The RPS Honorary Fellow remembers a haunting Sunday Times Magazine cover image taken during the Tet Offensive. Link to RPS Journal Extra.

Inspired by a recent RPS workshop, this post explores the boundary between traditional photography and digital art through the lens of urban composite artist Morag Forbes. Take a look at her standout collection, Layers of the City, and join the discussion in the comments.

Discover Lee Frost’s black and white London photography, where precise compositions, long exposures and beautifully controlled tones turn familiar landmarks into striking images. Inspired by a recent club presentation, we explore what his work can teach us about planning, patience and finding the right viewpoint.

Australian photographer Trent Parke is known for dramatic black-and-white images where light transforms everyday scenes into something mysterious and cinematic. In this article we explore his philosophy of chasing light, experimenting boldly and developing long-term photographic projects.

Mathew Wylie, often described as a contemporary Texan street photographer, embraces imperfection through low-fi, mobile-led imagery that prioritises mood over technical precision. His grainy, atmospheric street scenes challenge the obsession with sharpness and control, encouraging photographers to respond instinctively rather than engineer perfection. Studying his work pushes me to question my own structured approach and to explore whether feeling, rather than refinement, can lead the image.

Jaume Llorens is the assigned photographer for my current course assignment. His work sits in the space between photography and constructed image-making, using subtly combined photographs to create landscapes that feel believable yet psychologically displaced. The images prioritise mood, ambiguity, and emotional coherence over literal description or technical perfection, encouraging slower looking and open interpretation. The assignment is prompting me to explore uncertainty, simplification, and image combination in my own work, and to question how far an image can be pushed away from straight representation before it loses its photographic truth.