Cameron and his wife moved to Kippen in the Scottish Highlands. This was near to Stirling with views of Ben Lomond and across to Stirling Castle. They lived in the village for rest of their lives, as well as keeping a house in London. They also made regular trips abroad including visits throughout Italy and France. Italy provided the inspiration for a number of etchings of architectural subjects, with church interiors proving successful. His etchings, which examined light and shade, again show the influence of the Hague School as well as Whistler and Rembrandt. In 1901 Cameron became a member of the anti-Royal Academy society the International Society of Sculptors, Painters and Gravers, (later The International) that had been founded by Whistler in 1898. He exhibited with the society from 1898 and later served on its council. Following his resignation from the RE, Cameron and 11 other artists formed The Society of Twelve in 1904 with the objective to promote the original print. He became a member of the Royal Society of Painters in Watercolours in 1906. He was elected Associate of the Royal Scottish Academy (RsA) in 1904 (on his 6th attempt) and became RsA in 1918. Having previously been elected Associate of the Royal Academy (ARA) in the engraver class in 1911, in 1916 he was also elected ARA for his painting. He was elected a full Royal Academician (RA) in 1920. During these years Cameron's work was also exhibited at the Royal Society of Oil Painters, the Royal Glasgow Institute, the Walker Art Gallery, Liverpool, as well as showing in overseas exhibitions. After 1907 Cameron's work showed a greater focus on Scottish landscape subjects and from 1908 to 1917 he moved from etching to painting. Around this time he largely stopped including figures in his compositions, apart from in his architectural studies. By this time his works were receiving wide critical acclaim and he was well known both in the UK and abroad. Around 1908 his work began to lighten in colour, prior to this Cameron's work had been criticised for being too dark with a heavy use of brown tones. Visits to France and Italy in the 1920s seemed to have a further influence on his works and brought about a much brighter palette. His painting can be characterised by an interest in tone and design over colour and detail. At the same time there was