Celebrating RPS Digital Imaging Members’ Distinctions
Welcome to Accolade 14
When I volunteered to help out with Accolade, Janet asked me to give it a fresh look. My inspiration came from the first ever edition back in 2018, which was a printed book. Even though Accolade is a digital publication, I wanted it to have the look and feel of a coffee table book.
The contents page is now clickable so you can go directly to whichever section or individual submission you would like to see first, but please do have a look at them all!
There is much to inspire in this edition and I am grateful to all our contributors for sharing their experiences and wonderfully varied panels. Their insights are invaluable to all who aspire to an RPS Distinction. It has been a great pleasure to put this Accolade together.
If LRPS is the distinction you are interested in then you will want to see page 7 for information on the new DI LRPS Support Group. The group will provide even more help and encouragement to those either working towards their LRPS or just interested to know more about it.
There are two of us in the new Accolade team and Caroline Petch is the person who will be contacting you after you have achieved your hard-earned and well-deserved distinction. I look forward to seeing them in future editions of Accolade.
I hope you enjoy the issue and please do get in touch with any comments you have HERE
Sue Vaines
Accolade Editor
Caroline Petch Accolade Team
Accolade is back
We are delighted to announce that after a short lay off we are able to re-launch Accolade with the production of Accolade 14.
Accolade is the online publication where we celebrate our members’ recent Distinction successes; seeing some of their images and panels. Plus, we ask them some questions so that we can all learn about their journey; knowledge that can often help those who follow their path.
Distinctions are an amazing way for us all to improve our photography. In striving to achieve whichever level we are aiming for we often have to raise our game, learn new techniques and push ourselves outside our comfort zone. In doing so we gain confidence, knowledge and the sheer pleasure of producing a cohesive body of work. Gaining the coveted LRPS, ARPS or FRPS after our name is the icing on the cake.
Any individual member is capable of gaining a Distinction through hard work, determination and perseverance. If you are new to the journey, remember every single person who has gone before you has been in your position in their photographic journey. Even if you are not successful the first time of trying know that you will learn from the experience. So, take the feedback on board, dust yourself off and try again!
Seek all the help and support you need and you can make it!
Janet Haines DI Chair
LRPS Support Group
Announcing the NEW Digital Imaging Group LRPS Support Group
Now that the RPS Distinctions team have organised the new LRPS processes and submissions, with everything being online we in DI felt that we should support our members by offering a new LRPS Support Group.
This will offer a facilitated online group to any DI members who are working towards their Licentiateship, no matter where they are on their journey.
First we will hold an online preliminary LRPS Support Group meeting for any DI members wanting to know more about this new group. You will get to meet the facilitators, ask questions and give us feedback. It will also aid us to understand the level of interest. Whether you are thinking you wish to get involved right away or perhaps sometime in the future, we invite you to join us on:
Wednesday 23 October at 10.00 BST
To book your place click HERE
LICENTIATE LRPS
LICENTIATE
Jonathan Evans LRPS
My journey in photography started early on as my father was a keen photographer and as a child I loved the look and feel of his Leica IIIf! I started B&W photography with a Minolta SLR and processed and printed images over the bath at home.
In later life with family commitments my photography reverted to opportunistic grab shots on holidays or on days out.
During Covid I started browsing online articles and videos and this reignited my interest, so I joined the local camera club. This led onto my joining the RPS and considering a distinction.
The Process
The RPS website is extremely useful and I decided to submit a panel to one of the Advisory days. I would advise anyone applying for LRPS to attend one.
The Chairman (Stewart Wall) was extremely positive and said there were some stunning photographs, my communication was very strong and I had outstanding empathy with the subject matter.
However it wasn't all good news. Overall, it was not judged to be a successful panel but the general advice was positive and clearI needed to improve the overall panelling and include a greater variety of techniques.
Perhaps I hadn't quite appreciated how important the panelling was and it was not viewed in positive terms. There was a lot of shuffling around of the images to improve it but in the end there were clearly images that didn't fit the required cohesiveness or general mood.
I had selected images that I liked or had done well in the local club rather than concentrating on the specific distinction criteria. The images were nearly all landscapes and I didn't show enough of the required camera craft aspects required for LRPS.
Several of the photos had to go and I set about taking some new ones. Thankfully the advice had all been bang on and I was successful at my subsequent submission.
My Favourite Images
My favourite is the one of Venice on the opposite page. It's obvious what it is and where it was taken. I've seen dozens of similar ones in the time since I took it in 1991. It was originally taken on infra-red film, but more latterly it has been digitally scanned and then more grain added as well as some dodging and burning in post processing.
I wasn't copying anyone else's image but given how commonplace it has become, I was fearful of including it in case it was seen as a cliché, so it was one of the five 'spares' one is encouraged take to the Advisory Day but it made it into the final panel.
Another favourite is this one of the waterfall. I had recently bought a 10-stop Neutral Density filter and was determined to use it.
I was in North Wales staying with a friend and we decided to walk up to Aber Falls. It was a bit of a pain for me to lug my full
frame camera with all the bits and pieces, including a heavy tripod, but my friend was very patient while I clambered over the river bed, set up and took some images.
I was happy with the effect but the image was not one I would generally have done anything with. However, it was clearly a great candidate for the LRPS criterion of choosing a suitable shutter speed for the subject, so it ousted another image.
Safety First
An image that was in the panel on my Advisory day is this one taken in the Lake District. I was struck by the symmetry of three trees on the horizon of a hill and processed it in HDR colour. I really liked it and had it on my wall for some time. More recently I thought I’d try reprocessing it completely differently in B&W. I loved the image even more.
On the day, two of the advisors loved the treatment for creating an evocative mood and a sense of the impending storm. However, the third was less impressed and commented merely that the vignetting was over the top and was like looking through a pinhole. I wasn't prepared to water my treatment down so for safety decided to replace it with a less challenging image.
My Advice
I would advise anyone aspiring to achieve the LRPS to study the latest criteria on the website and think about the cohesion of the panel in terms of style and tone. I would say attendance at an Advisory Day either as an observer or preferably with your own tentative panel is a must.
Roger Robinson LRPS
In 2022 I successfully completed the RPS/OU Course, TG089 – Creating & Sharing Better Images. I really enjoyed the course, it appeared to me as almost an introduction to the Licentiate and I did well in my assessment. I decided to join the RPS to progress my photographic journey.
I joined Digital Imaging and in February 2024 I was advised that one of my images had been selected for the DI Print Portfolio. It was at that point I thought my images may be considered good enough to meet the Licentiate standard.
The Process
I fortunately got a space on the last ever Licentiate print submission. It did mean I had no time for one-to-ones, advisory days or taking new images and I ended up using images from up to 8 years ago. I found it valuable to watch 2 Licentiate assessments as an observer on Zoom, this gave me an insight into why individual images had issues and panels were failing.
I initially had 18 images that I selected and printed on 8”x10” paper and tried various panel layouts over 2 or 3 rows. The images were selected to show a breadth of subject matter, styles of photography, use of equipment, understanding of exposure and to work together as a panel.
I’m immensely grateful to the RPS assessor I contacted via the RPS Digital Imaging Facebook Group, who let me send them my initial selection of 10 images to look at and then gave me 30 minutes of
their time to discuss the images via a Zoom call. I decided to replace half of the images from my initial selection.
I loved the superbikes image on page 16. It's a sport I enjoy and it is exactly the image I was aiming to achieve. It's exposed well and looks great as a print. I did consider using it as Image 5 in my panel. In fact the panel overall may have looked more balanced with this image included. However, I felt the image didn't show any technical skills different from those I had shown with other images, so I rejected it.
Personal Insights
The most important thing for me was fully understanding the Licentiate Assessment Criteria and then seeing how they were applied in the assessments I observed. I would advise anyone to read and re-read the assessment criteria.
Overall, I learnt it's not ideal to leave things to the last minute, but with perseverance you can achieve your goals in a short time. Ideally, I would have taken longer to pull everything together, but I wanted to have a print assessment.
I do look at my images with a more critical eye now, especially when printing them. As someone who mainly takes sports photographs that are published on social media and in the press, I also found it a worthwhile challenge to get away from the close-cropped, fill the frame images that I'm normally required to produce.
My Favourite Images
The cricketing image on the previous page was taken whilst sitting in the crowd as a normal spectator but I find it wonderful that in fading light, with the relatively cheap body and kit lens I was using that day, you can achieve great results in sports photography.
The image of an Iris against a white light on page 14 was inspired by attending the RPS workshop ‘Introduction to Creative Flower Photography’ at Amersham Studios led by Polina Plotnikova FRPS. It was something completely out of my comfort zone photographically, and a fantastic experience.
Technically, in post processing, the petals needed lightening. I used a radial gradient on the centre of the flower to increase exposure and the saturation of the yellows were increased. Is it a great image? No, it’s not, but it is something I planned, set up and I’m proud of the result.
What Next
For now, I will just dip my toe into various photographic journeys. I intend doing some pinhole photography with film and experimenting with iPhone infrared images.
On Reflection
My photography has not necessarily improved, but the variety of subject matter and the techniques used has expanded. The most rewarding part of the process for me was hearing the remarks of the assessors when examining my images.
Kevin Wailes LRPS
I first became interested in photography when I was at university but the interest lapsed for many years until 2009 when I was given a Nikon D40 for Christmas and the interest re-ignited and blossomed.
I used it as often as possible, photographing anything and everything and gradually gravitated towards nature photography and especially macro. I love being able to see the details that most people miss. I also enjoyed getting out and about in my beautiful home county of Suffolk and photographing landscapes.
I joined the RPS and decided to have a go at gaining my LRPS.
My LRPS Experience
My first attempt failed but I persevered and got it on my second attempt.
Originally, I thought I could do it all myself and produced a panel of images which wasn't good enough.
The second time I booked a one-to-one and found it very useful in deciding which images were suitable and which were not. Part of the challenge for me was having a large body of images to choose from and deciding what to use.
The windmill image on page 20 didn't make it into the panel as I decided it wasn't strong enough in terms of the uninteresting sky and the unevenly lit scene.
I eventually decided to use a variety of subjects and approaches such as nature, landscape, black and white, architecture all of which allowed me to fulfil the criteria required by the LRPS.
The help and guidance I had from Steve Boyle who did my one-to-one was the most crucial thing in achieving my LRPS. Having objective and honest criticism was vital.
My Favourite Images
I wanted to include some examples of landscapes in my panel and the image on the opposite page is my favourite. I love the light on the hillsides and the loch leading the eye towards the mountains in the distance.
My love of nature and macro photography is represented by this image of a dragonfly and I loved the way it appears to be peeping around the grass.
Personal Insights
In hindsight, my first attempt was rash in trying to do it without any mentorship or criticism. I'd advise anyone to attend an advisory day or take a one-toone.
My photography has definitely improved as a result of the process of gaining my LRPS, I'm more critical of my images and I think more before taking a shot. I'm more inclined to throw away any I don't think are up to scratch whereas I used to keep everything.
Future Goals
I've always had an interest in stained glass so when I retired a couple of years ago I embarked on a project to visit as many Suffolk churches as I could get access to and photograph the stained glass. I've reached nearly 300 now and self-published a couple of small books on Amazon. The project has expanded to include Norfolk and Cambridgeshire so it should keep me going for a while.
I'm also considering going for my ARPS sometime in the near future.
Simple Advice
The advice I'd give to anyone considering an LRPS is firstly, do it and secondly, get as much advice as you can!
Brian Connolly LRPS
Photography took hold of me in my early twenties. I tell people I am more a landscape photographer but I enjoy many genres including cityscapes and abstracts. Going for the LRPS was a natural step for my own satisfaction.
I attended a talk by recently successful LRPS members, the main thing that stood out was "...you probably already have a successful L panel somewhere in all your images; you just have to find it!" I came away knowing it was time to get on with my journey.
The Process
Making sure my images were good enough for quality printing was a tough process. I examined each one carefully to ensure this. I knew I had to make sure I had a balanced presentation and took time to select ones that were going to fit that as well as show the requisite camera skills.
Once I had got my early selection of images, I had guidance from two RPS members, both ARPS. I did not want too many people involved as I knew I could then start to get conflicting advice.
I also had a one-to-one and an Advisory Day that helped tremendously and reassured me that I was heading in the right direction.
The balance between colour and monochrome was working well and it was just a case of making sure I had considered the aspect ratios across all images.
Understanding the Criteria
The key was to demonstrate a range of skills with the camera and lens. Confidence in the choice of images to show such skills was important. Composition and balance played a big part, knowing the overall presentation had to work across all 10 prints.
I have enjoyed some very good workshops and courses, both in person and online with the RPS, that have helped with my "seeing" the image.
Personal Insights
My editing skills have improved and I’m careful not to spend too long tweaking the image. Sometimes, you need to stop and say, "I've finished".
My approach is a more confident one. Patience and taking time to look are foremost in my mind, rather than self-imposing a clock in my head that I must race against.
There are a couple of the images from my panel that I am particularly pleased with. The first was this monochrome taken on a wet Yorkshire afternoon. It is one of those images that has grown and grown on me.
The second on the opposite page was taken in my local park, very early one misty morning. The colours in the image are perhaps a little more saturated but they were there. The light was extraordinary that morning.
My Advice
This image of Venice is one I enjoy but I had to accept that it could not work as part of the final set as it just did not fit in.
Future Plans
My desire to spend more time exploring the South Downs and coast is a project that I would like to pursue. I will also think about an ARPS but I will take time to select the right genre first.
Self-belief is so important. Only you know your work so believe you have the skills. Do get the one-to-one and advisory as these help so much in understanding what the assessors are looking for.
On Reflection
Without a doubt, I now take my time and feel this has helped me produce more work that I can feel good about. I am happy to experiment more and change lenses, etc.
Seeing the final set of prints go up on the stand at the assessment I thought my work is up there so no turning back now! It does mean so much. I feel that all my time with my camera has led to something tangible and it has made me a more content and patient photographer because I have achieved the LRPS.
When the Chair said "Congratulations", it was such a good feeling!
ASSOCIATE ARPS
ASSOCIATE
Lachlan French ARPS Natural History
My journey in photography was facilitated by my retirement in 2019 and inspired by two gifts. The first being Colin Prior's stunning tome of Scotland's Finest Landscapes and the second a week's photography trip to Assynt on the West Coast of Scotland.
I was a keen holiday photographer but it became pretty apparent that I didn't have the necessary expertise to really do the stunning locations justice! I always find the critique session at the end of a week like this both inspiring and chastening.
On my return home I joined Saffron Walden Camera Club. I was soon introduced to the RPS which led to me signing up for the RPS/Open University Digital Photography course in 2021 and then my LRPS followed in 2022.
The Journey from L to A
At the assessment day for my LRPS I spent some time talking with Viveca Koh about the ARPS. The two key pieces of advice she gave me were to take my time and to find a theme that would really inspire me.
I had spent two weeks the previous winter in the Cairngorms photographing local wildlife, including a couple of pretty wild snowy days. This combination provided some unforgettable encounters and sowed the seed for a nature panel on Highland wildlife.
I arranged a one-to-one with Moira Gardner from the Nature Group and shared my ideas on potential themes and images. Moira helped me put a plan together and also set the bar for the standard of images required. Many images fell at this hurdle, but there is nothing better than a fairly heavy dose of constructive honest feedback. It was definitely one of the key stages in the process of achieving my ARPS distinction.
My Favourite Images
The two images that I enjoy the most from my panel were both taken on a trip to Shetland in March 2023. The Otter below was taken early in the morning at low tide and was my first real close encounter with this wonderful animal, a morning to remember.
The Skylark image on the opposite page was an exercise in perseverance. Having spent the day photographing Gannets I thought it would be easy to capture a Skylark ascending. A good hour later I decided I had done as best I could and luckily this image made the grade.
The one glaring omission from my panel is the lack of a deer image, probably the iconic highland animal. "Red Deer Hinds" on the next page did not make the grade. Unfortunately, I had cut off the legs of the three hinds and the hind on the far right is not sharp enough. But it is still a favourite of mine.
Key Skills
For me there is one key skill that applies throughout all the components of the distinction journey: attention to detail. It applies in the taking of images, in the processing of images and it also applies to presentation.
My Photographic Influences
At the top of the list of photographers that have influenced me would be Colin Prior for his signature highland panoramas as well as his more recent intimate landscapes. There are also a number of local photographers in the Cairngorms doing some stunning work including the nature photography of Andy Howard and Neil McIntyre and the landscapes of Ed Smith.
My Advice
My only advice for anyone aspiring to achieve the ARPS distinction is to remember that the basic objective is to have fun taking images and enjoy developing yourself as a photographer.
I think the distinction process provides two key elements to achieve this: the focus of putting a portfolio of images together and, most importantly, a learning experience, which can sometimes be a fairly steep one, but that often leads to the best results.
My expertise and experience as a photographer has developed considerably over the last few years and the RPS distinction process has had a significant positive influence. To me the most rewarding part is looking at the images I take and seeing them improve.
The Future
I am relatively early in my photographic journey and I am still enjoying different genres. I will continue to take opportunities as they arise and see where that leads.
I have recently become an English Heritage photography volunteer at Audley End.This has involved some varied projects and is proving both challenging and rewarding.
In time I am sure that the journey will lead to another ARPS, probably in the Landscape genre, and hopefully an FRPS but that is a considerably bigger challenge!
STATEMENT OF INTENT
The aim of my panel is to encourage a greater appreciation of the wildlife of the highlands and islands of Scotland.
My objective was to capture a diverse rang=e of both mammals and birds, in different environments and varied weather conditions. Most of images were taken either in the Cairngorms National Park or on the Small Isles off the west coast of Scotland.
Images were taken in a broad range of habitats including sea cliffs, woodland, moorland, grassland and seashore.
An experienced local guide was used to carefully approach the Otter and a commercial hide was used to photograph the red squirrel and vole.
I first started my photography journey back in the early 1970s with a Zenith B 35mm film camera and enjoyed taking photos of my friends on holidays and other events. In the latter part of the 1970s I upgraded my film camera to a Nikon FE and have remained a Nikon user ever since.
Then came marriage and family life which led to me concentrating on family photography at home and on holiday, and it was not until the mid 2000s that I became more serious about my photography and upgraded again to my first DSLR.
Upon joining a camera club in the mid 2010s, I continued to develop and expand my photography, and entering club competitions pushed me and gave me the impetus to pursue my LRPS, which I gained at the first attempt in June 2018.
About My Panel
My initial thoughts on an ARPS submission centred on the Documentary genre focusing on the expansion of Personal Services on the high street, i.e. tattooists, barbers, nail bars etc.
However, having lived and worked in London all my life, I have always had a deep appreciation and enjoyment of city landscapes, and the artistic design of old and new buildings, both externally and internally.
This was the main inspiration for an ARPS focused on the intimate nature of architecture given how the importance of interior spaces has developed over the years. Further inspiration came from Iñaki Hernández-Lasa's style of photography of both interior spaces and exterior elements. The architectural images of Les Forrester were another key influence.
Given the nature of the images I specifically captured and selected for my panel, it was very clear to me that Visual Art was exactly the right genre for my submission.
The Process
One of the most difficult challenges I faced was image selection from the 100+ in contention, whilst ensuring I met the key criteria of cohesiveness but avoiding repetition. Not an easy task but having narrowed down my selection and deciding I wanted to present each image in square format, I printed individual images and arranged and rearranged them on my dining room table based on the RPS layout templates.
Having already decided that a matt paper was the right choice, the next challenge was to test how the selected images would look once printed on my chosen paper to ensure I was happy with the colour balance and tones. I used a test print service and gradually fine-tuned individual images for cohesiveness.
When finalising my panel, on advice, I replaced the image on page 36 as it lacked the same harmonious colour palette of many of the other images and was not sufficiently strong enough visually; in other words, it looked a bit wishy washy next to the others.
My statement of intent changed several times during the process to ensure it clearly explained what I wanted the assessors to see in my submission.
My Favourite Images
I particularly chose this image for the symmetry, colour palette and overall harmony. It was this image that led me to explore this interior further, which ultimately resulted in several other images being captured and included in my panel.
The Image on the opposite page was included in my panel as I felt it emphasised the subtlety of how light changes in depth and intensity when falling at the conjunction of interior surfaces, and whilst not symmetrical, the colour palette was harmonious.
Future Plans
Whilst I am always enthused to capture images of interior spaces and the stunning new designs of modern architecture, I will continue to challenge myself with other genres of photography.
I have a clear vision of an idea for a Fellowship panel and have already captured a few test images to understand the challenges and direction of travel.
My Advice
My advice to any photographer aspiring to achieve success with an ARPS Distinction, is to have a clear vision of what they want to communicate through their photography, and to share that vision through a one-to-one with an RPS assessor.
On Reflection
My photographic style has evolved mainly by paying significant attention to composition, taking my time at the taking stage to get as much right in camera.
My photography continues to evolve, and working for and achieving my ARPS has been a key contributor to that evolution. The most rewarding part of the entire experience was the actual vision leading up to and the capturing of the images in the first place.
Naturally, being in the audience during the assessment and listening to the comments of the individual assessors was nerve racking, but the ultimate reward was hearing from the Chair of the panel that I had become an Associate of the RPS. I was hugely honoured to have gained my ARPS at my first attempt.
STATEMENT OF INTENT
In this panel, I have explored the variations of light and shade falling on vertical, horizontal and curved interior surfaces within buildings.
I have utilised the subtlety of how light changes in depth and intensity when falling at the conjunction of interior surfaces to capture abstracted interior elements. I made the decision to maintain the stains, streaks and imperfections in the building surfaces as a true representation of those surfaces.
I have also employed the restraint of colour where it is present, and how it differs in tonality due to the direction of light.
It is this love of light and shade rising and falling across these simple abstracted components I find both beautiful and compelling and reveal why light is so important in the creation of engaging interior spaces.
FELLOW FRPS
FELLOWSHIP
Hazel Frost FRPS Documentary
I already had a Fellowship in the Travel Genre, but I had been travelling with my husband repeatedly to Bangladesh and had been building up a portfolio of work since 2017. During Covid I wanted to concentrate on these images in more detail and wondered if there was the potential for a larger body of work. We returned to Bangladesh in 2023 by which time the project had become very important to me and I wanted to show the talent of these ship builders and submit the images for a Fellowship.
About My Panel
The images were taken at Keraniganj on the banks of the Buriganga river, Dhaka. Here ships are made seaworthy with recycled components and rebuilding. It is one of the largest propeller making areas.
The style of my photography had not changed since my Travel Fellowship, however, presenting these images as a visual narrative of the ship building process was best suited to the Documentary genre.
The Challenges
I always try and relate to the subjects I photograph. I feel it is important that photographs are taken with permission and engagement rather than stealing an image from a distance.
Most importantly for me is the ability to watch, learn and take in the scene before picking up the camera. Communication does not necessarily need a common language but can be by a gesture or showing an image. Help from a superb and sensitive series of guides made things easier.
One of the big challenges was photographing for many hours in the heat. Also, the light can be very bright causing harsh shadows and bright highlights. Understanding that light direction and use of light could present a challenge with exposure and tonal range was important.
The site was active and very busy with transportation of sheets of metal, use of large machinery, hot furnaces and rapidly turning propellers, all of which had to be navigated without getting in the way. Personal safety and that of the workers had to be considered at all times.
We spent many hours over multiple occasions visiting this small area. Being able to give enough time to the project and not expecting to achieve it over one or two visits was another of the challenges.
Image selection took place over weeks. I printed small images and moved them around repeatedly ensuring there was no repetition and the narrative flowed across the panel.
On returning in 2023,I set myself the challenge of retaking everything I could. A number of images were replaced at that point having gained a greater appreciation of the subject.
I did not attend an advisory day and did not have a one-to-one. I wanted it to be my own work throughout and not be influenced by anyone else.
Important Images
The image on the previous page was quite simple in terms of composition but for me it shows the conditions the families live in and the hardships they endure. Two small boys were collecting scraps of metal that would then be sold for recycling. I waited until one was framed by the smoke.
We had seen and photographed the lad in the white shirt (above) since he was a small boy collecting scraps of metal. Now he is working and taking on an important role in the manufacturing process.
The image below did not make the panel. I felt that the composition was so different from the others it would break some of the cohesion of the panel which could have affected the outcome. However, for me it explains the enormity of these large ships being made seaworthy again.
Personal Insights
It was essential to understand the subject and the lighting, which could only be achieved with multiple visits and spending a lot of time. I also needed to be clear in my mind the images I wanted to take to illustrate the narrative.
I have learnt that one has to be extremely critical of one’s own work. I look at the composition at the time of taking: the most appropriate composition, use of light, placement of subjects within the frame. I also, accept that if there is extreme tonal range then the image will not work or be recoverable.
My photography continues to evolve and I see FRPS as just a part of that journey. The most rewarding part was putting together a body of work and then taking the risk to have it assessed. Gaining a Fellowship meant more to me than my medical degree.
The Future
I have already been back to Bangladesh and the Shipbuilding area with my husband. The body of work has been extended as I see it more as an ongoing project rather than achieving the 21 images required for Fellowship. I may develop this project to make a photo book, but it will not be for assessment.
My Advice
Work hard, take time and be prepared to fail and learn along the way. Fellowship is not for everyone. It is a risk. My subjects found me by development of an interest and passion.
Make sure it is your own project, stick to what you want to achieve and try to avoid too much advice from different sources, however well meaning, as it may dilute your originality and creativity.
STATEMENT OF INTENT
Keraniganj Shipyards are situated on the banks of the Buriganga River in Dhaka. Shipbuilders and their families live here.
Much of the work is centred around repair and renovation using reclaimed components from the better-known ship break yards in Bangladesh where vessels at the end of their useful lives are broken down.
Elements are either reused, refurbished, or remade. Panels are beaten by hand before being welded and painted. Propellers are renovated or cast from recycled bronze in underground furnaces before being poured into handmade, single use moulds.
This is the largest centre for propellor production in Bangladesh. Skilled work is undertaken without formal qualifications or training,knowledge passed down through the generations.
The environment is harsh. Acrid fumes burn. Oil, metal dust, paint and smoke pervade the yards.
I want to show some of the processes in renovating a vessel, propeller production being at the core.
Glyn Fonteneau FRPS Natural History
Like many people during the Covid period, I rather lost my way with photography. At some point I wondered if I could put together an F panel however, I was very concerned about the standard required and whether I was up to it.
Having watched several assessments and seen Mick Durham’s zoom presentations on what is required, it seemed that drafting up a statement of intent before setting out with the camera was good practice.
About My Panel
I have been lucky enough to visit Costa Rica many times and wondered at the variety of animals that live there. I determined that Costa Rica would be the focus for my panel. It took some time to work out how I could make a statement and panel that would be a ‘distinctive and distinguished body of work’ and settled on cryptic coloration and mimicry.
My previous experience in Costa Rica helped me find areas that would be most productive and add to my existing catalogue of images. I realised that it was going to be difficult to convey the very high contrast light that can occur in the forest environment.
It was important to me that I showed how dark it can be making the subjects difficult to see in their natural environment.
Consistency across the panel was very important. In the field I used flash as well as an LED panel and a polarising filter in nearly all the images. All the while I was asking myself does it balance across the panel, not only in tone and colour but the shape of the finished images.
Lighting proved to be the most crucial technique due to the harsh light found in the forest environment. The use of the polariser was vital as many subjects reflected light causing uncontrolled highlights. Correct identification of each subject proved to take longer than both the selection and post-processing of images put together.
The Process
I started with 2 or 3 images which I considered were my strongest and building around those. All the while being mindful of colour balance and image orientation and ratios.
My statement of intent was adjusted during the selection process to better reflect the images I had chosen.
I attended an advisory day as an observer as well as watching a couple more online before booking a one-to-one. The one-to-one proved to be very helpful as the advisor picked up issues I had overlooked and made suggestions on how I could improve the panel.
I am also fortunate that there are two local self-help groups where informal discussion allows a frank exchange of views which proved very helpful.
Favourite Images
Golden eye-lash pit viper (previous page). I waded in a river to find the viper which is well camouflaged on top of the flower. I was wary of getting too close as they are quite venomous, this meant I had to crop the image to get the look I wanted.
Clay-coloured rain frog (previous page). This was taken late one afternoon when the frog started to become more active; therefore I had to be patient for it settle in a pleasing position in the banana leaves.
The trash bug below picks up pieces of other animals discarded by spiders etc. to disguise its appearance. The bug is about 3mm across and is surprisingly agile. Although the camouflage fitted with my statement of intent, it didn't fit with the other images when I tried to incorporate into my panel.
Personal Insights
The RPS distinctions route has enabled me to expand my technical knowledge and I now feel much more confident taking macro photos in challenging conditions. I have also improved my ability to visualise a shot.
Nature photographers Robert Thompson and Greg Basco have both inspired me in my photography. Ian Wilson’s insight into processing and printing was also invaluable, giving me more confidence with printing my own images.
My Advice
I would certainly recommend a one-to-one to anyone considering a distinction. Be prepared to change your vision and recognise this can take a long time to accomplish. Research your subject and ensure your stated aims and objectives are demonstrated in your panel.
On Reflection
I attended the assessment in person. It’s quite nerve wracking, but well worth the feedback you get. I felt that the responses were contradictory at times, so it was very difficult to guess the outcome. The assessors seemed to take a very long time and revisited some images more than once. Therefore, I was delighted and proud when it was announced that I had been awarded an FRPS and it has taken some time to sink in.
STATEMENT OF INTENT
The Use of Mimicry and Cryptic Coloration in Costa Rica
During my many visits to the dense, frequently dark forests of Costa Rica, I have been intrigued that nature has been using mimicry and cryptic coloration to survive.
The use of these adaptations has fascinated me. Whether it’s a perfect combination of colours, or a complete alteration in physical structure, these creatures are masters of keeping watchful eyes oblivious to their presence.
The aim of this panel is to illustrate the wide prevalence of these traits in animals. Their use can increase the chance of survival by hiding in plain sight.
The objective of my panel is to show some of the many forms of cryptic coloration and mimicry used by animals found in Costa Rica.
It is worth zooming in to find the disguised animals
01 Side Striped Palm Pit Viper (Bothriechis lateralis)
