RPS Newsletter 2026A Feb

Volume 41 – Number 1

FEBRUARY 2026

My McCurry Moment Rob Morgan ARPS

Pondering Pollard 25: ‘Cyanotype: The history, science and art of photographic printing in Prussian blue’

2025 Review and AGM notes

From your Secretary

Jacky Lee

Honorary Secretary Australian Chapter

It’s a real honour to have been elected as Honorary Secretary of the RPS Australian Chapter. I’m genuinely looking forward to serving our members and helping keep our Chapter moving forward.

First up, a huge thank you to Elaine for her many years of steady support and connectionbuilding for our Chapter. You’ve helped keep us linked up, informed and feeling like a proper community across a big country, and we’re all very grateful.

Over the past month I’ve been getting across the RPS HQ governance documents so the handover is smooth and we’ve got the right documentation in place. This won’t be a “one and done” job. It’s ongoing, and I’ll keep working with HQ to make sure we stay aligned, because good governance is part of what keeps our connection to the UK strong and clear. (And yes… there’s a fair bit to read!)

To our newly joined committee members: a warm welcome. We’re keen for fresh ideas and new energy to help the Chapter grow.

Recently we’ve asked HQ for assistance to formally approve the creation of Chapter social media accounts in line with the social media policy, and we’re now waiting to hear back. A few ideas we’re exploring (and we’d love your input):

• Online mini-contests (simple, fun and low-pressure themes)

• In-person photo meet-ups within states (where members want them)

•Website updates to make it easier to find key Chapter information

This year we’re also celebrating our 40th anniversary, and as the longest-running international Chapter, we’d love to capture more of our Chapter history — not just dates and admin, but the human stories behind it. If you’ve got a memory, a photo, a moment, or a “how I found the Chapter” story, please send it through. Let’s turn member stories into Chapter stories.

Outside my Chapter role, I’ve also been involved with the RPS International team, and I was invited to share some AI insights at their 3rd online international forum on 26 Jan 2026. Going forward, these international forums are planned quarterly (next one in April), and all Australian members are warmly encouraged to join. They’re free, and a great way to stay connected with members around the world.

Big thanks to Ian and everyone who contributed to this issue. It’s a great mix of Chapter updates, member stories and inspiring photography reads. If you’d like to contribute to the next issue (an article, a short photo story or even just a few images with captions), please send them through to the editor. The current deadline listed for contributions is 18 February 2026.

Welcome from the Editor

Ian Brown Editor, Australian Chapter

Midway through January, I was worried that this issue would be no more than a two-page pamphlet. But thanks to some of the chapter’s stalwarts and some new contributors, we have quite a comprehensive issue to kick off 2026.

A change to the broadcast date

As some of you may know, there have been changes at the RPS HQ in Bristol. Two changes affecting the Newsletter are a requirement that RPS approve its content before broadcasting, and a longer broadcast lead time of around a week. We have two options to accommodate this. We can change the content deadline for the Newsletter release date or the broadcast date.

To minimise the impact on our contributors, we have decided to change the broadcast date for the newsletter to the second week of the month rather than aim for the last day of the month. This means the first issue of the year will be February, not January, and the last will be December, not November. Our submission date for content will remain the same.

There will still be 11 issues per year; the only change is that you can now expect them to arrive in your In Box around the middle of the month.

50 shades of Grey now on YouTube

For those who missed Robin and Gigi’s 50 shades… presentation last year. I’ve asked the RPS to upload it to their YouTube channel (yes, there is an RPS YouTube channel!) At the moment, it is only accessible with a direct link. I’m working on making it publicly available. For the time being, please use this link

If you’re inspired by the video, please send in your black and white images.

Mentor program

Our mentor program is ongoing. If you want to mentor less experienced photographers, or you are looking for a mentor, please email me and let me know what you can offer or are looking for.

To the more experienced members, I’m not assuming you want to mentor people, unless you let me know. So, please, reach out.

A trip to The Old Dart

Between the last two issues, I nipped back to England for Christmas with my family. I had hoped for some proper cold weather, but unfortunately, it was unseasonably warm until the day after I left. I did see and shoot some interesting things, but I didn’t shoot any frosty scenes in the countryside around my parents’ place.

To the right are a couple of shots, the first from the plane shortly before landing in Manchester, and the other is of two skyscrapers in London. I’d seen the building with the bulge before, but from this angle, it looks like it is leaning on the older building to its left.

I’ll share some other shots over the next few months.

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 25 February 2026.

Highlights of our 2025 AGM cont.

Elaine Herbert ARPS

We held the Chapter’s AGM online on Wednesday 3 December 2025 at 7.00pm AEDT, with eight members present – and nine apologies. Here are some of the highlights of the meeting.

Finance: Copies of the Financial Statement for 2024/25 had been circulated before the meeting, showing a healthy Balance Sheet and a quiet year financially with no additional expenditure nor income.

Review of 2025 Activities

Program: Early in the year we conducted a ‘ring-around’ survey of Australian members to identify how the Chapter might offer further assistance beyond that already offered by the RPS HO and the Special Interest Groups. This has led to the Chapter setting up a mentoring system linking experienced members with those seeking assistance.

We have had only one on-line Zoom presentation this year, when Gigi and Robin Williams, both ASIS FRPS, gave us an outstanding presentation titled ‘Fifty Shades of Grey’ on monochrome photography. However, it was poorly attended, which is of much concern and the Committee will explore ways of attracting a bigger audience to future online presentations.

Newsletter: This is one of our major activities and warm thanks were expressed to Ian Brown for his excellent work as Editor, producing eleven issues for the year. A regular feature has been the continuation of the ‘Pondering Pollard’ series of articles by Robin Williams HonFRPS, drawing upon the collection of photographic books left by John Pollard FRPS who died in 2018. Robin has now written 25 articles in the series covering a wide range of topics and creating much interest from our readers. It has been a huge task which is very much appreciated.

Membership: The meeting acknowledged with

sadness the passing of Dr David Hollands OAM ARPS in June aged 92 years. He was a long-term RPS member, a superb bird photographer, and a great supporter of the Chapter over many years.

We also recorded sadly the death in August of Jeff Cutting ARPS of Canberra who had also strongly supported the Chapter.

The number of Australian RPS members has dropped in the past year from 82 to 69, reversing the gain of the previous year. Membership is still concentrated in NSW and Victoria. We have 2 Hon FRPS members, 9 FRPS, 21 ARPS and 6 with LRPS. And among our Australian members 33 belong to one or more of the RPS Special Interest Groups, so 36 do not.

Election of Office Bearers:

Major changes were made to the Chapter Committee, as both the Convenor (Rob Morgan ARPS) and the Hon Secretary (Elaine Herbert ARPS) had announced at the previous AGM that they would be stepping down from their positions at the 2025 AGM.

The new Committee is:

Convenor/Organiser: Ian Brown

Hon. Secretary: Jacky Lee

Hon. Treasurer: John Chapman ARPS

Newsletter Editor: Ian Brown

Web Editor: Caleb Lee

Committee Members: Elaine Herbert ARPS, Emma Parker

Vacancies exist for more Committee members.

General Business

2026 Chapter Activities: There are some seventy RPS members living in Australia, but perhaps only fifteen of them are actively engaged with the Chapter, either as Newsletter contributors or as attendees at meetings. There was much discussion on how to tackle this problem, and

particularly on how to involve more of the Chapter’s younger members. It was suggested that the Chapter might use social media, perhaps setting up an Instagram account for the Chapter and possibly linking it to Facebook. Jacky and Emma will explore this.

Michel also suggested extending an invitation to the e-Circles Critique group he has established. Extending the Chapter activities to other RPS members in the region, such as New Zealand and SE Asia, might also be explored. More details? There was no other business and the AGM closed at 8pm.

Sharing our Images

Who’s taking what

After the formal part of the AGM we shared some of our recent – or not-so-recent –photographic activities. This really brought out the range of image-making and photographic interests amongst our Australian members.

Ian Brown showed us a self-portrait constructed from three images in one, based on the premise: see/hear/speak no evil.

Michel Claverie took the theme of ‘New Landings’, a set of photographs he’s taken of people who have recently arrived in Australia. He selected shots showing them in public places, particularly at the sea shore. Michel has recently moved to Australia himself, so the theme has special resonance for him.

Charles Wale presented a series of portraits. The first was a striking black and white portrait, next was one of Skyhook’s Bob “Bongo” Starkie at their 50th anniversary concert. This was poignant as Bob had died just days before. His third shot was of Bob holding a framed version of the second image. Charles’ final image was another portrait of an unknown artist at the Echuca/Moama Blues Festival.

Emma Parker went next. Emma is shooting a lot based on her interest in photographing nature. Emma has work in Nature Photographer of the Year and Travel Photographer of the Year as well. Her first image was a bee-eater capturing a fly. Her second image showed the structure of a flower backlit and silhouetted by the sun. The third image was another black-and-white shot of a Pied Heron.

Patricia Beal FRPS: Showed images from a European trip. Her images were a celebration in Greece with group of people dancing in traditional costume. Next was a 16th-century church in the Balkans. It was during a cold snap, so, unexpectedly, there was snow on the ground. Patricia’s final show was on the Greek island of Symi. Here, a panorama of the harbour with sheer mountains rising in the background.

Palli Gajree Hon FRPS started with an image of Aireys Lighthouse. His second image was of an open-air café in Canberra that had been quickly emptied due to a sudden rainstorm. Palli’s final image was of some street art in Pyrmont in Sydney. The piece is an old car with a giant stone block obliterating the car. The sandstone background framed the car's red and matched the giant stone dropped onto it.

Elaine Herbert ARPS shared four images of natural features. Three of which are featured in the Members’ Gallery in this issue. They are abstract and detail shots of rocks and trees.

Jacky Lee showed some of his experimentation involving Intentional Focus Movement (IFM) and used it at the Floriade Festival in Canberra. Shots taken at night, on a tripod (10 sec time exposure), using a ND filter. Some of these shots featured in Jacky’s article in the Newsletter last year.

And with that, the meeting was done.

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

Pondering

Pollard 25:

‘Cyanotype: The history, science and art of photographic printing in Prussian blue’

by Mike Ware. 1999. Pub. Science Museum, London, & The National Museum of Photography, Film & Television. 1999

This book was a personal gift from the author, Mike Ware, to John Pollard and is inscribed on the front cover, ‘In appreciation of all that you have done for alternative photographic print making’. It is the most comprehensive work on the Cyanotype process covering the invention of the cyanotype, its molecular basis, practical application and conservation. Out of the entire gamut of photographic printing techniques left to us by the early

pioneers of the medium, only one process survives unchanged to the present day: cyanotype. Yet its images still seem unnatural to many viewers; the colour intensity of Prussian blue invests them with an incongruity that has curbed the scope of this process ever since it first saw the light in the dawn of photography. The great pioneer photographer Peter Emerson commented in his book Naturalistic Photography for Students of the Art (1889)

‘But of course these tints must be used with judgement, no one but a vandal would print a landscape in cyanotype.’ Child Bayley expressed his disdain for the process in The Complete Photographer: ‘There is the simple “blueprint”, which survives, as the Darwinians tell us, some of the lower forms of life survive, from the extreme simplicity of its structure. The blueprint needs nothing but a good washing in water to reveal its full vigour (such as it is). … There are certain subjects which the colour is said to suit, and I live in the hope that one day I may see such a subject.’

Fig.6: Nude in the studio

Nonetheless, despite the disdain, the Cyanotype endures and is still practised today in much the same way as it was over 180 years ago.

The author, Mike Ware, is a chemist, photographer and photo-historian. He graduated in chemistry from the University of Oxford in 1962, subsequently obtaining a doctorate by research in molecular spectroscopy in1965. He had an academic career as a Lecturer in Chemistry at the University of Manchester and is a Fellow of the Royal Society of Chemistry and the Royal Photographic

Society. In 1992, retirement allowed him to commit fully to the independent study of the science, history, conservation, and art of alternative photographic processes. A Kodak Photographic Bursary had initially supported his research on printing in noble metals, which was recognised by the award of the Hood Medal of the RPS and by the Richard Farrand Memorial Award of the British Institute of Professional Photographers. Mike is a consultant at the National Science and Media Museum in the UK and the Victoria and Albert Museum in London; he is

also a scientific advisor to the National Gallery of Art in Washington, DC. The results of his research into the history and improvement of alternative processes are described in over seventy publications in both the academic and popular photographic literature, including six books. Mike first visited Australia in 1974 and has been visiting ever since. He has conducted eight workshops on alternative processes at Ellie Young’s studios in Trentham. His first exhibition at the Gold Street Studio was in 2003; John Pollard was also an enthusiastic supporter of the Studio and

exhibited his gum bichromates there. John and Mike became good friends.

Dr Ware is deeply interested in the science-art schism. He has written that ‘Photography, for me, provides an ideal meeting ground for the rather distanced disciplines of science and art: I find my raison d'etre in the endeavour to bridge the notorious gap between these “Two Cultures”, by enlisting chemical science to enhance the art of photographic expression, and so produce permanent, accessible records for our visual culture, preserving those

observations of the world that hold personal significance for us.’ Dr Ware is the acknowledged expert on alternative processes and speaks passionately about the need for physical prints. For some of us, the opening years of the 21st century brought a total revolution in the technology of lens-based media. The wet darkroom was substantially displaced by the desktop computer and printer, and the 35 mm camera by the iPhone. This revolution has one drastic physical consequence: it effectively dematerialises our photographic images. Analogue

silver-gelatine negatives are being replaced wholesale by invisible strings of binary code, stored electronically on memory sticks, cards, discs, and chips, and to view them, we need an expensive electronic device with a screen. But surely most of us prefer our photographic images to be accessible, flat objectspermanent, easily stored, and readily appreciated. How best to remake these pictures that will be so essential to our culture and records? For many purposes, the ink-jet printer serves well enough, but in the areas of fine art and historical record, the alternative photographic printing processes still offer some unique qualities that are aesthetically satisfying and archival. I am a total devotee of the handmade photographic print on plain paper.’

This is the first comprehensive monograph on the cyanotype process. In this meticulously researched book, Ware describes the history, chemistry,

conservation, aesthetics and practice of photographic printing in Prussian blue. There are lots of tips on method and process, and indispensable lists of suppliers. The unpublished experimental memoranda of Sir John Herschel, inventor of the process, are interpreted to unfold his discovery of iron-based photography, including his various formulae for cyanotype. The chemistry of the process is explained for the non-specialist, and many experimental variations on blueprinting are described. With four appendices and over 500 references, it is widely regarded as the definitive work on the cyanotype process, but sadly, the book contains no images of cyanotypes at all. The book has long been out of print, but for members wanting to access a fully revised and now illustrated version of the book, Mike has generously made it available for free download at: https://www. mikeware.co.uk/downloads/ Cyanomicon.pdf

Sir John Herschel began by experimenting with sun prints (or photograms). These were one of the earliest forms of photography and involved laying an object on chemicallytreated paper before exposing it to a light source. Later, in 1842, he used paper coated with a solution of iron salts, sun exposure and a water wash to create the very first cyanotype – a white image on a deep blue background. The name cyanotype comes from the Greek meaning ‘dark-blue impression.’ This method proved to be easier, cheaper, and more durable than the silver-based method. Herschel was able to use cyanotype printing to make copies of his notes and diagrams, thus creating the phrase used in common parlance for a copy of plans – ‘blueprint.’ When ferric ammonium citrate or ferric ammonium oxalate is mixed with potassium ferricyanide, it becomes sensitive to UV light. These chemicals can be painted

onto paper or fabric and left to dry in a dark room. Once dry, objects can be arranged onto the paper and placed in the sun. The UV rays from the sun react with the chemicals on the paper to create the recognisable cyan-blue background. Where the paper has been covered with an object, it will remain white. Once the chemicals are rinsed off with water, fixing the print so it is no longer sensitive to the sun, you are left with a beautiful print. Because of its

relative ease of production, the cyanotype remains one of the most popular of the ‘alternative’ processes for photo-image making.

At first, Herschel’s invention was taken up only by a small élite of botanists for the purposes of plant illustration. The most notable achievement was that of Anna Atkins, who, over two decades from 1843, produced and distributed her now-celebrated and highly treasured albums of botanical

photograms.

A keen botanist, Atkins had already completed 250 engravings for her father John Children’s translation of Lamarck’s Genera of Shells when they both attended a lecture by John Herschel in 1839. The lecture was on his new invention of the cyanotype, which used paper coated with a solution of iron salts that was simply washed with water after being exposed to the sun. Atkins immediately started to

experiment with the method and soon began a big project to create an illustrated guide to algae using sun prints. The subject matter was perfect for the deep blue prints as it evoked the algae’s natural water-based habitat.

Photographs of British Algae: Cyanotype Impressions, the book, was issued in instalments, with the first published in 1842, making it the first

photographically illustrated book by anyone on any topic.

The cyanotype technique was used for all the illustrations. This was a challenging project made possible by a clever choice of method by Atkins, a ready supply of the chemicals needed from her father’s workshop, and the availability of friends and household staff to assist her. Aside from the fragility of the specimens and the unpredictable nature of the sunlight (British weather!), no negative meant that each photogram had to be made

Fig.5 left: Portrait of Anna Atkins.

Fig.6 centre: Cyanotype of Algae by Anna Atkins from Photographs of British Algae: Cyanotype Impressions,’ 1842.

Fig.7 right: Front cover of the book by Anna Atkins and Anne Dixon, ‘Cyanotypes of British and Foreign Ferns’ (1853).

individually, so over 300 individual prints would have had to have been taken for the roughly ten sets that are known to have been produced. There are now very many artists working with the cyanotype process; many aficionados of the cyanotype medium can be found participating in the Facebook

public group for Cyanotype and on the AlternativePhotography. com website, which features over 500 artists, and whose editor, Malin Fabbri, has published a thesis on the subject of the contemporary use of cyanotype in graphic design. There seems to be an enduring connection between Cyanotype and Botany, and I’d like to

commend the work of a contemporary photographer, Jo Stephen, from Dorset in the UK. Jo is a past winner of the International Garden Photographer of the Year and Royal Horticultural Society Gold Medal. She has said of her work ‘I started experimenting with cyanotype several years ago as I wanted to be able to produce

prints of my photography at home. I started out using digital negatives but soon I was working with botanicals, feathers, found objects, gold leaf, wet cyanotype and sewing my pictures with threads. The wet cyanotype process is simple and addictive. By introducing various kitchen chemicals (vinegar, lemon juice, washing

soda), salt, spices and natural dyes (turmeric, paprika, coffee grounds and plant material), a variety of textures, colours and tones can be produced.’

If any chapter members are actively working in the cyanotype method, I’m certain our newsletter editor would be happy to feature your images in the Members’ Gallery pages!

My McCurry Moments

Rob Morgan ARPS

For Christmas, I got a photography book, ‘In Search of Elsewhere, Unseen Images’ by Steve McCurry (Laurence King Publishing, 2020). I could have bought it at the Steve McCurry ‘Icons’ exhibition in Williamstown in early 2024. Instead, I got it from the Readings (booksellers) bargain table in early December 2025, wrapped it, signed it from Santa Claus and put it under the Christmas tree. The perfect surprise gift!

When I first looked through the book after Christmas lunch, what immediately struck me about the images was how many of them were obviously set up, rather than being captured in the moment. This is somewhat odd, I thought, given McCurry’s extensive experience capturing

moments in war zones and elsewhere. Of course, if an image is a portrait, it will be usual for there to be some level of setting up, preparation and making a connection with the person first. This is part of the magic of many of McCurry’s images, including his most famous image of the Afghan girl with the penetrating eyes (1984): there is an intimate connection between him (and us as later viewers) and her. But other than that, setting up an image of people has always seemed to me to be less ‘genuine’.

Perhaps the strangest setup image in the book is of a couple of tea-picking women in Assam, with a line of other women on the path behind them, standing rigidly like Easter Island moai

statues with baskets on their heads instead of having scoria topknots. But it got me thinking about some of my own photographic moments when I’ve been able to capture images of people, sometimes with pre-visualisation of what was about to unfold, but without any stage management or arranging of them. A couple of these moments occurred during the Kataragama Festival in Sri Lanka in 2024 (see the July 2025 Newsletter) when procession participants looked directly at me while performing their dancing and music along the street. Their gazes were what made some of the images special.

Perhaps my favourite image in this style is ‘Groundnut Farming Girl’ (2016) that I took near Bagan in Myanmar a decade ago. Our small group had stopped to chat to, and photograph, the farmers. I noticed this young girl away from the others. She appeared rather shy, so I just sat

and waited, at a distance. As I had hoped, she eventually looked up at me and I captured the moment. We exchanged smiles afterwards.

A year later, in 2017, I took ‘The Girls are Back in Town’ early one morning in Monywa, Myanmar. The Buddhist nuns and novice nuns walk around the city early in the morning, being offered food. I quickly recognised some faces in that line from our visit to a nearby school in 2016.

I think I got ‘sprung’ by the young novice nun fourth from the left, who is looking straight at me. I like to think she recognised me from the year before. Our group returned to the school later that day.

‘Pull the Other One’ was taken in western China in 2016. It was a Wendy Wu (non-photographic) tour, but the photo opportunities were incredible. These ladies were in the village of Dang Wei Dao, east of Xia He.

We called in to the village for no particular reason and found these ladies pulling ropes to keep a prayer wheel eternally rotating. It looks like the two ladies on the left are as thick as thieves, and the one on the right is somewhat out of it, which is reinforced by one of the pulley ropes partly obscuring her.

‘Hiroshima Okonomiyaki’ (2018) was taken in a restaurant where office workers were ordering and eating their okonomiyaki ‘pancakes’ that were being prepared by the two gentlemen on the left. Apparently this particular dish was invented soon after World War 2 when conditions were harsh and people were relying on food aid from the Allies. Our guide thoughtfully seated my wife and me at the end counter where I could get this action shot.

‘Walking the Dog in Sidmouth’ (2015) looks like one of those famous set up on-street photos

from the 1950s or 60s. But there was no set up: I saw this couple pushing their little canine companion up the street and positioned myself for a shot in this general location. I pretended to be taking a photo in the distance, until the last moment. I could not believe my luck when the lady on the left turned around and produced her reaction, while the two men struck poses suggesting they’d been told to look elsewhere. Only in England!

And to finish, I realised when looking through the Steve McCurry book that I’d taken a photograph of the same Buddhist statue in Myanmar, as appears as Image 50 in his book. My image was taken in 2016 and I called it ‘Welcome to My Cave’. It was inside a collapsed earthen mound at Indein, a fascinating stupalittered location near Inle Lake. The mound surrounded a brick structure that had collapsed.

The structure originally housed the statue. When Steve McCurry took his image in 2011, only the statue’s head was visible. Even its ears were hidden by rubble.

Ultimately I concluded that these were not really ‘my McCurry moments’; they were my very own Morgan moments. We all have moments that we have captured or created, that express our own individual photographic style. These are a few of mine.

Fig 4 far left top: Hiroshima Okonomiyaki

Fig 5 far left bottom: Walking the Dog in Sidmouth

Fig 6 left: Welcome to My Cave

The World Revealed Through the Camera Lens

Herman Lee LRPS

Many a year has passed since I deigned to participate in any contests of artistic merit.

In 2025, I decided to once again try my skills in various photography competitions in Australia and New Zealand.

The criteria for these contests were unlike ordinary competitions, as the submissions needed to meet the organisers’ requirements.

To summarise the year’s results and outcomes, I received nine photography awards out of thousands of applicants, all across a diverse array of themes.

Artwork provides a glimpse of the artist’s style and personal values, and my award-winning photographs convey a passion and respect for nature, as well as a deep-seated warmth for humanity.

It has been a long time since I took part in any photography competitions.

Regardless of the awards I have earned since my early years, to the ones I won most recently, my photography has flowed like a river, ferrying a personal style and philosophy.

This time’s awards, a resurfacing of long-forgotten memories, serve as a fitting conclusion to the last pages of my 2025 diary. I look forward to the new year, and I eagerly anticipate the turning of a new page…

Author and Photographer :

Kwok-hung Herman Lee, December, 2025, Sydney

Professional Artist Membership

Licentiate of The Royal Photographic Society of Great Britain (LRPS)

Professional Artist of the National Association for the Visual Arts Australia

Japan Foundation Professional Artist (Sydney)

Fig 2 right top: Colourful Companions, Australia Photographic prize 2025, Commended.

Fig 3 right centre: In Need, The Capture awards 2025, Commended.

Fig 4 right bottom: Legacy Week Commemoration, The Capture awards 2025, Commended.

Fig 5 far right top: Mountain Sunset, The Capture awards 2025, Commended.

Fig 6 far right centre: Masks, Australia photographic prize 2025, Commended.

Fig 7 far right bottom: Nature Calls, Graham Burstow Monochrome Prize (GBMD) 2025, Commended.

Navigating AI Rules in Australian Photography Competitions

Jacky Lee

Artificial intelligence (AI) is reshaping photography, from basic retouching to text-to -image generation. However, Australian photography competitions have very different stances on AI. Some prizes are silent on AI or allow it with disclosure, while others prohibit AI- generated images entirely. Understanding these rules is crucial for photographers who want to submit works without breaching competition conditions or infringing someone else’s intellectual property (IP) rights. Below is a

comparative overview of major Australian competitions and key considerations for entrants.

Overview of AI Policies Across Competitions

Many competitions have introduced AI clauses in their terms and conditions. The table below summarises the prize, stated AI policy, and notable requirements for popular Australian photography awards. Prizes are listed from most permissive to most restrictive.

Competition &

prize

Ramsay Art Prize (Art Gallery of South Australia – $100 000)

National Photographic Portrait Prize (NPPP – $30 000 cash + $20 000 equipment)

Stated AI policy

The conditions do not mention AI; entrants must ensure entries are original and do not infringe copyright or other rights.

Generative AI can be used if entrants provide a statement detailing the tools and methods used. The National Portrait Gallery requires that the creation, display and any copyright permissions do not infringe rights inherent in end-user agreements and that any names or copyrighted material in prompts have consent.

Key requirements

Lack of an explicit ban implies that AI may be used, but entrants must own or have permission for all content and respect IP rights.

Full disclosure of AI tools; obtain express consent if prompts or inputs include names, images, or other works. Text-to-image and image-to-image generative AI are allowed as long as IP rights are secured.

Brisbane Portrait Prize (BPP – $50 000)

Entries may include generative AI elements, but entrants must describe the AI tools and methodology; the competition can publish this information for transparency. Entrants must be the owner of the artwork and its copyright and must have necessary permissions or licences for AI use.

William & Winifred Bowness Photography Prize ($50 000)

Josephine Ulrick & Win Schubert

Photography Award (HOTA – $25 000)

Olive Cotton Award for Photographic Portraiture ($20 000)

AI may be used in the production process, but it cannot be a substantial or overriding input. Artists must describe how AI was used and what other inputs were included.

Artworks may use AI for image manipulation but must contain an original photographic image and clearly describe the extent of AI use in the submission form.

Partial use of AI is accepted. Text-to-image generation is effectively banned (other AI tools may be used for minor edits like sky replacement) and all non-AI inputs must be described.

Galah Regional Photography Prize ($25 000)

Head On Photo Awards ($5 000)

AI tools may be used, but AI-generated content must not form a substantive part of the final image. Entrants must provide details on how and to what extent AI was used and read information sheets on AI and copyright.

The terms define photography as film or digital photography; AI-generated images are not eligible. Even AI-assisted editing is prohibited.

AI computer-generated images are not accepted and entrants must provide original RAW files or film if requested to verify authenticity.

Entrants confirm they are the creator and owner of the artwork and that exhibition does not infringe copyright or moral rights. Minor AI use (e.g., distraction removal) is allowed; generative text-to-image is not.

Entrants must not infringe copyrights, trademarks or other IP rights and must avoid material encouraging criminal offences. Image-to-image AI is allowed but text-to-image generative AI is excluded.

Minor AI use (e.g., removing distractions) is allowed; text-to-image generation is not. Entrants must obtain all required consents and the gallery can exclude entries containing substantive AI content.

Only non-AI photographs are accepted. The prohibition covers any generative or AI-assisted removal of distractions.

All forms of AI-generated content and AI-assisted editing are prohibited.

Key observations

Divergent approaches to AI: The Ramsay Art Prize’s silence effectively permits AI use as long as copyright is respected. The NPPP explicitly allows generative AI provided consents are obtained. Many competitions such as the Bowness Prize, Brisbane Portrait Prize, Josephine Ulrick & Win Schubert Award and Olive Cotton Award allow AI only as a minor part of the creative process. Others like the Galah Regional Photography Prize and Head On Photo Awards completely ban AI-generated images.

Transparency requirements: Competitions that allow AI typically require entrants to provide a statement detailing the AI tools used, how they were applied and what other inputs were involved. Some events, like the Brisbane Portrait Prize, reserve the right to publish these descriptions to ensure transparency.

Emphasis on originality and IP rights: Across all competitions, entrants must warrant that their entries are original and do not infringe copyright or other rights. “Where AI tools are used, entrants may also need to ensure the tool’s terms of use do not prevent them from claiming authorship/rights or granting the competition the licences required under the entry conditions. If the process involves third-party content, entrants may need written consent or permissions where required.” Infringement can result in disqualification and liability for royalties or fees.

Exclusion of text‑to‑image AI: Where AI is permitted, competitions often draw a line at text-to -image generative AI. Only minor editing (e.g., removing distractions) or image -to -image transformations are accepted.

Intellectual Property Requirements

Even when AI is allowed, participants must carefully consider intellectual property. The National Photographic Portrait Prize emphasises that use of generative AI tools must not infringe “any Intellectual Property Rights inherent in end user agreement or other agreements”. If prompts include names, images or copyrighted material, entrants must obtain express consent from all relevant parties. This requirement ensures that training data and prompts do not violate someone else’s privacy or copyright. Similarly, competitions like the Brisbane Portrait Prize and Josephine Ulrick & Win Schubert Award require entrants to certify that they are the owners of the artwork and have obtained any necessary licences or permissions.

These requirements extend beyond the final image. They encompass the entire creative process. When using AI tools, entrants should: Check the licence agreements of AI tools: Some generative AI platforms prohibit commercial use or claim ownership of generated content. Make sure you understand the terms and do not grant rights to the platform that conflict with competition rules.

Use only lawful inputs: Do not upload copyrighted photographs or recognisable individuals without permission when using AI tools. The NPPP requires consent for any names, images or copyrighted material used as prompts. Document your process: Keep records of prompts, source images and AI settings. Many competitions require a description of AI use and may ask for raw files or original photographs.

Advice for Contestants

1. Read the rules carefully. Before entering, review the competition’s terms and conditions to see whether AI is allowed. If the policy is silent, assume that you must still respect IP rights and provide original work.

2. Be transparent. If the competition allows AI, be upfront about how it was used. Provide clear statements on your workflow and other inputs. Transparency builds trust and reduces the risk of disqualification.

3. Avoid generative text-to-image AI unless explicitly permitted. Many competitions only allow AI for minor editing or image-to-image transformations. Using text-to-image AI when it is not allowed could lead to disqualification.

4. Obtain permissions and licences. Always secure the necessary rights for any images, names, or data used in your AI prompts. Seek express consent from individuals who might be identifiable in your work.

5. Prepare to supply raw files. Competitions like Head On may ask for original RAW files or film to verify authenticity. Keep your files and documentation organised.

Conclusion

AI is increasingly entwined with photographic creativity, but Australian photography competitions vary widely in their acceptance of AI. While some competitions permit generative AI with appropriate disclosure and IP safeguards, others allow only minor AI editing or prohibit AI entirely. Artists should familiarise themselves with each competition’s rules, be transparent about their use of AI and ensure they have the necessary rights to all content. By doing so, photographers can explore the creative possibilities of AI while respecting intellectual property and maintaining the integrity of their work.

About the Author

Jacky Lee is a passionate photographer with over 30 years of experience in the field. He was the Champion of the National Geographic Youth Photo Contest 2017 and a recipient of the Epson International Pano Awards Silver Award 2023. Alongside his photographic practice, Jacky has a strong interest in the responsible and ethical use of artificial intelligence in photography.

In 2024, he established an independent AI news platform to promote informed discussion and proper use of AI technologies in creative industries. He currently serves as Chair of the AI & Authorship Standards Subcommittee of the Australian Photographic Society, is a member of the AI Working Group of the Royal Photographic Society and sits on the AI Advisory Group of the Canadian Association for Photographic Art. Through these roles, he actively contributes to the development and refinement of AI guidelines, with a focus on authorship, transparency and intellectual property protection in photographic competitions.

Vale Jeff Cutting ARPS

Elaine Herbert ARPS

We were very saddened to learn of the death of Jeff Cutting ARPS in August, aged 80. Jeff was a strong supporter of the RPS and the Australian Chapter. He lived in Canberra and had wide photographic interests spanning more than sixty years.

Many of us in the Chapter will have seen some of Jeff’s dramatic bushfire images. He specifically aimed to establish a photographic resource on the nature of bushfires in Australia. He documented the disastrous 2003 bushfires in Brindabella and Canberra, images which are now in the Collection of the National Library of Australia. Jeff was a volunteer firefighter and undertook firefighter training himself, and he understood the dangers and complexities of fighting bushfires. He was granted special permission to photograph the fires, not just from the safe periphery but in the thick of things. He could photograph impending dangerous situations using his knowledge of how fires can behave unexpectedly, and so his images and notes were invaluable for training other firefighters.

Jeff shared some of his images about the Mount Majura Pine Fire with all RPS members on the RPS website.

Jeff’s wider photographic interests included the work of Edward Sheriff Curtis, an American photographer who recorded images of the vanishing tribes of the indigenous North American people in the late 19th and early

20th centuries. Jeff shared this with our Chapter, preparing a presentation for us to show at one of our Melbourne meetings. It was a fascinating glimpse into the vast legacy of Curtis’s work.

Social documentary photography was another of Jeff’s interests. One of these was his documentation of the Aboriginal Tent Embassy demonstration at Parliament House, Canberra, in July 1972, the original negatives of which are lodged with the Australian Institute of Aboriginal and Torres Strait Studies. He prepared a compilation of these images for the 50th anniversary in 2022 and sent us a bound copy of this significant document for circulation amongst our local members.

Much of Jeff’s working life included photography too, and for many years, he worked in photography-related areas of the Federal Public Service in Canberra. He recalled highlights of those times, including his work as principal photographer at the Australian War Memorial when they undertook a major art reproduction program. At the AWM, he was also responsible for finding a vast collection of nitrate-based negative material in the collection, and he also discovered that within the huge glass plate collection were original FINLAY colour screen plates of World War 1. What an amazing revelation.

Jeff’s passing is a sad loss, and we in the Chapter extend our sincere condolences to his family.

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

Elaine Herbert ARPS

What’s on in February?

Exhibitions

Head On Perth + Festival events (WA)

Head On Photo Festival – Perth

A major photography festival featuring indoor and outdoor exhibitions across Northbridge and surrounds. Runs from 1 Feb to 1 March 2026 and includes free and ticketed events.

Museum of Australian Photography (Victoria)

Various exhibitions continue into February at the Museum of Australian Photography in Victoria, featuring curated photographic shows on display through early February.

“Once Was” & “Ecologies (Arctic)” — Photo‑ Access (ACT)

Once Was : Rebecca Wickham (photo-based art reflecting on loss)

Ecologies (Arctic) : Anna Munster & Michele Barker (multichannel installation with photographic elements)

Both run 29 Jan – 28 Feb 2026 at Photo Access in Canberra.

Adelaide Fringe Festival (visual arts + photo possibilities)

The Adelaide Fringe kicks off 20 Feb 2026 and runs through mid-March. While not exclusively photographic, plenty of visual art and photorelated exhibitions are embedded in the program.

Competitions

Australian Geographic Nature Photographer of the Year

Exhibition of winning & shortlisted nature photography remains open until 15 Feb 2026 at the Australian Museum. Free entry!

Important: Entries for the 2026 Nature Photographer of the Year competition close 5 Feb 2026. Apologies if you don’t receive the notice in time.

National Photography Prize 2026 (MAMA)

The National Photography Prize 2026 (Australia’s long-running acquisitive award) is open for entries until 20 Feb 2026. Free to enter, and open nationally to photographers exploring contemporary practice.

Hasselblad Masters 2026

This prestigious global competition. Including landscape, portrait, street and more. Open until 28 Feb 2026. It’s free to enter and includes major prizes and worldwide exposure.

Other opportunities & open‑call exhibits

AAP All About Photo – Solo Digital Exhibition

A global digital showcase running 1 – 28 Feb 2026 where selected photographers can exhibit their work online throughout the month.

SA Photographic Federation competitions

Adelaide AV National (AV multimedia) entries open 26 Jan – 26 Feb 2026 — a creative photography + audio-visual competition in South Australia.