photography rather than anything else in the lockdown! It was to the fore of our minds that – as for 2020 - it might prove that we would not be able to hold any ‘physical’ exhibitions in 2021, therefore we decided to reduce the effort and cost requirements of our entrants by requesting three A4 prints, unmounted, with DIG preparing mounts if a real exhibition becomes possible. Normally, the selection process is carried out ‘live’ in front of the audience at our AGM, following which our selectors would (in private) wander around the prints which had been hung on the wall so as to pick their two ribbon winners each, the Gold Medal winner, and the sub-set of 30-ortherabouts pictures which would be used in a ‘short exhibition’ for venues not able to handle the entire total of – this year – 178 pictures, one from each entrant. Naturally, we were not going to be able to operate like that this year but at the same time we wanted to replicate the method as closely as we could. So – yet again – the on-line submission and display software we have created was modified slightly to follow the flow of the ‘normal’ physical process. Our three selectors and I met online using Zoom on the 17th February and the doughty trio was subjected to 178 ‘triptychs’, i.e. the three prints submitted by each entrant. They were also shown the individual images at full resolution and then they ‘huddled’ virtually to pick the one from each three to be used in the exhibition. That process took some four hours, after which the selectors were given some private time to wander - again virtually - independently through the 178 accepted entries so as to pick their favourites for assignment of two ribbons each, plus candidates for the Gold Medal, and seven or eight each to form the content of a short exhibition: this is the set of acceptances used in exhibition venues which are not able to host the full list of 178. Returning to the Zoom fray, some on-line armwrestling took place and in a short while our diligent selectors had settled – amicably! – on the seven top images, with another 20 to make up the ‘ShortEx’ numbers. In summary, I would say that by judicious compromise we achieved our goal. Whilst hoping that the lockdown eases to the extent that our Print Exhibition Organiser, Jeff Hargreaves, will soon be able to portray a superb set of prints on exhibition walls around the country, at least I feel that we have kept the concept of the Print Exhibition alive in our members’ hearts. The entire set of images of the accepted prints is printed in this catalogue and also has been compiled into a video sequence complete with a recording of our selectors’ comments on the winners, which is available to be seen via this link - at http://bit.ly/PrintEx2021 Finally, a big round of virtual applause, please, for our selectors Janet Haines ARPS, John Miskelly FRPS and Martin Addison FRPS and our back-room Zoom team for the prodigious effort and enthusiasm displayed by everyone throughout the process – it is due only to the boundless spirit shown by our volunteers that we were able – again – to overcome the disruptive attempts made by COVID19 to scupper our enjoyment. Long Live the Print Exhibition!!
Ian Thompson ARPS RPS Digital Imaging Competition Secretary
Cover image: “Seafall” by Phil Dunbar, France. RPS Digital Imaging | Print Exhibition | 2021
© 2021 Apart from storage and viewing in its entirety for personal reference, 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 Editor. The Royal Photographic Society, RPS Digital Imaging and the Editor accept no liability for misuse of any of the content or for any breach of copyright by or of a contributor. The views expressed in this magazine do not necessarily reflect the policies of the Royal Photographic Society or of RPS Digital Imaging.
Printed by Henry Ling Ltd. at The Dorset Press, Dorchester, DT1 1HD
3
GOLD MEDAL and CHAIRMAN’S CUP WINNER
Too Many People by Helen Jones ARPS
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RPS Digital Imaging Group | Print Exhibition | 2021
GOLD MEDAL and CHAIRMAN’S CUP WINNER
Helen’s Comments I am an event photographer and when all events were cancelled in 2020 I turned my attention to documenting the three lockdowns in Weymouth and Dorchester, restrictions permitting. My photos will be contributed to our County Museum archive and made into photobooks for my grandchildren. My husband and I also put together a joint sequence as an AV to the song “Land of Confusion’ by Genesis and it was the line ‘Too many people, making too many problems’ which gave me the idea for this photo. It’s a composite image of many layers. The background comprises a montage of a dozen desaturated social distancing signs and the ‘people’ are a single mannequin in a Dorchester Hairdresser’s window, cut out and repeated. A coloured texture is laid on twice, once over the signs and once over the second row of figures. The front row of figures do not have texture to help them stand out. The texture is a piece of rock with verdigris at Geevor Tin Mine, Cornwall. I felt the blue-green colour complemented the masks. It is very much a photo of the strange times we live in!
The selectors’ comments Janet Haines ARPS
John Miskelly FRPS
Martin Addison FRPS
What a great image. It has impact and is ‘of its time’. Whether the photographer spotted this dummy already dressed, or dressed it themselves, is pretty irrelevant. It is the imagination of putting together the 9 models to tell us a story of the pandemic. The use of the white faces, with their face masks, for me tells of the faceless NHS workers who have done such superb work but have nevertheless had to take the strain of this past year. Displayed here with their PPE, even down to the rubber gloves hanging from their waist ties. Looking past the dummies the clever background all adds to the story in a subtle way. Photographically it has been put together well: the scale of the rear dummies alludes to giving us a feel of depth. There is sufficient detail in the white clothing and faces, and the muted colours of the background do not dominate but are a supporting element.
It’s a wonderful image that is both creative and tells a story of our times. The use of the replicated tailor’s dummy all with their aprons, gloves and wearing masks reminds me of how we all lose something of our individuality - at least to those observing - when we wear masks and oft-times other PPE. The way the background has been used and the subtle texture just adds to the overall feel of the image. The composite and all of post-production work is excellent.
This is very much an image of our times. The lockdown has affected all of us and many people feel threatened and confined and this image represents many of the feelings we have in these difficult times. The rows of mannequins perhaps represent how we are being herded into groups and controlled by the dictates of governments and how we feel powerless to control our lives. It is a scary image: very powerful and definitely worthy of the Gold Medal. Congratulations, Helen, on a very striking image.
RPS Digital Imaging Group | Print Exhibition | 2021
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SELECTOR’S RIBBONS – MARTIN ADDISON FRPS
Still Life by Paul Herbert ARPS
Martin Addison’s comments:
Paul’s comments:
I selected this image by Paul Herbert as one of my ribbons as I loved the beautifully clean design and great use of colour. This could be called a ‘lockdown’ sort of picture as it can be done at home, no need for foreign expeditions, and as it can be created at home you have everything under your control and therefore it is easy - only it isn’t at all.
The inspiration for creating this image came in April 2020 from a YouTube video by Doug Chinnery called ‘Creativity in a Crisis’, which gave tips on making images during ‘lock-down’ using objects and artwork found within the home as subjects. I used an in-camera multiple exposure technique to combine the main subject and first element of the image (an earthenware vase containing a tulip) with a second image, taken of a framed print hanging on the wall of our home, which became the background. The framed print was itself made from one of my previous in-camera multiple exposure photographs. It took several attempts before I arrived at what I felt was a reasonable blend of the two images.
It needs a really good sense of design to create an image like this and Paul obviously has that. The positioning of the elements in the picture is crucial, as are the colours chosen. The blue vase anchors the images and the other colours and shapes build outwards. The beautiful tulip gives life to the otherwise geometric shapes. Well done Paul, a beautiful image.
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The RAW file was processed using the open-source applications ‘darktable’ and ‘GIMP’: I made small adjustments to colour and contrast, cloned out a few distractions, and flipped the image horizontally to improve the composition. I almost called the image “There is Still Life”, referencing both the almost dead tulip and the fact that life carries on despite adversity.
RPS Digital Imaging Group | Print Exhibition | 2021
SELECTOR’S RIBBONS – MARTIN ADDISON FRPS
Whispers by Seshi Middela LRPS
Martin Addison’s comments:
Seshi’s comments:
This is in complete contrast to my other ribbon choice and is so delicate. The title of the picture sums it up very well – ‘Whispers’ and this comes across. We are just seeing glimpses of the subject, nothing is sharp, or needs to be, we are being shown an impression of what the photographer saw and we need to use our own imaginations to interpret the image. The movement and delicacy have a beautiful rhythm which speaks to the viewer. Congratulations on creating such a lovely image, Seshi.
I get a few Sundays in a year to myself and cannot help going out come rain or shine. On one of those typical rainy and windy days, I sat in my car wiping the rain off my lens. Having to roll down my window half to avoid misting my windscreen, I looked up to see the silver birch leaves swaying in the wind against the cloud and could not resist taking a picture resting my lens on the edge of the window glass.
RPS Digital Imaging Group | Print Exhibition | 2021
I said to my wife “If you focus on the leaves and immerse yourself in them then you can hear the whispers”.
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SELECTOR’S RIBBONS – JOHN MISKELLY FRPS
The Sea Pool, Broadstairs by David Turner LRPS
John Miskelly’s comments:
David’s Comments:
This is a lovely long exposure landscape that has a superb sense of calmness with its delicate soft tonality and the subtle colour balance. It shows very strong, balanced composition and the red and white behind the pool post just adds that something extra. It’s important that there is still detail retained in the sky and a clear separation between the sky and the sea, as sometimes long exposure images merge the sea and sky together, which doesn’t always work. The key elements in the image - the pool and the posts - are perfectly sharp and the processing is sympathetic to the subject matter.
I travelled down to Kent with a fellow DIG member for a weekend of photography in October 2020. We planned to photograph the area around Margate and Broadstairs. My intention was to take a long exposure shot of the sea swimming pool at Broadstairs and having arrived in plenty of time, waited for the tide to come in. Numerous photographs were taken before the tide eventually covered the pool. The long exposure has, in my opinion, helped to simplify the image and allow the pool to stand out. Normally I love long exposure images in monotone, but the soft colour appealed to me and I decided to process in colour rather than black and white. This is my favourite image of the trip and I am looking forward to returning at some point.
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RPS Digital Imaging Group | Print Exhibition | 2021
SELECTOR’S RIBBONS – JOHN MISKELLY FRPS
Dried Hosta Leaves by Margaret Ford ARPS
John Miskelly’s comments:
Margaret’s comments:
This is a beautiful image showing how to capture a seemingly simple still life subject in a way that shows great technique by the artist. The way the leaves are laid out gives a wonderful compositional balance that is so hard to get right. The detail in the leaves themselves, along with the subtle colour and the texture which has been applied, all add to the fine art feel of this image. Finally, the back lighting gives a 3D feel to the image and creates the perfect exposure.
I have always enjoyed photographing hosta leaves as they die and dry in unusual and attractive shapes. I had planned to make an image using three leaves but this year the weather was very wet as the leaves were dying and it seemed as though there would be very few possibilities. I collected five leaves and gave them a few seconds in the microwave to dry them completely. Photographing all five leaves separately allowed me to place them in separate layers in photoshop and to choose the three that worked most successfully. I put a textured layer behind the image adding a keyline to tone with the main image. A plain reasonably wide border in the same colour range as the image and background completed the final image. From the start I wanted this to be an image for print, so this decided any adjustments necessary for colour and sharpening. For me, this type of image benefits from a matt textured paper. I used Fotospeed Natural Soft Textured paper which produced the image as I had initially imagined.
RPS Digital Imaging Group | Print Exhibition | 2021
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SELECTOR’S RIBBONS – JANET HAINES ARPS
Derek by David Alderson LRPS
Janet Haines’ comments:
David’s comments:
We had a wide variety of portraits in the work from members but this one stood out above all others as it captures the essence and character of the man. All faces have hard and soft sides (look at your own in a mirror sometime and hide each half in turn). Here the photographer has used this to advantage and used less lighting on the harder side of the face, consequently the white of the eye on that side looks brighter and becomes the main point of the viewers focus. It is a very direct look and the model is obviously very comfortable and confident to be photographed.
This is a photo of the model Derek Hastings. It was taken at Ross McKelvey’s Belfast studio on a workshop with a group from my club, Bristol Photographic Society.
The photographer has filled the frame well and cropped appropriately. At the point of shooting the lighting has been well handled and the detail retained in the hat, its band and the clothing. The rendition to mono has been expertly handled. The detail in the beard and not being tempted to smooth out the natural character of the face (which is appropriate for a man of this age) all assist to strengthen this composition. For the icing on the cake this image was beautifully printed on an appropriate quality paper, which further lifted it up to produce a very pleasing and winning portrait.
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The original image was a full head and shoulders shot, with blue jacket, brown tie, the whole hat and quite a lot of space at the sides. I made a mono conversion and cropped in tightly, as I thought this gave Derek a more intense look. Processing was initially done in Lightroom, with some burning-in with Photoshop to reduce highlights on the left side of the face. I used a Canon 70D with AF-S 15-85 lens, at f9, 1/125sec, ISO 150 and can take no credit for the lighting set-up.
RPS Digital Imaging Group | Print Exhibition | 2021
SELECTOR’S RIBBONS – JANET HAINES ARPS
King’s Cross Roof by José Closs
Janet Haines’ comments:
José’s comments:
Many photographers have shot the stunning roof lines at this London railway station, but few have given it such an interesting interpretation as this.
In the early days of the first lockdown of 2020 I saw a lot of people experimenting with the Photoshop twirl tool on social media. Most had applied it to flowers, sometimes dispensing with all sense of the original image. I learned the technique and tried it with a range of subjects, finally landing on architecture.
Firstly, the limitation of the original area of roof with its’ supporting column, and the inclusion of the older part of the original building, is a clever simplification. The author has removed all other distractions and kept us wholly focussed on the key elements. Indeed, from just those elements we know where we are. But with the artistic use of extemporising the lines it portrays a wonderful feeling of the light and space of the place: It is as if light is streaming in. This image has been skilfully worked and presenting it as a mono was the ideal choice. The gentle tones of grey within the roof shapes are grounded by the darker tones of the older building. The work was printed on a quality matt art paper which was perfect for this image. All in all, a delightful and imaginative piece of work. RPS Digital Imaging Group | Print Exhibition | 2021
This approach allowed hard, definite architectural lines to be melded with a more delicate swirl. I chose Kings Cross station, as the curved lines of the building seemed to provide a natural base for those lines to then swirl upwards and away, disappearing into the light. I reduced the saturation of the image, to keep the emphasis on the light rather than the colour. A major benefit of the enforced staying at home last year was the opportunity to improve processing skills, using tools and techniques that I had never previously had cause to investigate. I am delighted to receive the RPS DIG Ribbon Award for ‘Kings Cross roof ‘, particularly as it makes the past year feel like time well spent rather than time lost.
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ACCEPTED PRINTS In order of names of authors, whose country is UK unless noted. The suffix ‘(SX)’ indicates that the print was selected to form part of the ‘Short’ Exhibition of 27 prints.
Walking the Great Ridge
Jon C Allanson LRPS Taking a Gander
Dark Tangle Impressions of Wells
Golden Beauty 12
Susan Ashford ARPS
Hilary Bailey LRPS
Rose Atkinson LRPS
Dave Balcombe ARPS
City Gent
Philip Barker ARPS RPS Digital Imaging | Print Exhibition | 2021
ACCEPTED PRINTS
Tsunami
Jack Bates FRPS Blood, War, Peace
Send Me Dead Flowers
Ann Belcher LRPS
Seed Pods
Owl and Poppies
Geoffrey Beer LRPS
Mahendra Bhatia LRPS
RPS Digital Imaging | Print Exhibition | 2021
Cape Buffalo Trio
Stephen Betts LRPS
Malcolm Blackburn ARPS 13
ACCEPTED PRINTS
Just Reeds
Peter Boazman Blocks of Time
Soldering Iron
Robert Bracher ARPS
Pat Brennan LRPS, Ireland
Surly Saddhu Andrew Brochwicz-Lewinski ARPS
Through the Arches 14
Alan Brown LRPS
Out of Circulation
Judith Buckley-Sharp LRPS RPS Digital Imaging | Print Exhibition | 2021
ACCEPTED PRINTS
The Onlooker
Mark Buckley-Sharp ARPS
Inquisitive Children
The Pump Room
Stalking Lioness
Cleaning the Stairs
Liz Bugg ARPS
David Bull LRPS
Lisa Bukalders LRPS
RPS Digital Imaging | Print Exhibition | 2021
John Bull LRPS
Grey Squirrel
Barrie James Castle LRPS 15
ACCEPTED PRINTS
Overdue Homecoming
Ashwin Chauhan ARPS
Mist Around the Lighthouse (SX) Jenni Cheesman LRPS
In the Pink
Agnes Clark LRPS Preening Mountain Hare (SX)
On the Stairs 16
Graham Arthur Coldrick ARPS
Neglect
Robin Claydon ARPS
Alan Collins ARPS RPS Digital Imaging | Print Exhibition | 2021
ACCEPTED PRINTS
Atlantic Spectrum
Andrew Darling LRPS
Three Frosted Kings
Robert Darts LRPS
Dawn Over the Frome Neil Davidson LRPS
Young Kestrel
Redcar Beach Impression RPS Digital Imaging | Print Exhibition | 2021
Sheelagh Davidson LRPS
Guy Davies ARPS
Vintage Rose
Paula Davies FRPS 17
ACCEPTED PRINTS
Unflappable (SX)
Wendy Davies LRPS
Stonechats
Sheep (SX)
Pepper Study
Sylvie Domergue, Madagascar
Fading Peony
18
Janet Downes
Robert Deamer
Colin Douglas ARPS
Autumn Abstract (SX)
Peter Downs LRPS
RPS Digital Imaging | Print Exhibition | 2021
ACCEPTED PRINTS
Orangutans
Seafall (SX and catalogue cover image)
Drowning and Screaming RPS Digital Imaging | Print Exhibition | 2021
Laura Drury LRPS
Phil Dunbar, France
Reflection on the Water.
Ray Duffill
Battle of the Raptors
Jocelyn Edwards LRPS
Simon Elsy LRPS
Ferreter
John Elvin LRPS 19
ACCEPTED PRINTS
New Dad Common Feather Duster Worm
Collieston Pier
Paula Fernley ARPS
Wendy Eve ARPS
Kevin Flanagan LRPS
Homage to Vincent
Stairwell 20
Chris Flood ARPS
Cow Parsley Sunset
Brian Fleming LRPS
James Foad LRPS RPS Digital Imaging | Print Exhibition | 2021
ACCEPTED PRINTS
Lost Age Remembered
In the Deep End
Michael Foley LRPS
Patterned Bark
Palli Gajree HonFRPS, Australia
Angela Ford ARPS
James
A Wisp in the Wind (SX)
Julie Francis LRPS
RPS Digital Imaging | Print Exhibition | 2021
Linda Gates LRPS
Zen
Peter Gawthrop ARPS 21
ACCEPTED PRINTS
Winter Woodland Splash (SX)
Gull Portrait
Feral Horse and Foal
The Windsurfer 22
Susan Gibson LRPS
James Gibson LRPS
Mark Gillett LRPS
Albert Gilchrist ARPS
John Gough
Winter Wood
Paul Grimwood
RPS Digital Imaging | Print Exhibition | 2021
ACCEPTED PRINTS
Reef Beach Stroll
Deborah Hammond LRPS Winter Sunset Symmetry
A Question of Balance Walking Home
Winter Tree
June Hanson
Jeffery Hargreaves LRPS
Ian Hardacre LRPS
RPS Digital Imaging | Print Exhibition | 2021
Glynis Harrison LRPS
Arotis (SX)
Sheila Haycox ARPS 23
ACCEPTED PRINTS
Out in Front
Out of the Ashes
Tony Healy ARPS, Australia
Courting Cranes
Ray Hems LRPS
Colin Hayman
Leaving the Sandbank (SX)
Martin Heathcote LRPS
Pink Ladies
Through the Window
24
Anthony Hill LRPS
Elaine Herbert ARPS, Australia
RPS Digital Imaging | Print Exhibition | 2021
ACCEPTED PRINTS
Springtime
Roger Hinton LRPS Frosty Flower Pattern
Nature’s Dragonfly
Seed Head
Roger Holman ARPS
Christine Holt
RPS Digital Imaging | Print Exhibition | 2021
Red Tulips
On the Pier
Chas Hockin LRPS
Ron Holmes ARPS
Sue Hutton ARPS 25
ACCEPTED PRINTS
Waves of Emotion
Maggie James LRPS
Tanker
Aston Martin DB6
David Jenner
Pool of Light
Hugh Masekela, Jazz Legend 26
Anna Jastrzebska
Stephen Jones LRPS
Son Heung-min’s Cannon-ball run
Paul Johnson LRPS
Malcolm Journeaux ARPS
RPS Digital Imaging | Print Exhibition | 2021
ACCEPTED PRINTS
Kinetic Gallery
James Kirkland LRPS Heron with Catch
Pinned
Sylvia Kislingbury ARPS
Louise Knaresborough, Brazil
German WW2 Submarine Pen Christopher Kislingbury ARPS
European Garden Spider RPS Digital Imaging | Print Exhibition | 2021
James Lamb
Miomantis On Seed Head
Peter Knight LRPS 27
ACCEPTED PRINTS
Compton Verney Bridge
Janet Lee
Red Arrows Without Red 9
Basking Frog
Finding Unicorns (SX)
The Mollyrose 28
Eric Leeson LRPS
David Loxley-Blount
Adrian Lines ARPS
David Lyon
Recycling
Robert Mair LRPS
RPS Digital Imaging | Print Exhibition | 2021
ACCEPTED PRINTS
The Duke of Portland Boathouse
Roger Marks LRPS
Jug (SX)
Tiffany at Breakfast
Bluebells
The Chase
RPS Digital Imaging | Print Exhibition | 2021
Richard Martin
Pauline Mason LRPS
Pauline Martindale
Carl Mason ARPS
Looking Down the Barrel
James Mccarthy LRPS 29
ACCEPTED PRINTS
Me Time Rock Wallaby
Paul McCullagh ARPS
Gentleman Jack (SX)
Dandelion Seed Heads
David Morement
30
Tony McDonnell LRPS
Carol McNiven Young FRPS
Pensive
Battle of The North Atlantic
Carmel Morris ARPS
Michael Miller LRPS
RPS Digital Imaging | Print Exhibition | 2021
ACCEPTED PRINTS
Pears and Berries Lunch Break
Trail Lights To Battersea
Gathering Winter Fuuuel
RPS Digital Imaging | Print Exhibition | 2021
Lynda Mudle-Small ARPS
Lynda Morris LRPS
David Munns
John Nathan ARPS
The Little Bird’s Food
Lajos Nagy, Romania
The Ambush
Kenneth Ness ARPS
31
ACCEPTED PRINTS
Teasel Lights
Patricia Ness
Beating the Blues
Collapse
Smile
Frosted (SX)
David Oldfield FRPS, Australia
Brian O’Callaghan LRPS
Martin Parratt ARPS Coffee Break
32
Sarah Newton ARPS
Steven Parrish
RPS Digital Imaging | Print Exhibition | 2021
ACCEPTED PRINTS
Lamp
Bird’s Eye View
David Pearson ARPS
Just a Hint of Shadow
Lockdown: Ice and Trees (SX)
Reg Pengelly LRPS
Lynda Piper
RPS Digital Imaging | Print Exhibition | 2021
Cigar Making
Porcelain Fungus
Lesley Peatfield ARPS
Andy Pinch LRPS
Trevor Pogson LRPS 33
ACCEPTED PRINTS
Vintage Syphons Flight
Terry Pollard ARPS
The Memory Of Different Times (SX) Robin Price LRPS
Scotland’s Rocky Shore 34
Jayne Priaulx LRPS
Mobile Mania
Peter Robinson LRPS
Alastair Purcell LRPS
Looking the Other Way
Judith Rolfe LRPS
RPS Digital Imaging | Print Exhibition | 2021
ACCEPTED PRINTS
Girl In the Mist (SX)
Shirahige Shrine
Hugh Rooney ARPS
HELP! The World Is Dying
Dennis Russ LRPS
Fire Flowers
A Union Soldier
Trevor Rudkin LRPS
David Ryland ARPS
RPS Digital Imaging | Print Exhibition | 2021
Forest Aflame (SX)
Samantha Ruth
Katherine Rynor ARPS 35
ACCEPTED PRINTS
Sheerness Long Exposure
David Scrivener LRPS
Arabian Oryx
Officer 36
Barry Senior HonFRPS
No Winners (SX)
Jonathan Scudder
John Shaw ARPS
Rural Impression (SX)
Geoffrey Smith ARPS
RPS Digital Imaging | Print Exhibition | 2021
ACCEPTED PRINTS
Round-up in the Rain
Robert Smith LRPS
Bath Tourist Attraction
Mist Approaching
Alex Hua Tian at Nunney RPS Digital Imaging | Print Exhibition | 2021
Patsy Southwell ARPS
Peter Stevens FRPS
Brian Stubbs LRPS
The Student (SX)
Michael Stringer LRPS
Heartfelt Dreams
Brian Swinyard ARPS 37
ACCEPTED PRINTS
Battle of Wallingford
Marilyn Taylor ARPS
Where Is Everybody?
Mount Edith Cavell
38
John Tilsley ARPS
Fine Structure
Neill Taylor LRPS
Ian Thompson ARPS
London Underground
Martin Tomes
RPS Digital Imaging | Print Exhibition | 2021
ACCEPTED PRINTS
The Orchestra - French Horns
Nowhere Man
Strange Fruit (SX)
RPS Digital Imaging | Print Exhibition | 2021
Paul Turner
Anne Turner
David Thomas ARPS
The Cover
Carol Wiles ARPS
39
ACCEPTED PRINTS
All In a Day’s Work
Underground Architecture
Harry Wells LRPS
Fiona Senior FRPS Stare Well
Kings Cross in a Pandemic
40
Rex Waygood
Peter Yendell LRPS
RPS Digital Imaging | Print Exhibition | 2021
ACCEPTED PRINTS
Moorings - Windermere
Baron Woods FRPS
Evening Glow
Diana Wynn
The Sweeper
Norman Wiles LRPS
RPS Digital Imaging | Print Exhibition | 2021
41
OTHER DIGITAL IMAGING PUBLICATIONS ACCOLADE - Occasional members-only publication celebrating members’ Distinctions successes (digital only)
Monthly newsletter (digital only)
DIGIT - Members-only quarterly magazine (in print and digital)
DIGIT
THE MAGAZINE OF THE ROYAL PHOTOGRAPHIC SOCIETY DIGITAL IMAGING GROUP Number 89 2021 Issue 2
42
RPS Digital Imaging | Print Exhibition | 2021
Projected Image Competition 2021 Free to enter - Digital Imaging members only Three classes - Open Colour; Open Mono and Altered Reality. You can enter up to 6 images with a maximum of 3 in any one class
Open for entries: August 1st 2021 Closing date: August 31st 2021 at midnight GMT Selection date: Saturday, 18th September 2021 The selection and presentation of awards will be on-line, using the same system and process as used for the 2020 competition. The event will be open to all members to view in real-time using Zoom video-conferencing software. Registration for the event will be required, details of this will be distributed soon. Entries can be submitted by logging in at www.rps-dig.org after the opening date. Full information and rules, etc., will be found at
www.rps.org/digpdi