Newsletter Editor: Ian Brown PH 0403 036 119 E: ian@bforbrown.com.au
Page 3 From your Secretary Elaine Herbert ARPS Page 4 Welcome from the Editor – Ian Brown
Page 6
Introducing Janet Haines our new honorary member
Page 16
My name is Stan – John Chapman ARPS
Page 35 Does anyone know Ferdinand Roux
Page 7 50 Shade of Grey – Robin & Gigi Williams live presentation
Page 24 Images through glass – Alan Hodgson ASIS HonFRPS
Page 5
Convenor’s Corner – Rob Morgan ARPS
Page 8
Pondering Pollard 23 – Calvert Richard Jones
Page 30
Reconsidering AI in photography
From your Secretary
Elaine Herbert ARPS
Hon Secretary, Australian Chapter
This is a very brief note as I’m about to set off on a trip to the UK and France and I’ll have left home by the time this Newsletter reaches you. Jacky Lee will be Acting Hon Secretary while I’m away (his email is sklphotography@gmail. com) – thank you, Jacky, for your willing assistance.
I’m planning to visit the (new) RPS office in Bristol while I’m in the UK and will be meeting there with Victoria Humphries, our new CEO, and some of the staff. It’s a great opportunity for us to discuss matters affecting the RPS Chapters and international members generally.
The RPS Annual General Meeting was held last Saturday, an online only event this year. A report of the meeting will be issued soon, and I expect Simon Hill’s President’s Address will be included in the next issue of the RPS Journal – a most interesting reflection on perceptions of photography.
I’ll be back in time to join our Chapter meeting on November 12 when Gigi and Robin are giving another of their wonderful online presentations – see page 7. It’s sure to be a highlight of our Chapter year so get the date in your diaries now!
Welcome from the Editor
Ian Brown Editor, Australian Chapter
An important announcement about last month’s issue
A few members have been in touch about the blank pages. No, I wasn’t having an off day. The very observant noticed that the link to the Pondering Pollard article took you to blank pages.
Originally, the Pondering Pollard included it, featuring the controversial photographer David Hamilton. Unfortunately, the article was pulled by the RPS. The publications team and the President viewed it, and they deemed it unsuitable for publication.
The RPS said it doesn’t allow work that is seen to “promote or endorse work that exploits any individual or group, including minors.” Needless to say, it didn’t.
Robin’s article was expertly written, and the images were carefully selected to tell the
story of Hamilton without promoting or endorsing his actions.
Mentor program
We are still looking for mentors and mentees for our mentor program. If you are interested in helping those less experienced, or if you want to learn from others then please check out the information on page 36.
Thank you
Thanks to Simon Locke for sending in an image for the members’ Gallery. I know Simon from my days studying at PSC; we were both students together, and it’s nice to see someone early in their photography journey contributing images.
Thanks again to Palli for his contribution; without Palli’s dedication, the Members’ Gallery would be very sparse.
Specifications for contributors
When sending images for the Newsletter, the only requirement is that they are jpeg or png. Images can be 300 ppi and up to A4. Don’t forget you can also add captions for your images. If you don’t include a caption, we’ll assume you don’t need one.
Email images to ian@bforbrown.com.au and keep those pixels and captions coming in! For non-image files (e.g. PDFs), under 5 MB is preferred and never 10 MB or more. If your images are too big to email, I have created a Dropbox folder you can upload
your images to. Email me for permission, and I’ll grant access to the folder. I will need to delete your images once I have downloaded them.
Deadline for contributions to the next issue is 23 October 2025.
Convenor’s Corner
Rob Morgan ARPS
Doesn’t time fly?
Doesn’t time fly when you are having fun? 24 September marked the 20th anniversary of me reaching the top of Mt Kilimanjaro (much to the surprise of the porters who referred to the 55 year old me as ‘Babu’ (Grandfather)). Where did that time go? OK, I know I’ve been here, there and everywhere and met my wife and otherwise generally filled in the time enjoyably and productively, but all the same…
I remember in my thirties remarking about events that had happened ten years before. It was such a long time ago. Now those events (if I could actually remember them) were half a century ago. According to Morgan’s First Law of Time, every day is a smaller proportion of your life than the day before and hence it goes faster. But it really is true. The only interruption to
that accelerating time continuum is when you go to the gym (so I hear) or Pilates, at which every time you look at the clock, time has not shifted at all.
All of which segues me to the fact that the end of the year is fast approaching (less than three shopping months to Christmas!), and with that will come the end of my time as Convenor. Our RPS Australian Chapter needs a Convenor. It also needs a new Hon Secretary; Elaine is stepping down at the end of the year. So, if you are interested in our Chapter continuing successfully, please contact me or Elaine to discuss how we can transition into next year. (And thanks to committee member Jacky Lee for stepping in as Acting Hon Sec while Elaine is away in late September and through October).
And talking about our esteemed Hon Sec, Elaine, what wonderful news we received last
week that Elaine has been awarded the prestigious RPS President's Medal in recognition of her outstanding contribution to the society over a sustained period. I know that Elaine has put in an enormous amount of time and effort into the RPS Australian (and previously Victorian) Chapter – and into the interests of international members more generally in recent years – and this award is very much deserved.
As the RPS website advises, over the past 25 years Elaine “has edited the Chapter’s Newsletter, and managed events and activities in Australia. She has been a consistent ambassador for the RPS in the country. Elaine has supported the RPS through her involvement with the RPS’s Representatives’ Committee (RepCom). Uniquely placed, Elaine has supported the RPS’s wider international membership, and produced a thoughtful and carefully researched paper about the RPS’s overseas membership for RepCom. This was instrumental in helping set up a renewed focus on international members.”
Congratulations, Elaine!
The Chapter Committee is delighted to announce that Janet Haines ARPS has accepted our invitation to become an Honorary Member of the Australian Chapter.
Janet has been hugely supportive of our Chapter – and of all international members –over many years. She is well known to many of us as a former RPS Trustee and through her strong leadership as Chair of the RPS Digital Imaging Group, but her hard work and effective influence has extended well beyond that.
Janet has supported our online Chapter activities, both as a presenter and a participant. She’s told us about her own photography in Zoom presentations and in the Chapter Newsletter. She’s joined in many of our other Zoom sessions and subsequent discussions. She even initiated and helped organise an online 99th birthday celebration (complete with digital candles!) for one of our most distinguished members,
Janet Haines ARPS: Our new honorary member
Elaine Herbert ARPS Hon Secretary, Australian Chapter
Alan Elliott OAM ARPS, back in 2021. And even just recently she has offered free attendance to all our Australian members to the forthcoming September DIG webinar.
Her work for the Chapter gave us much encouragement during the dark days of Covid. Some of her help has been evident to all our members but there’s been much behind the scenes as well. And she gave great support to me personally in 2020 when I took on the newly-created role of International Members’ Representative, assisting me especially through her deep understanding of the RPS governance issues.
Janet has been a tower of strength – and wisdom – in supporting RPS international members everywhere. Her efforts several years ago resulted in webpages being set up for the Chapters and also for international members as a whole. This led to several online International Members’ Exhibitions; it was the first time
such exhibitions had been set up for all international members to enter and accessible for all RPS members to view. Then more recently she has been mentoring my successor as International Members’ Representative. And we in Australia – as international members – have benefitted from all her hard work too.
In recognition of her great support, the Australian Chapter has been delighted to invite Janet to become an Honorary Member of the Australian Chapter, only the fourth in nearly forty years of our Chapter’s existence. She joins three former RPS Presidents: Professor Ralph Jacobson ASIS HonFRPS, Roy Robertson HonFRPS, and Dr Alan Hodgson ASIS HonFRPS.
We in the Chapter are indeed honoured that Janet has accepted our invitation. Welcome to our ranks, Janet. It’s lovely to have you as ‘one of us’ and we know there will be lots more happy collaboration into the future.
Fifty shades of grey – the sordid secrets of the darkroom
Gigi & Robin Williams
Ever wondered what makes a compelling black-and-white image? Are you an ‘old timer’ wanting to get back to the happy days of working in monochrome, or a new generation photographer wanting to know how to shoot and edit your images in blackand-white? Then this presentation is for you. In what promises to be another of their highly informative and entertaining presentations, Gigi and Robin will cover every aspect of working in monochrome – both analogue and digital – including the specialised field of infrared. They will discuss both capture and processing including the various options available. The talk will be illustrated throughout by their award-winning monochrome work. Save the date in your diary for this ‘not-to-be-missed’ evening!
For access to the talk email ian@bforbrown.com.au a link to the Zoom call will be emailed closer to the event.
Australian photographer John Pollard FRPS died in 2018, leaving behind not just a grieving family and a substantial legacy of photographic work in public and private collections, but also an eclectic collection of books representing his varied interests over his life. In this ongoing column, I hope to stimulate interest and reflection on various aspects of photography based on the perusal of John’s collection of books. In the process, I also aim to periodically shine a light on John’s career and practice.
Dr Robin Williams ASIS FRPS
Fig.5: Nude in the landscape.
Fig.1 main image: The first photograph taken in Wales –Margam Castle, 1841. Daguerreotype, 26 minute exposure in bright sunlight.
Fig.2 below left: Front cover of the book ‘The Photographic Work of Calvert Richard Jones.’
Fig.3 below right: Portrait of Calvert Richard Jones. Unknown artist.
Pondering Pollard 23:
The Photographic Work of Calvert Richard Jones
‘The Photographic Work of Calvert Richard Jones’ by Rollin Buckman. Pub. The Science Museum, London, 1990.
John Pollard had many books on the history of photography in his collection; he obviously understood the numerous benefits of studying the history of one’s discipline that enrich both personal development and practice. History connects us to our heritage and roots. It helps individuals and communities understand their origins,
fostering a sense of belonging and pride. Studying the evolution of your field provides context for present methodologies and standards. It illuminates how past challenges and innovations have shaped current practices, enabling one to appreciate the rationale behind established norms and to identify areas for
improvement. For the scientist it is critical to understand what the existing body of knowledge is and where potentially one’s own contribution might fit. The historical perspective helps in understanding the iterative nature of scientific inquiry and the processes that lead to breakthroughs. History is replete with instances where scientific ideas were later proven wrong; by examining these cases, scientists can learn to approach problems with a
more critical eye, avoiding the repetition of past errors. This reflective practice encourages humility and caution in scientific endeavours. For the artist, studying art history offers a rich tapestry of insights that can profoundly influence their creative practice. Engaging with history sharpens your ability to analyse and interpret visual information. By examining diverse artworks, artists develop a nuanced understanding of form, composition, and
symbolism, enhancing their capacity to both create and critique art effectively. Exploring the works of great artists can serve as a wellspring of inspiration. Understanding their techniques, themes, and innovations can inform and invigorate an artist's own creative work, offering new perspectives and approaches. I am definitely not a photohistorian, but the RPS has many that are, indeed, the Australian Chapter had the late, great,
Fig.6: Nude in the studio
Alan Elliott amongst its members. If these extracts from John Pollard’s book collection have stimulated your interest in photo-history, perhaps try browsing the Society’s Journal – every issue of which is online back to the beginning of the society, or why not join the Historical group of the RPS?
Calvert Richard Jones was a Welsh watercolourist and photographer, best known for his seascapes. Born in 1804,
Jones belonged to a wealthy Swansea family. He was educated at Eton and Oriel College, Oxford, and was rector of the Parish of Loughor. He was a friend of both John Llewelyn and Christopher Talbot and thus moved in the same circles as Henry Fox Talbot. He was one of the few gifted amateurs to apply the principles of artistic composition during the formative two decades of photography. Jones is credited with having taken the first
Fig.4: ‘The House of Sallust, Pompei’ Calotypes showing the insertion of a human figure (top) and colourising (bottom).
Fig.5: A pair of “Joiners” as Calvert Jones called them; two Calotypes that were displaced horizontally with a view to mounting together as a “Panorama”. Ste. Lucia, Naples.
photograph in Wales, a Daguerreotype of Margam Castle, in 1841, but he was most famous as a dedicated Calotypist. During the 1840s and 1850s, he took many photographs of the Swansea area, and travelled with his camera in France, Italy and Malta. Recognition of Calvert Jones as an important figure in the formative years of photography was a long time coming. Until the publication of this first comprehensive study of
the Welsh collaborator of Fox Talbot in 1990, little was written concerning his contribution. The Reverend Calvert Richard Jones was to be one of the most enthusiastic practitioners of the new art of photography and, for many years, one of Talbot’s closest collaborators in his efforts to exploit his invention commercially.
The book begins with a general introduction to the early history of photography by John Ward, then curator of
photography at the Science Museum, to provide the context for Calvert Richard Jones’s contributions. The author, Rollin Buckman, then Professor of Visual Communication at San Jose State University, has made a great contribution by cataloguing for the first time over 400 of Calvert Jones’s images held in diverse collections, public and private, across the globe. This takes the form of small reference images, descriptions and captions,
locations and such notes as exist on the making of the photographs. There are some of Calvert Jones’s drawings, but the vast majority are calotypes, with positives being salt prints.
An insight is also provided into Calvert Jones’s Welsh heritage, and his friendship with Fox Talbot is illuminated by the reproduction of much personal correspondence. In 1846 Calvert Jones wrote to Fox Talbot lamenting the discouraging prospects for
photography: ‘The apathy of the British public about it is quite inexplicable.’ Actually, what Calvert Jones was really lamenting was the lack of financial success of the Talbotype or Calotype compared to the huge success of the Daguerreotype. Calvert Jones was accomplished in both techniques and could see that the merits of a negative/ positive process like the Calotype would be a major advantage over the
Daguerreotype.
He was a most tenacious and proficient user of Fox Talbot’s techniques, but despite tutelage from Talbot and much written advice concerning papers, chemicals, etc., he often failed to achieve the same quality of results as the inventor. Calvert concluded that the supply of good quality paper was the key to success –something that frustrated his efforts greatly. Calvert Jones nonetheless produced a large
body of work that is still recognised as some of the best results from the Calotype process. He spent much time and effort trying to help Fox Talbot commercialise his process – something Fox Talbot largely ignored. Despite the relative success of Fox Talbot’s establishment at Reading, Calotype photography failed to earn for Fox Talbot or Calvert Jones any significant financial reward. In the end of course, the introduction by Frederick Scott Archer of a new negative process using coated glass plates – the Wet Collodion Process – put an end to both the Calotype and the Daguerreotype.
What I found most interesting in reading this book was none of the above, but actually the little snippets of knowledge buried in the personal correspondence of Talbot, Jones, and their associates. For example, Jones was the first to describe the creation and impact of panoramic
Fig.6 far left: ‘Two Figures by a House Wall.’
Fig.7 left:‘Piazza Vittoriosa, Malta.’
Fig.8 top:‘The Colosseum, Rome.’
Fig.9 middle: ‘The Barque Ellen Simpson, 1847’
Fig.10 bottom: ‘Grounded Vessel with sails unfurled.’
photographs in exchanges of letters between Jones and Wheatstone, Harding and Shadbolt (recorded in volume 1 of the Journal of the Photographic Society, now the Royal Photographic Society).
‘I have long been convinced that the picture comprised in the field of view of an ordinary lens is not extensive enough, does not subtend an angle sufficiently large enough to satisfy our eyes. To obviate this imperfection I have constantly been in the habit of taking double pictures i.e., having taken an upright view I move the camera sideways until the left-hand side of the second view coincides exactly with the right-hand side of the first. When joined together, the final image makes a much more satisfactory composition of any landscape or architectural view.’
Similarly, it turns out that the modern phenomenon of photographic workshops was invented by Fox Talbot, who was persuaded by Calvert Jones and Nicholaas Henneman to provide direct tuition on location in the City of York. In July 1845 Calvert Jones wrote to
Fox Talbot, ‘I am particularly obliged by your kind agreement to organise a photographic tour; nothing could interest me more than the opportunity of seeing the process of field operation under your personal direction.’
Apparently, the private tuition turned into more of a public demonstration as ‘crowds of admiring observers surrounded the Master’s camera wherever he planted it’ – similar to the same process I have personally observed with the doyen of international workshops – Mads Peter Iversen! (He has over a million online ‘followers’ – I wonder how many Fox Talbot would have had if he had access to the same technology?) The star attraction of a leading practitioner at a workshop is nothing new!
The trip to York also highlighted what we imagine to be a modern problem – that everyone’s photographs of iconic locations look the same. In a letter to his wife Constance, Talbot admits: ‘It cannot be ascertained with any certainty which photographs made at York were from the hand of Talbot, Jones or Henneman, as
they are all quite similar in distancing and angle of view.’
It turns out that Calvert Jones was also the first to use extensive retouching to ‘enhance’ his landscape images. He bemoaned the fact that the exposure times for the Calotype were too long to satisfactorily include the human figure in his landscape and architectural work. Undeterred, he used his artistic skills to paint in human figures onto the prints to enliven and give scale to his images. He quickly extended this to include painting colours onto the sky, buildings and grass. This was a man who would have quickly mastered Photoshop and AI!
It was also very clear that photography would not have progressed so quickly had there not been a free and helpful exchange of information between its practitioners and open and critical debate on all aspects of photography –something the RPS supports to this day.
Fig 1: 14th century Mausoleum in Samarkhand
My name is Stan
John Chapman ARPS
Earlier this year, we joined an interesting trip to what is known as the ‘Five Stans’. Friends told us they were going on an Intrepid trip to the stans, and we decided to join them. The five stans are located in Central Asia to the north of Afghanistan and Pakistan. The first country on the tour was Turkmenistan. It is currently one of the hardest countries in the world to get a visa - in 2019, they had only 14,438 visitors. A letter of
introduction is required from a travel agency in the country, and in practice, this means you have to join some sort of tour group, of which there are very few.
The capital, Ashgabat, is known as the white city, and most of the buildings are covered in either white tiles or white marble. There are some interesting quirks, as most cars must be white, with only a few silver or gold coloured vehicles allowed. The city is remarkably clean with an army of workers everywhere sweeping up every leaf that falls – even on the grass. While the country is
mostly closed to foreigners, we were not followed and were able to walk around the city centre. The sports complex next to the tourist hotel is an impressive sight and has been used to hold the Asian Games. The shopping centres were also very modern, being much like those in Australia.
After touring the city, we headed north to the Darvasa Gas Crater. This is a deep hole from which gas seeps and burns. It has been burning since 1971 and is best seen at night when the warm flames light up the crater. The drive from Ashbagat to the crater is an
Fig 2: Ashbagat from our hotel
Fig 3: Registan Madrassas in Samarkand
experience. The sealed highway was poorly made and has collapsed with long sections of deep potholes. The drivers fly along at 120km plus, then brake heavily to traverse the next series of potholes. At times, they drove across the desert, as it is better than the ‘highway’. We were lucky as we were in the last of four vehicles and our driver could see what was happening ahead and slow down earlier.
We then crossed the border to Khiva in Uzbekistan. From there, we followed the Silk Road through the other four stans. The other four stans are more
open to tourism, and independent travel is allowed. The Silk Road was not a single route but rather a network of routes between the eastern and western worlds, and the cities we visited were all part of the Silk Road network. Between cities, there was the odd full day of travel on a bus or train. The tour was well done, and in most towns we stopped for two nights. There was at least one full day in each major town. In the morning, there was a walking tour with a potted history of the region that ended with a late lunch. The afternoon was free to rest, revisit some
Fig 4 below: Hagia Sophia Mosque in Istanbul
Fig 5 right: Darvasa Crater in Turkmenistan
Fig 6 bottom: Wheelchair Basketball seen from our rooftop restaurant in Athens
sights from the morning or visit something new for which suggestions were provided. Unlike some tours, time was spent at each site rather than trying to visit everything in a day. The main guide was good, and in each town, a local guide ran the morning tour.
From Khiva, we continued to Bukhara, Samarkand, Tashkent, then Khujand in Tajikistan, Dushanbe, then flew to Almaty in Kazakhstan and on to end at Bishkek in Kyrgyzstan. In some ways, the four stans were at times similar, with huge curved arch entrances to impressive Madrassas, which are religious schools. The architecture is predominantly Muslim, but they also have churches of many other religions, demonstrating
Fig 7 top left: Changing of the guard in Athens on Sunday
Fig 8 top right: Holy Trinity Monastery at Meteora, Greece
Fig 9 bottom left: Roman Cistern in Istanbul
Fig 10 bottom right: Acropolis from a rooftop restaurant in Athens
that there is religious freedom in this region.
There are large markets in all the cities, with some of them dating back to the Silk Road, and they feature tall archways that were high enough for camel trains to pass through. While cities have existed in the region for more than two thousand years, there are few remains of very old buildings, as in the 13th century, Genghis Khan flattened most of the cities that he conquered. The few structures he left from before the 13th century were tombs, which are often magnificent, and minarets, which served as effective lookout towers.
We finished the trip with a few days in Istanbul, a very interesting city, then a week on the Greek mainland, which was also another history lesson. We explored the Acropolis, Olympia, Delphi and the hilltop monasteries at Meteora. All in all, an interesting trip into human history.
Fig 1: Rockies in cloud
Images through glass
(Another view from the train) Alan Hodgson ASIS HonFRPS
Having read Rob’s “View from the train” article in the August edition I thought I should share our experience of our last trip – similar but different. Like Rob, Hilary and I took a trip across a continent, but in our case across N. America from Vancouver in Canada to New York City in the US. A four-day journey in all and unlike Rob’s Ghan journey there was a lot to view from a slow-moving train in daylight. This article covers the Canadian leg, from Vancouver to Toronto.
I had spent some time planning my photographic intentions for this trip. My aim
can be summarised as Documentary; I wanted a series of images that encapsulated my impressions of the provinces of Canada and how life differed there. All were taken through the train windows to remember our journey – an attempt to capture our experience.
I was taking a full frame DSLR (Nikon D750) but I recognised it was going to need some help coping with train glazing that was old (up to 70 years), dirty (dust, rain, scratches) and distorting (some of the windows had significant curvature). My thoughts were that lens selection was going to be key
and after that I disabled all automatic settings on the camera with the exception of exposure time. It proved to be a worthwhile choice.
I wanted a lens with a large enough front area to average out the dirt on the windows.
It needed a good cylindrical lens hood to take out as much interior lighting as possible.
A fairly narrow field of view (longish focal length) was necessary too as glancing angles through the windows was a recipe for flare. And using manual focus to stop it going hunting at the decisive moment for that telegraph pole you just passed.
I took a 1980s Nikkor 200mm f/4 manual lens. It has a 50mm diameter front lens with a telescoping lens hood which is especially effective if you can get it against the window. I did have a 28-80mm kit lens with autofocus in my pocket, but it only came out once as it was massively embarrassed by the performance of the 200mm in this situation.
The documentary
We left a hot and humid Vancouver mid-afternoon on August 1st, taking up window space on the north side of the train away from the sunlit glass. Climbing up into the Rockies,
Fig 2 left: Coal dusting
Fig 3 right: The Saskatchewan wheat industry
we watched the humidity condensing on the mountainsides and there was something peaceful about the low contrast views after the stark sun of Vancouver. As the air cooled it began to rain so at least the windows got a wash.
This train line is fundamentally about taking export goods to the port in Vancouver and empty wagons back for refilling. The next province was Alberta, which seemed to be all about fossil fuels. We spent some time parked out of the way in a siding with a freight train piled high with containers on one side and a coaling operation
filling trucks with what appeared to be dust on the other. The windows could do another wash again but no moisture here under hot leaden skies. It even looked like global warming with the light scattering in hot, dusty air.
We passed from Alberta into a flat and rural Saskatchewan overnight. This was our third trip on Via Rail and one of the learning points had been that their timetables are works of fiction. We were already 4 hours late and the final total on arrival in Toronto was 6 hours. The clear message is not to over plan the photo opportunities
and don’t book any tight connections!
It was pretty much flatland from now to Toronto. Sometimes the train was stationary but at times it seemed to be moving at speed giving a very bumpy photography platform. By experience a shutter speed shorter than 1/1000s worked well with the 200mm focal length. Using f/8 and ISO speed of around 800 worked well with a sunny landscape.
This appears to be a wheat belt with lots of grain elevators, on a scale I had not seen since Australia. Each of these grain cities had their own rail loop
Fig 4 below: Potash mine
Fig 5 bottom: Train #1 and Train #2
onto our line.
Although this shot was taken away from the sun, it was a bright but hazy day. The sun kept appearing through the opposite windows, with the occasional tree casting shadows on the window glass. I kept this image as a memory of this part of the journey.
I am a chemist by training and Saskatchewan is also a major supplier of potash, in the news at the time due to tariff disputes with a noisy neighbour. These are deep mines so are distinguished by a tall mine head and spread-out chemical processing. It seems incongruous amongst the wide fields of oilseed.
The scale of these operations was awe inspiring on the flat landscape and the spoil heaps are probably the tallest geological feature for miles. If a potash train passes you feel it through your boots. Chemistry on a truly industrial scale.
We passed into Ontario, still flatland with around 250,000 lakes and we seemed to pass a good number of them.
Photography through the windows became more difficult as the railway was lined both sides by trees. However, we now had a chance to picture a “mirror image” of our home of
recent days.
Via Rail operate two nearly identical trains that ply this route so at some point Train #1 will pass Train #2. It went true to form with an announcement made that it would happen in 30 minutes but the camera was still waiting one hour later. They then stop to exchange goods (not many shops out here) then move on.
These are 1950s stainless steel trains with no published plans for replacement, so perhaps end of an era. The dining cars are beautiful as is the bar. The bubbles on top are the observation cars, all with curved windows that appear to be old Perspex/plexiglass. This picture and the coal image were taken through these. You have to pick a clear portion but again the 200mm lens worked well here. An interesting project would be to take images through these with a polarising filter – maybe next time.
I’m now home planning the next rail journey, from England to Spain for the 2026 solar eclipse. And with a very different photo setup!
Reconsidering AI in photography: why generative removal deserves different treatment
by Jacky Lee
The PSA's current stance (updated in August 2025) on artificial intelligence represents a necessary response to the proliferation of AI-generated imagery. However, as Adobe's latest Photoshop features demonstrate, not all AI tools are created equal. The blanket prohibition on AI use may inadvertently exclude legitimate photographic editing techniques that enhance rather than replace human creativity. This article argues for a more nuanced approach, particularly regarding AI-powered removal tools that have become integral to modern photographic workflows.
The Critical Distinction: generation vs. Enhancement
PSA's policy states that images must "begin with a photograph from the maker", suggesting recognition that the
origin point matters. This principle should logically extend to how we evaluate AI tools. When a photographer uses Adobe's generative removal to eliminate a distracting element — a common practice in landscape and architectural photography — the foundation remains their original photograph, captured through their creative vision, timing, and compositional choices.
The fundamental question becomes: Does using AI to remove a distraction differ meaningfully from traditional cloning, which PSA has long accepted?
Understanding how generative removal actually works
Adobe's generative removal tools, powered by Firefly AI, do indeed synthesise new pixels from patterns learned from millions of Adobe Stock images. This differs technically from traditional content-aware fill, which only samples from the existing image. However, the creative agency remains with the photographer who:
1. Captured the original image through deliberate artistic choices
2. Identified what to remove based on their creative vision
3. Evaluated and selected from multiple AI-generated options
4. Refined the result through additional editing
The AI serves as a sophisticated brush, not the artist. As Adobe explicitly states, they claim no ownership over outputs, recognising that creative control rests with the user.
The evolving legal landscape supports this distinction
The U.S. Copyright Office's January 2025 report provides crucial guidance. It notes that when humans make “specific creative choices” using inpainting tools, these modifications can “rise to the minimum standard of originality required” for copyright protection. The Office explicitly recognises that AI-assisted editing of human-created works involves different considerations than generating images from text prompts.
Mackenzie Caldwell, a legal scholar, published a paper at the University of Houston Law Centre in 2023, arguing that photographers who use AI removal tools maintain authorship much like “a Pollock with a paintbrush or a photographer behind a
camera”. The sophistication of the tool does not negate human creativity; rather, it enhances the photographer’s ability to realise their vision.
Industry practices reveal a divided landscape
The photography community remains deeply divided on AI tool usage, with organisations taking dramatically different stances:
The National Press Photographers Association maintains the strictest position, stating that “The use of AI generative tools to create, add, remove, expand or alter images or videos in any way is expressly prohibited”. This absolute stance reflects photojournalism’s unique obligation to documentary truth.
In contrast, commercial platforms show more flexibility:
• Stock photography platforms like Dreamstime emphasise that photographers “remain the creator” when using AI tools for editing existing photographs
• Adobe Stock doesn’t require “Generative AI” labelling for images where AI was used only for object removal, distinguishing this from adding new subjects. PSA’s position falls
somewhere between these extremes, with its conditional language about images “that does not begin with a photograph from the maker” suggesting potential openness to AI-assisted editing of photographer-originated work, though the ambiguity leaves this unclear.
This spectrum of responses — from NPPA’s absolute prohibition to commercial platforms’ acceptance — highlights the need for genre-specific standards rather than universal rules. What serves photojournalistic integrity may unnecessarily restrict artistic expression, while what enables creative freedom could compromise documentary trust.
The practical impact on contemporary photography
Consider the landscape photographer who captures a pristine mountain scene, only to discover a small piece of litter in the frame upon returning home. In the past, they might have spent considerable time meticulously cloning surrounding pixels. Today, generative removal achieves the same goal more efficiently. The creative vision — the choice of location,
timing, composition, and the decision about what belongs in the frame — remains entirely human.
Prohibiting such tools does not preserve photographic integrity; it merely makes the editing process more laborious while producing identical creative outcomes.
A proposed path forward
Rather than a blanket prohibition, PSA might consider guidelines that distinguish between:
Permitted AI use:
• Removal of distracting elements from the photographer’s original captures
• AI-assisted adjustments that enhance existing image elements
• Tools that maintain the fundamental character of the original photograph.
Prohibited AI Use:
• Generation of images from text prompts
• Addition of substantial elements not captured by the photographer
• Composite imagery using AI-generated components
• Sky replacements or texture overlays from AI generation. This approach would align with PSA’s stated principle that images must “begin with a
photograph from the maker” while acknowledging that modern tools can help photographers better realise their creative vision.
Addressing valid concerns
Critics might argue that any AI use opens a slippery slope. However, photography has always evolved with technology. The shift from darkroom to digital didn’t diminish photography as an art form; it expanded creative possibilities. Similarly, AI removal tools don’t replace a photographer's creativity — they amplify it.
The concern about “image elements authored by anyone else” remains valid for AI-generated additions. But when AI removes elements, it’s not adding another's authorship — it’s helping the photographer eliminate what was never part of their creative vision.
Conclusion: a call for genre-specific evolution
The global photography community must work together to educate photographers on which AI features are acceptable and which are not. Should we establish a whitelist or a blacklist? A better approach is to recognise that photography’s diverse
If I consider the cloud a distraction and want to remove it, I can now use Photoshop’s “Remove” button. The tool states that it relies on generative AI, though you can switch that off and use the traditional non-AI removal method instead.
In this image, the clouds were removed using Content-Aware Fill for comparison.
The clouds are removed using generative AI.
purposes — from witnessing history to creating art — require different standards.
PSA’s current policy, particularly the phrase “that does not begin with a photograph from the maker,” shows that the society is already grappling with these distinctions.
Rather than applying one-size-fits-all rules, we may need to establish genrespecific guidelines that:
• Preserve the absolute integrity required for photojournalism
• Allow creative freedom appropriate to fine art photography
• Respect the diverse traditions within nature and wildlife photography.
When a photojournalist documents reality, even minor AI removal betrays public trust. When a fine artist uses the same tool to realise creative vision, it’s simply another brush in their palette. When a landscape photographer removes human litter to reveal natural beauty, the intent and context determine the ethics, not the tool itself.
By acknowledging that different photographic purposes require different standards, we can protect what matters most in each genre
while avoiding unnecessary restrictions that stifle creative evolution. The question isn’t whether to allow AI in photography — it’s how to apply appropriate standards that honour each genre’s distinct purpose and tradition.
About the author
Jacky Lee is an awardwinning landscape and architectural photographer with over two decades of experience bridging traditional photography and emerging AI technologies. As Chair of the AI & Authorship Standards Subcommittee (AASS) in the Australian Photographic Society (APS), a member of the AI Advisory Committee in the Canadian Association for Photographic Art (CAPA), and a member of the AI Working Group in the Royal Photographic Society (RPS), he brings unique insights into the evolving intersection of artificial intelligence and photographic practice.
The views expressed in this article are solely those of the author and are intended to foster constructive dialogue about the role of AI in contemporary photography.
Does anyone know of Ferdinand Roux?
Alan Hodgson ASIS HonFRPS
I am writing a book on photographic history. The aim of this work is to fill in some of the loose ends I have found in the literature over a career in photography. This sometimes unearths some interesting connections that beg for explanation. One of these pertains to a 19th century printer by the name of Ferdinand Roux.
The earliest days of scientific photography were very French and I was researching the collection of the Museum of Arts and Crafts (CNAM) in Paris, looking for photographs of solar spectra as shown here. Amongst these is a connection I am trying to explain and I need some local help.
The collection is not the easiest to search online but if you use the above link and put in the item number “10782-0004-“you will see a print containing 2 items. One is a stained-glass window in France and the other a solar spectrum. Are the two items linked in any way?
The stained-glass window image was printed by one Ferdinand Roux. The only printer I can find by that name was active in New South Wales with a general photographic and photomechanical printing establishment in partnership with Ludovico Wolfgang Hart. If they are one and the same what was he doing printing French stained glass images? And how did this image end up back in Paris? Any thoughts you can share would be much appreciated.
Finally, here is an unabashed plug for an event related to this research. The RPS Historical and Imaging Science Groups are facilitating an event where I will be sharing my work on “Fraunhofer spectra – their place in the evolution of photography.” The event takes place 2nd December at 19:00 GMT which is probably inconvenient in Australia but if you register here you will get a link after the event to a recording.
Royal Photographic Society Australian Chapter – mentoring program
In our Chapter survey at the start of the year, we found that less experienced members wanted to learn from their peers. We also found that more experienced members are happy to share what they know.
How the program works
We are excited to announce the launch of a photography mentoring program, designed to connect experienced photographers with those who are eager to learn, grow, and develop their creative practice.
For mentors
This program will run for a maximum of six months and provide a structured but flexible framework for technical skills, creative development, and networking.
• Each mentoring relationship will include six meetings, each lasting around an hour.
• Meetings can be online or face-to-face if members are in the same city.
• Mentors and mentees will be matched based on their interests, goals, and areas of expertise.
• Both mentors and mentees will have the opportunity to shape their sessions to focus on the areas most important to them.
• Once members are paired, you will set the objectives for your sessions. You will work together to decide a suitable outcome for the mentee.
• Broaden your knowledge of each other’s work and their chosen areas of interest.
• Ideas for your time together could be to set practical exercises, critique existing work, or delve deep into a particular genre of photography.
• Meeting times and frequency will be set by the two of you to suit whatever works best.
We are seeking photographers who are willing to share their knowledge, insights, and experience. This is your chance to give back to the community by guiding emerging photographers, helping them avoid common pitfalls, and inspiring them to take their craft to the next level. You can help keep your mentees on track and check their progress. You can share inspiration and networking ideas and help keep your mentee motivated.
For mentees
Whether you are just starting out or looking to refine specific skills, this is an opportunity to gain personalised guidance from someone with experience. You’ll benefit from practical advice, experienced insight, and creative encouragement tailored to your goals. This program isn’t a training or planning program for RPS distinctions. If you are looking to start your Licentiate journey click here for the official RPS process.
How to get involved
If you would like to participate as a mentor or a mentee, please contact the editor with a short outline about yourself, including:
• What you can offer (if you would like to be a mentor).
• What would you like to gain from the program (if you would like to be a mentee)?
We’ll then work to connect mentors and mentees in the best possible way.
Why take part?
• Build stronger connections within the photography community.
• Share and develop valuable skills and knowledge.
• Gain fresh perspectives, creative energy, and new opportunities.
Be part of shaping the next generation of photographers If you’re interested in being a mentor or mentee, please contact the editor via email ian@bforbrown.com.au to register your interest.
Members’ Gallery
Palli Gajree OAM HonFRPS
Fig 1: Floriade in pastel
Fig: 2 Posterisation
Fig 3: Impressionism
Members’ Gallery
Simon Locke
Fig 1: Lunchtime
What’s on in October?
Festivals & exhibitions
Ballarat International Foto Biennale Ballarat, Victoria
Runs until 19 October 2025 — citywide exhibitions, pop-ups and workshops
Bowness Photography Prize 2025
Museum of Australian Photography (MAPh) 13 September to 9 November 2025
Photo Access Exhibitions
Canberra / ACT (PhotoAccess gallery)
Ongoing series — see their 2025 exhibition calendar for events in October photoaccess.org.au
Competitions to enter
Photographer of the Year (Ted’s Cameras) photographeroftheyear.com.au
Closing in October 2025
Graham Burstow Monochrome Prize (APS – Australian Photographic Society)
Queensland International Circuit (APS)
International salon circuits run by APS Closes 26 October 2025
Australian Digital Photography Awards (ADPA)
Digital photography awards hosted by APS Closes 30 October 2025
