RPS Digital Imaging Accolade 12

Hello and welcome to Accolade 12

Welcome to DI Accolade 12. Regular readers may notice a shift in our questions to successful candidates. Accolade will now have more emphasis on the educational value and learning brought about by the process of distinctions. As a charity the RPS is endeavouring to follow this course showing the value and learning opportunity that distinctions fulfil. We are now well and truly into 2023 and I’m sure there are many of you reading this, planning to take a Distinction this year. I wish you all the very best and hope you enjoy the process. It may be frustrating at times and perhaps demoralising, but stick with it, the achievement will be worth it. You will no doubt learn things along the way, a different way of looking at your own images, new techniques whilst taking the image, new processing techniques or printing techniques…or all of them! Our contributors in this issue share their experiences of what they learnt, and it makes for fascinating reading.

A new genre in Distinctions is the Photobook genre. From the distinctions page on the RPS website; “All elements will be considered that make up your photobook submission, from the images to the colour of the text. What form of photobook you present is under your creative control.”

Photobooks are accompanied by supporting evidence to allow the assessing panel to understand what the purpose of the book is.

Photobooks has proved to be increasingly popular, and we have three FRPS success stories for you this time, including Simon J Ciappara who shares his learning process and extensive imagination and skills in a feature on his book “The Incomplete Circle”. Simon was successful on his second attempt with this book and also shares his experiences of his resubmission.

Thank you to those that have contacted us and say how much they enjoy reading Accolade, I hope you all enjoy this issue.

Holly Stranks FRPS Assistant Editor

hollystranksphotography@gmail.com

Accolade

A digital magazine celebrating Digital Imaging members’ Distinctions is published by RPS Digital Imaging

Accolade editor: Dennis Knowles

Accolade assistant editor: Holly Stranks FRPS

Digital Imaging is an RPS Special Interest Group promoting the art and the craft of digital imaging.

RPS DISTINCTIONS

Many individuals join the RPS to gain their Distinctions. In doing so at each step we, as photographers, raise the quality of our work to achieve the various standards. Having the targets of L, A or F to aim for helps us focus as we work towards producing a panel of work that is of the standard.

DI Accolade aims to not only celebrate the successes of our DI members but, through their experience, help you on your own personal journey. Many of us do not pass first time but believe it or not we learn more from being unsuccessful than passing. If you are unsuccessful you get feedback from the panel assessors and taking that onboard and embracing the issues and changes is all part of the learning. The RPS does much to support members on their Distinctions journey, much of it online. Wherever you live you have equal opportunity. Below you will find links to many useful resources.

Assessments can be watched via Zoom. This is a really good way to get to understand what the Assessors are looking for and to hear their comments. By watching and listening in to panels at A and F levels in different genres it might also help you to conclude where your potential panel might sit, although often it can be the ‘purpose’ of your panel that determines this primarily, not the style of the work. For A and F the ‘Statement of Intent’ (SOI) is critical. Ideally it should also be your starting point when you start a prospective panel and that which directs you to shoot to your own defined criteria.

Work can be presented as prints, projected images or books, the latter being accepted in the various panels as the way you wish to display your work. This is different to entering the Book category. For a really good narrative on the Book genre per se do read the articles in The Journal vol 163 pages 206 – 217.

Helpful links to supporting material and information:

• Distinctions main page

Assessment criteria and how to apply

• Licentiate (LRPS)

• Associate (ARPS)

• Fellow (FRPS)

• Photo Books

Other useful links as you work towards your panel

• 1:1 Advice

• Assessment observer

• Formats and layouts

The Facebook Group RPS Distinctions **Official Group** has over 4100 members, and . has a number of new posts celebrating distinction successes to inspire you. It’s a civilized venue to ask questions, share your successes – and disappointments – and ask for critique or expert advice on your proposed portfolio. If you aren’t sure which genre or level to apply for, you can post 6 images (plus your SOI if appropriate) and request moderator advice. Accolade, which celebrates Digital Imaging members’ Distinctions successes, is useful for insight into the process in many different genres and at all levels, the archive, where back issues of Accolade can be found, is on the Digital Imaging website: DI Accolade.

We know that some links are not working to the RPS website, please be patient while HQ fix the issue”

We are aware that HQ have not sent the details of some DI members who have recently been successful in Distinctions at all levels. If you are one of these please and wish to be included in a future edition of Accolade please email Holly:-

hollystranksphotography@gmail.com

Success Story 1

Name: Alan Gould

Location: Romney Marsh

Successful L Panel in November 2022

About my panel

In order to demonstrate the level of skills required I decided not to limit myself to one particular genre or style, but to exhibit a wide subject matter. I created a folder with all my favourite photographs, having decided very early on which would become my central image. It then became quite intuitive where to place the others, although this did necessitate some cropping and rejection of a few favourites which unbalanced the panel. My wife and I watched the judging day via Zoom and gave an enormous cheer when it was announced my panel was successful.

I received tremendous encouragement from my wife, who is studying for a photography degree, and also from members of my local camera club, some of whom had already gained success at Licentiate and Associate level and gave me the full benefit of their experience. After I had compiled my draft panel, I requested constructive criticism from all concerned, and indeed received it. Although some of the advice was contradictory, it did help me to view the images with a fresh perspective. I also attended an advisory day in order to gain an insight into the judge’s decision making which was very beneficial. This was my very first attempt at a distinction, although I do admit I took a considerable amount of time deliberating before I was fully satisfied with my submission.

I took full advantage of the Zoom workshops and presentations available via the DIG members website. Although I consider myself to be fairly competent with Photoshop I found Celia Henderson’s workshops a complete eyeopener.

The in-depth examination of each of the various tools proved to be very useful, and I experienced plenty of the “I didn’t know it could do that!” moments.

Being a lover of black and white photography. I also found Joe Houghton’s presentations particularly helpful and indeed reprocessed some of my monochrome images following the advice in his tutorials.

My Favourite Image

I noticed the girl walking around Lisbon train station concourse dressed in her colourful outfit, and knew there was a shot to be had. Fortunately, when she strolled out of the station the gentleman sitting on the steps conveniently obliged with what can only be described as a look of disapproval.

125 sec, f8, ISO 320, Nikon D300 18-70mm lens at 44mm

Image of your choice

One nearly didn’t make the cut. Influenced by Rinko Kawauchi, a photographer my wife came across during her studies, I decided to go high key with the image. Although I thought it may be too extreme for the panel but my wife persuaded me to keep it in. Moral: the wife knows best!

Success Story 2

Name: Chris McIntosh

Location: Devon

Successful L Panel in November 2022

About my panel

As I have become more immersed in photography I have enjoyed exploring a wider range of genres rather than keeping a narrow focus. However photographing people and getting to know their stories has a particular appeal so my leaning is more towards documentary photography.

My potential panel evolved over quite a long period before I felt I was getting close enough to consider taking that next significant step. It was also a surprise, and a point of learning for me, that some images that ended up on my panel did not seem to have much potential at the time of capture.

Receiving the result was a combination of surprise, relief and real pleasure.

My Favourite Image

My favourite, albeit not necessarily best, image and has emotive value for me. It was unplanned and with limited time available, I was in the back yard of a Drama School in Ukraine with several colleagues waiting to be admitted to see some residents. The yard was enclosed containing various elements including some plants grown by the residents. It produced an aura of tranquility, as did the dog, and it was almost possible, briefly, to forget the country is in the grip of war.

What I learnt

Just considering the possibility of submitting a panel for a distinction was an additional incentive to improve the quality of my photography and key to this was improving my ability to see potential photographs, even if not superficially apparent. I came to understand the wise words of Joel Meyerowitz that “a camera is a license to see”.

Some 3 years ago I completed the Open University online short course which provided a useful combination of theory and practice and was a good platform from which to move forward. Various RPS, and other, workshops (in person and online) have also been very helpful but the real development then comes from doing it myself, making mistakes or poor images, learning (hopefully) and moving forward.

I attended an Advisory Day taking along my prints, having just started printing and with an extremely basic knowledge of mounting. This day provided further technical and artistic insight regarding my own images and it was also valuable seeing the other presentations.

My subsequent 1-to-1 with Nigel Plant was particularly helpful including fine-tuning some technical aspects of my images and also giving me very useful advice about print mounting and presentation. I feel this was a crucial part of my preparation.

Image of your choice

My other chosen image (5) was also unplanned and with limited time. The colours, textures and ripples on the water appealed and emanated a sense of calm as well as balancing well with the colours in image 1.

Canon 5D Mk IV, ISO 800, focal length 50 mm, f/3.5, 1/500 sec.

Success Story 3

Name: Gwen Norton

Location: New York, USA

Successful L Panel in December 2022

About my panel

For my Licentiate submittal, I focused on a series of Landscapes and a series of portraits with different styles and genres. Some of the portraits were posed and other were environmental. The most challenging part of putting together the panel was second guessing and questioning my selection of photographs. In the end I went with the initial set of photos that I had selected.

Printing and packaging the photos to be sent off to the UK after months of thought was exhilarating and stressful. Before the photos were able to be delivered several hundred pounds were demanded and had to be sorted before they were handed over. I was thrilled to wake up in New York to an early morning email saying that my submission was successful on my first attempt.

I was very fortunate to sit in on a Zoom Advisory session, where I did not present, but the feedback on others work was extremely helpful. I was also extremely fortunate to benefit from a One2One with the most generous and thoughtful advisor.

My Favourite Image

I have been working on a personal project of self portraits for a number of years. I have found the process very challenging and therefore picture number 7 would be my favourite. I found taking self portraits to be very challenging - getting the focus and the composition correct for example is tricky.

My second favourite is number 3 which I took in the Atacama high desert in Bolivia. I made this trip for a significant birthday and planned it for many months. Capturing these photos meant fighting altitude sickness, nose bleeds and sleepless nights to get to 14,000 feet.

Success Story 4

Name: Gillian Duffy

Location: North Yorkshire

Successful L Panel in May 2022

About my panel

My biggest challenge was finding a variety of images for my Licentiate panel, because I mainly photograph landscapes. One of the ways I found a variety of images was to search my Lightroom catalogue so that I could find photos with a fast shutter speed and a ‘decisive moment’.

I also looked for complementary colours which would balance the Panel.

All of this means I was not necessarily using what I considered to be my best images – because they didn’t fit with the ‘eleventh image’ of the panel.

I was absolutely tickled pink at being awarded my licencate, and I have a great deal of pride in my achievement. It’s reinforced each time I get an RPS magazine in the post, and I see the letters after my name.

What I learnt

My archive was full of images which I had freely cropped, and to create a panel with uniform sized images forced me to compose better in-camera. My images were all in 8x6 format or square. Ken Holland FRPS (my RPS one2one advisor) really helped with image selection and on final edits and colour balancing. He also suggested reversing two of the images to improve the compositional element of the panel. They are both well-known locations – can you spot which ones they are? *

A couple of the images were taken on RPS workshops run by Mark Banks and by Justin Minns. Version control is quite a challenge, and I found the Collections function in Lightroom very useful – although after the assessment, I realised that despite this, I had submitted the wrong version of one of my images. But until now, I’m the only one who knows that... All I know about Photoshop is from Celia Henderson’s fantastic tutorials on creative flower photography – and although only one of the images was of a flower, the skills I learned are transferable to any style of photography.

I found Joe Houghton’s Lightroom courses very helpful, particularly Lightroom Live when he covered the new masking software that had just been introduced – I use that on almost every image I take, not just the ones on the panel.

* “it is of course the Trotternish Ridge, and the pier at Southwold. Whilst I agreed with Ken’s advice, I was relieved that this edit drew no comment from the assessors – although the official distinctions FaceBook group had a few members who spotted, and commented upon, both changes.”

My Favourite Image

It has to be the Highland Cows. I took this on a workshop in Skye, on a wild and windy day when a friend and I went ‘rogue’ and rather than getting ourselves and our cameras blown over in the Fairy Pools, went off by ourselves to shoot the waves in Talisker Bay. The farm was on the track down to the bay, and I wouldn’t be surprised if we spent longer with the ‘coos’ than at the beach. I love the way they are so alike that the viewer has to look hard for differences, or evidence of cloning – which I didn’t do, unless you count removing the yellow tags from their ears using the patch tool in Photoshop. Ken Holland’s advice to me on this one was to brush around the edges of the frame to darken them slightly, and this really made the image sing.

Panasonic Lumix G9 with Panasonic 100-300mm f/4.0-5.6

ISO 400, 300mm, f8, 1/40s handheld

Image of your choice

My other personal favourite is the image of the Iceberg Pools at Bondi Beach in Australia. It was taken on my birthday in April 2019, when, with our family, we visited our son and his partner who had recently moved there ‘for a year or so’. Little were we to know that we would be unable to see them in person again until flights recommenced in April 2022. My photographic record of our travels as a family together in Australia sustained me through the pandemic, and I took particular joy in editing this one. Anyone who knows this very instagramable location will know that (other in the one week a year just after it has been cleaned) it is really quite green. In my final edit, on Ken’s advice, I turned it bluer to match the tones of Southwold Pier. I did this by altering the white balance in Lightroom, and I also cloned out a few little distractions.

Panasonic Lumix G9 with Leica 12-60mm f/2.8-4.0 ISO 200. 28mm. f/13, 1/400s handheld

Success Story 5

Name: Mallory Mercer

Location: East Midlands

Successful L Panel in October 2022

About my panel

Wildlife photography is my passion but I learnt it is not about using your favourite images but being able to demonstrate you meet the “L” criteria. I had plenty of images I could potentially use which demonstrated the criteria as I have been photographing for many years. However, creating a successful hanging plan, the 11th image, I found the hardest part and it went through several reiterations trying to avoid the “R” word – repetition and my use of wildlife images.

Even during my panel assessment one judge commented on the number of nature images.

My Favourite Image

My favourite image is the Red Squirrel because I love photographing wildlife and it was a challenge to shoot due to their shyness and speed of movement. I was using a Sony A9, focal length 297mm, aperture f5.6, centre-metering with a speed of 1/500 in manual mode.

What I learnt

Advice and resources were invaluable. I cheekily joined the London Distinction Panel Group, via zoom, where I had a couple of potential panel images critiqued, numbers six and ten, the feedback received gave me the confidence to arrange a one2one review. This proved to be the best source of advice and was invaluable. Each individual image was discussed, including my spares, followed by a written report. The feedback I found most helpful was the identification of some post-processing defects which I had not seen on my small laptop screen.

Post-processing images is not my forte and really only involved some simple exposure tweaks and some denoise corrections, which in nature photography is almost becoming a must. After making some alterations I booked an Advisory Day place, which was very successful with minimal suggestions, an advantage of having the one2one first. I almost immediately applied for a Zoom Assessment Day (print) and was absolutely thrilled to be successful but it was a most nerve-wracking process.

Image of your choice

The second image I’ve chosen is the Bikers which went from a wider landscape image to a cropped portrait photo following Advisory Day feedback. I realised from this “don’t be afraid to experiment”. I like the first version but the final image is stronger. I was using a Sony A7iii, focal length 105mm, aperture f8, multi-metering with a speed of 1/160 in aperture priority.

My panel was printed on A4 Fotospeed Pearl 290g paper and each image was 10.5inches by 7inches. This gave me a white boarder around each photograph, when mounted, ensuring I did not loose any image detail along the edges. A useful tip I was given along with do not print large because it gives the judges more to look at!

Success Story 6

Name: Thomas Watson

Location: Norwich

Successful L Panel in November 2022

About my panel

I carefully read the rules for this submission and followed them. This resulted in a layout that showed several different techniques and, several different locations. I'm not really sure what type of photographer I am although now looking at them again I've got four portraits so that may indicate an interest in people! Balancing these pictures to make a cohesive panel was a real headache. I explain later how I overcame this hurdle. 'Photography can sometimes be a solitary pursuit'. Especially as you sit waiting for the judge’s decision. But the only adjective to describe the feeling of being awarded a pass is euphoria.

My Favourite Image

My favourite picture is probably my 'decisive moment' picture of the Red Arrows flying team. I was near an airport and had no idea at all that the team would land there between exhibitions. Neither did I know that the starburst was something they did at an overnight stop. I was excited by the noise and display but managed to change my settings in quick time. In fact 1/2,000 of a second, auto exposure in aperture priority seemed to produce some quite good pictures with my old 200mm lens. You never know when an opportunity like this will present itself.

What I learnt

An awful lot of things. Not just about different types of photography but also how to show images in an engaging and cohesive way in panel form. I needed a lot of advice in this area.

This was my second attempt at Licentiate. My first attempt was a failure - I had put together a panel and had arranged to get advice on the pictures and the layout but I contracted Covid and had to cancel.

However I went ahead with my submission anyway without the benefit of advice. I failed.

The November submissions time was, therefore, my second submission and followed receipt of advice. I reprinted everything, changed some of the photos and got some understanding of panel layout.

The moral of the story is take advice, ask someone who knows, don't go into a submission and just hope that you are good enough.

Image of your choice

My second image is of a lady on the top floor of a bus. I was attempting some street photography on a dark and rainy day in an area busy with shoppers. Everyone seemed very close and very wet and I couldn't find shots. I looked upwards, over the heads of the shoppers and saw my subject. She looked a little unhappy, a little thoughtful and was sitting still. I took the shot. The picture is not pin sharp but her expression and the rain on the window seemed to evoke a certain atmosphere.

at 1/1250 second

I used a small Panasonic, on auto exposure, aperture value .526 an exposure bias of -1

Success Story 7

Name: Graham Zimmermann

Location: West Sussex

Successful A Panel in October 2022

About my panel

In the summer of 2021 I abandoned a panel I was preparing for the Associate distinction – taking a good hard look I just didn’t think it cut the mustard. I learned the hard way at the age of eleven when I got my first camera that rather than travelling far afield on my bike, what to photograph was right under my nose. And so it was with the successful Associate panel. The images were literally all from just round the corner where I live. I wasn’t thinking that it might be a potential panel but loading them in Lightroom “I thought I think” I’ve got something here.

Statement of Intent

Contemporary Photography ARPS

G Zimmermann

I live in the southeast and greenfield sites are under a relentless threat of annihilation by housing developers. When greenfields disappear, hedgerows invariably disappear too. Half of all hedgerows have been lost since the Second World War. They are composed of numerous species of flora which are crucial for the uptake of carbon dioxide; they provide a home and shelter to birds and are the habitat of countless species of invertebrates –everyone of which would be threatened with extinction with the gradual demise of this wonderful habitat. Yet the average walker or hiker will pass by a hedgerow without giving it a cursory glance along with the amateur photographer probably seeking the “bigger” picture which has long been my habit. But if they should stop for a moment and look closelyendless vignettes of small lives of great yet fleeting charm - of blossom, fruits, flowers, and leaves will be revealed. Hedgerows are chaotic, untidy habitats and can appear monotonous. Capturing images in black and white and in square format helps conceal the surrounding tangle and confusion but also enables the eye to be drawn to not just the pretty and charming but also to the “beauty of the mundane” – the ugly and the humble. With the hedgerow in mind, the images ought to be viewed as a continuum - as if walking by, - hence I’ve chosen the layout format as a single row.

I’m a lone photographer. I knew I had a set of good images without seeking approbation – in fact, there is no one I know I could or would ask for guidance. However, the RPS one-to-one was very useful. I learned from my Licentiate Advisory day just do as you are told (= advised) so I made a slight alteration in the panel layout and toned down the highlights in some of the images despite not feeling happy about it. I submitted a printed panel and watching the panel’s comments online I was pleased with the unanimous complimentary comments. I thought to myself: I’ve got this! Then - one of the panel members asked why it was the mounts were of two different shades of white. WHAT? How on earth did that happen? As I had not given a reason in my statement of intent how some images were enhanced by that particular shade of white mounting, the panel was failed. Mounts are part of the presentation – (that, I didn’t know - if only I did a digital submission!). Thus, I had to wait eight months to resubmit. Never judge the whiteness of your mounts under garage fluorescent lights. It momentarily crossed my mind to request a dispensation that my sight disability may have caused the misjudgement, but monocular vision is not a disability – you can fly an aeroplane with one eye so you can certainly judge a shade of white.

My Favourite Image

My favourite image is No. 1 of the bunch of ferns and thistle taken on an iPhone 12Pro. 42mm 1/120th sec, f16, ISO 50. I took it walking back from the supermarket not having my camera with me. It just cried out – stop and look at us!

Image of your choice

My other favourite image is of the Hedge Bindweed (No. 2) with the soldier beetle. Nikon Z6, 1/800th sec, f8, ISO 640. Having mentioned hedgerow invertebrates in my statement of intent, I was pleased to be able to include one along with the hated weed and its beautiful flower.

Success Story 8

Name: Michael Harris

Location: Cambridge UK

Successful A Panel June 2022

About the Panel

My original intention was to concentrate on the Norfolk coast and half the panel’s images were taken there. Most of the remainder came from much closer to home particularly from a newly created nature reserve that boasted a large wildflower meadow. My enthusiasm for macro work grew as the reserve developed. This separation of locations and techniques made organising the panel relatively easy based on colouration and activity of the subjects.

I was delighted when the panel was successful as it had been an ambition since gaining an “ L” distinction. My only regret was the time it took to assemble suitable images but that has to be balanced against the great support and advice received during the process that enabled success at the first submission. Many people note how useful a 1:1 session was during final preparations of their panels and I agree wholeheartedly. The review of my panel undertaken by Dr Kevin Elsby FRPS identified the problem images and enabled me to seek better with renewed purpose.

Statement of Intent

Associate Panel June 2022

The intention of this panel is to show a variety of species found in the East of England. The habitats explored were firstly coastal and the immediate hinterland beginning on the Lincolnshire side of The Wash and continuing along the Norfolk coast to Winterton. The species concentrated on were bird life and seals. Secondly, inland locations predominantly within a short distance of home in South Cambridge where invertebrate species were sought in the vegetation associated with the fringes of freshwater lakes and a stretch of the Granta River.

My Favourite Image

These insects are beautiful and, in a location close to home, plentiful. The prevailing conditions were ideal with soft evening light and a diffuse background with the insect perched on a grass stem that had bent low towards the ground. The trick was how to get close enough using a macro lens without creating a disturbance. The answer was to slowly crawl along a mown grass path until I was within range.

What I learnt

The process of producing a panel increases technical knowledge, practical skills and, in the case of nature, an awareness of the subject matter be it by location, season or behaviour and that increases the chances of taking a good image.

Canon 5D Mk IV with 100mm f2.8 macro lens 1/320 @ f6.3 and ISO 320

Knowledge and advice obtained from attendance at RPS advisory days, camera club lectures and competitions have all played their part in developing an understanding of what is required. One personal failing I sometimes make is not having sufficient images. Believing you have nailed a shot before looking at it closely on a computer screen may lead to disappointment and lessen the variety of images available for a potential panel.

Image of your choice

I was attempting to capture dragonflies on the wing using a long focal length prime lens and became aware of something in the lake. The shot came from a quick burst of images made without adjustment to the camera settings. I particularly like the snake’s tongue and the pattern of ripples in the water.

Canon 5D Mk IV with Sigma 500mm f4.0 lens and x1.4 extender 1/3200 @f11 and ISO 6400

Success Story 9

Name: Michael Parrott

Location: Wallingford Oxfordshire

Successful A Panel October 2022

About the Panel

This panel started as a personal project which evolved into an Associate panel. The photographs were taken over several visits to the location from late winter to mid summer 2022. On researching the RPS website I decided the panel was best suited to the Contemporary genre. I think my Statement of Intent sets out my thinking and purpose behind the photographs. The biggest challenge was achieving similar tones and style in each of the photographs, especially being black and white. I watched the assessment live via Zoom, and was elated when the Chair announced that my submission was successful.

STATEMENT OF INTENT

Contemporary Photography Assessment

The Nuba Survival is a sculpture by John Buckley, created about 20 years ago, to highlight the plight of indigenous tribes of the Nuba Mountains of Sudan, who are close to extinction after many years of sustained attack by the Sudan State which aims to clear them from their lands in what amounts to an act of genocide. The sculpture sits in a field beside a derelict barn in Oxfordshire surrounded by weeds and nettles. How the sculpture got there is uncertain, but it is made all the more powerful by this odd location. Rural Oxfordshire is the total antithesis of a mountain range in Africa.

I find the sculpture and its background fascinating, and I have been drawn back on a number of occasions. The location is haunting, but also quite ordinary in that it is surrounded by farmers’ fields. I decided to create a series of photographs portraying the sculpture and the barn, their close proximity to each other and their place in the landscape. The photographs are in monochrome to concentrate on the poignancy of the subject without the distraction of colour, and the processing is fairly “gritty” because of the intensity of the reasons behind the creation of the sculpture. The photographs were made over several visits during which the seasons evolved somewhat from late winter to mid summer.

The photographs seek to provide a portrait of the sculpture and some detail of the barn, including the chaos of the interior. The nettles and the Oxfordshire farming landscape are in stark contrast to the bare mountains of the Sudan. The skull in the final photograph seems to stare back with a reproach, why have we been left here, and why has our plight been almost totally ignored by the rest of the world.

My Favourite Image

My favourite image is the first one in the panel, because it sets the scene for the panel as a whole, and is the first view of the sculpture you get when walking up the path towards it There was a good sky and the dark cloud above the sculpture fits the story.

What I learnt

I spent quite a bit of time researching the requirements of the Contemporary genre, and looking at successful panels, on the RPS website. I had a 1 to 1 session via Zoom with Panel Member Richard Brayshaw which was invaluable. He advised me as to the layout and variety of images within the panel, and emphasised the need for consistency in processing each of the images. Also the necessity of writing a good Statement of Intent, which ensured that the Assessment Panel Members understood what they were looking at, and what my objective was. I re-wrote the Statement 7 or 8 times before I felt I had got it right !

Nikon Df, Nikkor 70-200mm f4 at 180mm, f11 at 1/500 iso 400.

I achieved L in 2011, and started to think about trying for A the following year, but struggled to settle on a suitable theme. Over a period of 7 or 8 years I made 3 submissions for A each of which was unsuccessful. Although deflating at the time, this proved to be a valuable learning curve as I realised the panels were not well thought out and the Statements of Intent were inadequate. I didn’t refer to any DI Zooms or tutorials.

Image of your choice

My second image is the final one in the panel, because it sums up the panel as a whole. The skull in the sculpture seems to stare back at the viewer with a reproach and you feel unable to escape its gaze.

Nikon Z7ii, Nikkor 70-200mm f4, at 200mm, f11 at 1/320, iso 400

Success Story 10

Name: Richard Gibbs

Location: Snettisham, King’s Lynn, Norfolk

Successful A Panel October 2022

About my panel

I initially thought I would enter Landscape, but was dissuaded by my first 1-2-1 mentor, who redirected me to Contemporary. This is partly taken from my SOI, which I attach as a separate file. I focussed on pictures of our surroundings because my wife, who is 68, has suffered from (frontotemporal) dementia (semantic variant) for over ten years. We moved to Norfolk in early 2021 and walked twice a day. My wife can no longer discuss what we see, but sometimes she will pause. I imagine that sometimes she sees clearly and sometimes it is a blur. I tried to capture something of the environment that my wife experiences through her eyes. All the photographs in the panel were taken within a few miles of our home and within the last year. Her condition is not going to get better, so these were moments of her declining, shipwrecked life. We cannot know what her mind is seeing, but it will serve a purpose if my images raise awareness of the possible effects and catastrophic consequences of dementia.

Statement of Intent

My wife, Amanda, who is 68, has suffered from (frontotemporal) dementia for over ten years. We moved to Norfolk in early 2021. We go for walks twice a day. Amanda can no longer discuss what we see, but sometimes she will pause. I imagine that sometimes she sees clearly and sometimes it is a blur. Her dementia has robbed her of communication, but she still has two phrases: “Over here”! which usually refers to some detail, and, “OK, not too bad”, which is a general statement of approval. The third option is silence, which may mean she is content or that she is confused.

I have tried to capture something of the environment that Amanda experiences through her eyes. All these photographs have been taken within a few miles of our home and within the last few months. We often walk by the sea, along wide-open beaches, but we also explore the woods and traces of history around us. Because she had a strong Christian faith, she also likes visiting churches, though her faith is now lost and she is unable to participate in rituals, so now the church may appear to be collapsing or is in ruins. We walk in all weathers, under clear skies and scudding clouds, in the cold and the rain. It is not possible to know what Amanda actually sees, or thinks, but she frequently chuckles and I think she would appreciate these images. Her condition is not going to get better, so these are moments of her declining, shipwrecked life.

We cannot know what her mind is seeing, but it will serve a purpose if these images raise awareness of the possible effects and catastrophic consequences of dementia.

What I learnt

Essentially, I was delighted to achieve the standard, but I was a little surprised, as I did not expect that my first attempt would achieve the standard.

I benefited enormously from two 1-2-1’s with Richard Brayshaw whilst doing this Distinction. He helped me understand that it was essential that each photograph related to the statement of intent. He also helped me achieve balance in the panel, partly by suggesting that by starting with sunrise and finishing with sunset an impression of a sort of ‘day in the life’ was created, even though differing seasons are represented.

I previously had an unsuccessful attempt in the Licentiate distinction. Then, with encouragement and advice from Michael O’Sullivan in 1-2-1, I was successful the second time around.

I picked up useful information on presenting the panel digitally from the recent RPS presentation on preparing a digital submission.

My Favourite Image

My Favourite image in the (5,5,5) Panel is the central image, Number 8, which is a double exposure of my wife and a blossoming May bush. It is my favourite because it relates to her love of the countryside and flowers but also may express some of the confusion she suffers from due to her condition. Her mouth is slightly open in a slightly worried way, but her eyes are obscured by dark sunglasses, which are then filled by May blossom. I like the way she merges into the trees and her blue hat matches the sky. In a way it is a frightening image, but then so is her condition. The image was captured on my FujiFilm X100V with the fixed 23mm lens. The shutter speed was 1/180 sec, aperture f/8, ISO 160, normal program with pattern metering. The image was composed in camera using the multiple exposure setting, and then processed using Photoshop.

Image of your choice

The other image of my choice from my final panel is Number 12, which is an image of a figure disappearing along a woodland path. The bare trees are closing in on the figure and the carpet of leaves seems to be rushing towards the viewer. This was taken on a Canon EOS R6 with an RF 14-35mm L IS USM lens. The shutter speed was 1/20 sec and the recorded focal length was 27mm. It was shot at f/8 with the ISO set at 160 on Manual. The movement was created by manually operating the zoom during exposure. Any post processing (sharpening, checking the shadows etc) was done in Photoshop. The person in the image is my wife, and she is disappearing as the natural world consumes her, but this may also be how she sees others that we meet.

Success Story 11

Name: Rose Atkinson

Location: Wells, Somerset

Successful A Panel (Visual Arts) in November

About my panel

I enjoy artistic photography and after gaining my Licentiateship in October 2019 I started focussing more on ICM and developing a personal style that inspired me to create a panel of impressionist images for Associateship, visualising the essence of Wells Cathedral. I live just two miles from the cathedral and I printed my panel on artisan paper made by St Cuthbert’s Mill which is only half a mile from home so the project was very much rooted in my local area. I would now like to be able to exhibit my images in Wells, hopefully at the Cathedral itself.

STATEMENT OF INTENT VISUAL ART - 30 Nov 2022

How do you define the essence of something? Is it the most common element or the most outstanding feature? The ordinary, or the extraordinary? Wells Cathedral has been described as “The most poetic of English cathedrals”. It is a place for contemplation, and for the community. A place I have loved for over 40 years. For the last two years I have been observing and absorbing the essence of everyday life in this extraordinary space. My panel presents painterly impressions, the poetry of line, form, space, light, colour, and humanity, as seen through the lens of my mind’s eye. This is my vision of the essence of Wells.

I have printed my images on paper from St Cuthbert’s Mill, which has been making paper in the shadow of the cathedral for 300 years with the water that is the essence and origin of Wells itself.

I attended the assessment at RPS House in November. It was a nail-biting experience and I was very glad to have some friends from the Camera Club with me for support! I was absolutely delighted to be awarded an Associateship at my first attempt and I had been through quite a stressful journey to achieve it. The start of my project was delayed initially by lockdown and then access to the cathedral was affected again later by further Covid restrictions.

My concept was very abstract and I was struggling to articulate it but a SOI review helped me with that. In August 2021 I had a 1:1 advisory and was told I was ready for submission. I also went ahead with an online advisory day a few weeks later, as I felt additional feedback would be valuable before submitting my panel. However, they advised I was not ready for submission and the assessors expressed doubts about several images.

I did not know what to do, so I postponed my assessment and put everything on one side for a few months. I then started afresh in the new year, took more images and redrafted my SOI, maintaining the same concept. The final panel retained only two images from the original version.

This time around I sought advice from my mentor who had helped me at Licentiateship and he reinforced my belief that I was on a much better track. So, my advice to others who may be struggling would be to consider putting things aside for a while, as it may well help to consolidate and strengthen the final result.

My Favourite Image

Number 14 is probably my favourite. (Canon R5, RF 24-105 lens, 0.6 sec @ f/10, ISO 400).

When I resumed work on the panel in 2022, I started experimenting with a different style of ICM and I immediately loved the atmosphere and rendering of this image. I was amazed at how much detail I could retain at the same time as creating a painterly, impressionist feel. This image inspired me and was a key element leading to my final successful panel.

Image of your choice

Another favourite is number 8. (Canon R5, EF 70-300L lens, 0.4 sec @ f/11, ISO 640).

It is the one that kickstarted the project and one of the two surviving images from the 2021 panel. This image reminds me of the texture in some of the cathedral’s contemporary embroidered alter pieces.

I have had mixed reactions to my panel. ICM is definitely more mainstream now, but I am aware that my style confuses some people because it retains a lot of detail. Intriguingly the images can appear to have more detail when viewed further away, not close up; and the print medium is also a very important element of their presentation. I may consider working towards a Fellowship in due course but I have no idea what my focus for that might be as yet. Most likely I will continue along the artistic route, but I am always open to new inspiration.

Success Story 12

Name: Seshikanth Middela

Location: Manchester

Successful A Panel April 2022

About my panel

I am a landscape photographer and would like to describe myself as a weekend photographer. Landscape is my chosen genre driven by my desire to get out and spend time on my own in solitude, away from the day job where I am surrounded by people constantly. I always tend to create a series of pictures based on a concept of sense of place. This concept presented with a challenge, a difficulty to choose one subject amongst many. I went with black and white images as they are my preferred choice. The second challenging part was writing the SOI in plain English i.e describing a can of beans as it is. My initial SOI was flowery and poetic which did not go down well at my first attempt. The unsuccessful attempt exposed a serious flaw and made me realise the importance of post processing. I had to redesign my panel based on the feedback from my unsuccessful panel.

Statement of Intent

Successful A Panel April 2022

“I like to photograph the breath-taking Scottish mountains for their shapes and forms, especially when they are covered in snow which enhances their geographical features. The dark barren rocks devoid of snow amplify the ruggedness. The directional light cast a multitude of shadows creating contrast and revealing the depth. The fleeting light enhances the textures and patterns of the mountain surfaces. They have been my source of my sanity for the last few years and gives me immense pleasure photographing them.”

What I learnt

I applied to take my A panel in August 2020 and was unsuccessful in May 2021.

The difficult part is to put together 15 images of similar tonality, that’s the bottom line. I had to quickly learn some skills such as burning and dodging to help with my panel. It took me an unsuccessful attempt to realise that editing skills are as important as taking the photographs. It is about roughly about 1/3 of your photography, the other thirds being your passion and actual act of photography itself. I felt that my ARPS journey is telling me that time is your best companion, because when it’s your time everything falls in place bearing in mind I had no intention of applying for ARPS in the first place. It was COVID which made me apply and the second time around, I had the right help in form of Mike from the London ARPS study group and obviously my mentors Tim Rudman and Paul Mitchell. I am grateful for their help. Like it or not, when the time is ripe everything falls in place.

My Favourite Image

I did not seek 1-2-1 advice before my taking my first attempt and the feedback from the actual attempt itself was like a 1-2-1 except that I was hiding on the day itself. It is very imperative you show your panel around, discuss with like-minded people and most importantly seek 1-2-1 advice. They know what works. The panel itself is called “snow and rock” which is simply about snow on the mountains. I have about 50-60 images worth using for the panel, and choosing 15 was a tough one based on their tones. I like all the pictures in the panel, but they were chosen because of their tonality. It’s difficult to chose a favourite, but for this article I have chosen the number 13, I have called it as the “turmoil”, the mountain struggling to ward off the snow laden storm. I shot it using Canon 5DS, Tamron SP 70-300mm F/4-5.6 (great lens), 70mm,1/250 sec, f13 ISO 200. I always try to use a tripod where ever possible.

I am driven by my desire to take photographs which appeal to me. Applying for distinction was purely COVID driven and my wife’s persuasion.

The photographs were taken during multiple visits over a period of three years. At the end of the process which culminated in a successful panel, the journey was reminiscent of the beautiful memories.

You can dismiss me as philosophical but my suggestion will be to enjoy your photography and everything will fall in its place when happens. If you are driven by expectations then you are bound to be disappointed, ask any landscape photographer. I flunked the first time mainly because of my complacency and arrogance. I was extremely disappointed to such an extent that I was in denial for a long period of time. Reflection and contemplation are critical steps if you have to improve your photography and your life. I was helped along the way with beautiful advice to overcome my flaws and the second time, I submitted my panel with no expectations. My panel was successful yet there is no elation or joy but relief and satisfaction. Will ARPS distinction affect my life? No is my simple answer. I am working on ‘F’ distinction, encouraged by my successful A panel.

I am not rushing and continuing to enjoy being out in the landscape making wonderful memories. Que sera, sera.

Image of your choice

The Monochrome B&W, from my series called “Snow and Rock”. It’s pure snow on the rock showing the raw beauty of the play of snow on the barren rock. It missed out on the second panel but was the part of the initial unsuccessful panel. However, the panel reckoned it’s too dark and stood out amongst the others, which I agree. If I had put 15 of these similar images and changed my SOI it would probably work or would it be repetition?

Working in Black and white means use of dodging and burning which is the only technique, I could master. I transformed the sky to complete black, for in my opinion if it’s any tone other than black, the picture would not work. I like to create work like this where there are areas with no details. A photograph is bought to life by contrast and sometimes there is too much in my pictures. Shadows and darkness are important and they help you to focus on the light. In my opinion, you don’t need to have details in it because it’s a supposed a shadow. But that’s my opinion.

Shot using Canon 5DS, Tamron SP 70-300mm F/4-5.6, 70mm,1/400 sec, f11 ISO 200.

Success Story 13

Name: Steve Gledhill

Location: Evesham, Worcestershire

Successful A Panel Setember 2022

About My Panel

For my panel of 15 monochrome prints I concentrated on the intimate landscapes around Mewslade Bay. I have many other images from there which are much wider landscapes but decided to limit my submission to smaller, intimate, ambiguous compositions. Having accumulated a large number of Mewslade Bay images over the years my challenge was to select 15 images that were all sufficiently different from each other, but which were also clearly related.

I watched the assessment over Zoom and was elated and encouraged as I heard the positive comments from each assessor. And when Jo Cornish announced my success I let out a loud “Yes”

(I was zoom muted!). Whilst I’d been hopeful of success, to actually achieve felt marvellous.

Statement of Intent

Landscape ARPS

Over the course of 25 years I've been taking photographs at Mewslade Bay on The Gower peninsula and at every visit I find fresh interpretations and compositions. For two hours either side of high tide this small 500 metre wide bay is completely submerged.

When the tide recedes its varied and fascinating underwater landscape is revealed around the base of the steep cliffs. Remarkable rock sculptures and textured rocks are decorated with numerous patches of mussels and barnacles sitting above the few small rock pools and streams across the sand. The only significant landscape variable at this inspiring location is the light; the rocks and beach hardly change.

My panel is intended to show the fascinating variety of inspiring intimate landscapes created by the sea along this short stretch of coast. Presenting Mewslade's landscape in monochrome brings focus to the shapes, patterns and textures available for the creation of images.

It is important to keep standing back and looking at each possible set and arrangement of prints to see how well balanced they are, to demonstrate a variety of compositions arranged in a cohesive / harmonious way, whilst at the same time matching closely my Statement of Intent.

This took a lot of time and consideration of alternatives. It was very helpful to look over many successful submissions from other RPS members to get a feeling for what works.

I had arranged to attended an RPS distinctions workshop which was cancelled with the arrival of Covid. So my preparation was largely on my own best judgement!

Early in 2022 I made an ARPS Photobook submission which was unsuccessful. It was a hand crafted book with a set of 32 image pairs. The first of each pair was an image taken whilst on a project - Photohiking The Thames Path. The second was a graphic symmetrical manipulation of the first image - a Symmetrograph as I termed them. With hindsight it was perhaps a little too quirky.

I had a very positive 1:1 zoom advice session with Tony Worobiec. I submitted a set of landscape images (unrelated to Mewslade) that I felt would pass muster. Whilst Tony was positive I suspected less than full enthusiasm. Towards the end of the 1:1 I introduced my alternative Mewslade images which gave rise to very positive comments and suggestions. That resulted in me making further adjustments and my eventual panel submission.

My Favourite Image

All of the images in my panel are static except for this water wavelet reflecting from the beach boulder. I noticed it as a prospective image whilst walking towards it and decided to wade in. I took several shots before capturing the ideal wavelet.

Sony AR73 - ISO 100 - 16mm - f14 - 1/200s

Image of your choice

This Mewslade image is always seen initially as a drone shot looking down on a meandering river in a canyon … until the limpets, barnacles and mussels are spotted!

Sony AR73 - ISO 100 - 35mm - f14 - 1/200s

Success Story 14

Name: Dr Prabir Mitra

Location: Kings Lynn, Norfolk

Successful F Panel April 2023

About My Panel

As a doctor (NHS GP), I had witnessed the difficulties that the care home residents and their carers were facing during the pandemic, and I felt the inner urge to document their struggles. As I was entering the Contemporary Panel (digital) – I was aware that my photographs would need to express the emotions behind the story explicitly.

Detaching myself emotionally was a real challenge as I knew the subjects whom I photographed. I knew that I had to concentrate on visual storytelling and with my eye behind the viewfinder I could focus on what I wanted to portray. The apprehension of contracting COVID was always there too, but appropriate PPE helped me go where I intended to.

The success gave me an inner happiness- that I could tell the story that I wished to- an important story, which many viewers would not have known/ seen without my work.

Statement of Intent

As a primary care clinician, I have witnessed the devastation unleashed by COVID-19 on care homes across the U.K. Whilst the media attention had been primarily on hospital/ ITU patients and families, I felt an inner urge to portray the stressful lives of residents and workers of care-homes, which have remained largely undocumented. This emotive journey involved working closely with carers and family members of residents who have battled to safeguard a vulnerable population behind closed doors of care homes throughout the pandemic. The body-bags robbed the residents of their personal identities but forced me overcome my apprehension of entering a care home’s “butterfly COVID-Zone’. I needed to grieve for the residents that I had known and worked with for years. This project enabled me to witness the emotions of carers and residents including their personal fears and isolation. I feel privileged that I was trusted to represent their collective voice through my panel.

I confirm that I have signed consent-forms of the staff members and patients and their family members whom I photographed. The managers of the care homes also had permissions from family members of patients (who were unable to consent) who were being photographed. This process of consenting added an extra layer of interaction between me, and my subjects and it was instrumental in making this whole project successful.

What I learnt

I had the opportunity to have an online Portfolio review and the advice was really helpful. My main learning points included that all the individual photographs had to be “strong”, that they have to be cohesive and “flow well” and they had to have a “distinctive style” of my own.

This was my 1st submission for the Contemporary Panel. DI zoom meetings were invaluable. It was great to have different perspectives of the members and I certainly benefitted from their constructive criticisms during the preparatory phase of my panel.

My Favourite Image

The 16th image is my most favourite image. The daughter of this 84 yrs. old resident used to come to the door of the care home most days throughout the pandemic. Due to strict lockdown rules, she was not allowed to meet mum. When the restrictions were a bit relaxed, and mum was allowed to come out of her individual room to the communal area, the authorities arranged for a meeting room, but they were in “two different worlds” across a glass door. The joy of their meeting was evident in their body languagesyet a sense of “unfulfillment” was evident too.

I named this particular picture – “So near yet so far”. I knew I had to make a shot that depicts their story.

I could not pre-visualise this shot and hence I could not decide where to position myself. I was going to be somewhere outside of the building at the time when the daughter was due to visit mum. However, I was called inside as there were some medical issues to address- and that changed my point of view.

Exif Data:

Camera Nikon Z6

Lens: Nikon Z 24-70 mm, f/4

Focal Length: 24mm

Image of your choice

I was visiting a care home after several residents had passed away within a matter of days.

I came across two carers who were tidying a room which just became vacant after the resident passed away to COVID. Her “worldly belongings” had no significance anymore - and were merely stacked in black bin bags before being disposed securely.

Exif Data:

Camera Nikon Z6

Lens: Nikon Z 24-70 mm, f/4

Focal Length: 24mm

Exposure: 1/200sec; f/ 6.3. ISO 3200: Manual: pattern Metering

Success Story 15

Name: Hugh Rooney

Location: Bangor, County Down, Northern Ireland

Successful F Panel Visual Art December 2022

About My Panel

I enjoy travel, and especially enjoy visiting cities around the world. I love exploring these cities on foot, and photographing their great architecture, especially the modern buildings. The images in the panel were photographed on such trips over the last ten years. In 2019 I decided to try to use some of the many images I had taken, and produce an RPS Fellowship Visual Art submission. I then spent almost three years processing the images, and balancing the images within the panel. I have always been primarily interested in producing monochrome prints, so I fairly quickly decided on the use of black & white prints in the square format.

Statement of Intent

FRPS Submission by Hugh Rooney - 1st December 2022

I have always loved visiting and photographing the world’s great buildings, especially the best of modern architecture.

This panel of black and white prints is my personal visual interpretation of twenty one such locations, taken in ten different countries around the world. The images are all taken from the perspective of someone passing by in the street.

What I learnt

I learned many things on my FRPS journey: In order to ensure the photographs had a consistent look, I developed Photoshop post processing techniques to develop a specific style, which I used to process all the images in the panel. I also experimented with a number of different papers, but finally settled on Canson Prestige as it produces strong deep blacks which are so important for this style of print.

I think the two most important pieces of advice I could give anyone working on a distinctions panel are to make sure you get help from someone you can trust.

I had invaluable help and feedback from friends within Bangor & North Down Camera Club, and from the RPS 1-2-1 process. It is also important that you persevere, many panels are unsuccessful at the first attempt.

I was successful with this panel on the second attempt. The first submission had been two years earlier and I had received very helpful feedback from the Panel Chair, Susan Brown. This feedback stated that the panel had the potential to be successful, but that I needed to remove about 4-6 prints which were too representational, and instead focus on the stronger more interpretational images, where I had used accents of lights to emphasise shape.

I then made changes based on the feedback, before having a very helpful 1-2-1 with Richard Tickner. Richard felt the revised panel had made good progress, but also suggested some further changes which I made before the final submission.

My Favourite Image

I really don’t have a favourite photograph, I have chosen this image of the Chrysler Building in New York as it was the first one which I finished using the high contrast style which I would then apply across the rest of the panel. It was therefore a very important influence on the early direction of the panel. It is also one of my favourite buildings in the world, with its fabulous Art Deco look it is an iconic part of the New York skyline.

Fuji X-T1camera using a Fuji 10-24 lens at 10mm, aperture f8, shutter 1/1000 sec, ISO 1600

Image of your choice

This image was taken in the Ginza district of Tokyo, a city with a lot of great modern architecture, partly due to the fact that it was almost completely rebuilt after the second world war. I had only a few days in Tokyo, but based on on-line research, one of the buildings I decided to visit and photograph was this one. I really loved the look of this building, with its unusual twisting facade.

Fuji XT-2 camera using a Fuji 10-24 lens at 19mm, aperture f13, shutter speed 1/550 sec, ISO 200

Success Story 16

Name: Ken Holland

Location: Teignmouth, South Devon

Successful F Panel Contemporary October 2021

About My Panel

Hannahs was a charity helping young people with special needs. I visited and volunteered there. I ran photography courses and documented a way of life. When it closed with hardly any warning I felt drawn to photograph the artefacts and personal belongings that were left behind. Technically I was trespassing, and had to work unnoticed by security staff. I was asked to leave on several occasions! Photography was not easy in semi-darkness without a tripod. Time afforded by lockdown gave me the opportunity to make small intimate prints over several months. I admit to being very emotional when my success was announced.

Statement

of

Intent

When Hannah Left Home

“Stress energy travels inwards, and needs to come out”.

J.H. Psychotherapist

Making these images has helped me to positively re-evaluate the trauma of ending my teaching career due to stress. My final day, walking through the building where I had loved working, was overwhelmingly sad. Memories of the silence, loneliness, and emptiness still remain.

A few years later, I enjoyed working at Hannah’sa charity for disadvantaged young people. It was positive and full of high spirits: but the buildings were closed and sold. I felt compelled to photograph it soon after. I worked respectfully, often in semi-darkness, as if in mourning. Hannah (and her iconic ducks) had left home: the tap was turned off and her spirit gone.

Counselling had attempted to uncover my stress, like opening the layers of an onion, but I found it difficult to verbalise my feelings. While exploring Hannah’s I realised that the images I was making were revealing those layers. Each successive, deeper, layer - corridors, rooms, offices, games, artefacts and personal belongings - seemed to mirror my emotions. My panel arrangement represents that “onion”. From the outer edges to the centre, my troubles become more profound. Surprisingly, Hannah’s sad departure helped to heal my trauma. Using photography to convey my anxieties through visual metaphors has encouraged me to work mindfully, valuing every moment, and to use silence and time positively. I now appreciate that the process of photographing, and later releasing inner stress while editing and creating intimate prints, can be more therapeutic than using words.

What I learnt

This was a very personal project, with the original aim of making a book for my own use. Lockdown tempted me to have another attempt at Fellowship, having failed over 20 years ago, and vowing never to try again. These photos were just for me so I was apprehensive about sharing them. I’d been a member of the RPS Contemporary Group since its infancy, and I knew that it would be the only possible category. After sharing my work with very encouraging local CG members, and receiving some other encouragement, I put a panel together. Advice is always helpful, but, I was reminded, it’s YOUR panel, and YOU make the final decisions. I was told “write your statement first, and then make your images support that statement”. Good advice! Two extremely helpful one2one meetings with Richard Brayshaw FRPS were followed by four months of printing and mounting until I was finally satisfied with my panel. Representing my deepest emotions in print form was incredibly therapeutic. I delivered my treasured prints in person to RPS House: it was like parting with my own “baby”. Then came the doubts. Will Panel members understand me; are my A5 intimate prints too small; is my work of Fellowship standard and is my Statement too deep?

In the end my panel was extremely well received, and gained many compliments. Following my success, I am delighted to say that I was asked to become an RPS Contemporary Panel member: a role I am enjoying immensely.

My Favourite Image

Life is a Sequence. How true! As I passed this poster on the wall I entered the room opposite, and read the caution on the cleaner’s bucket and saw the empty chair, inviting me to participate. The empty wall units hint at the sequence.

Lumix GX9 Lumix 12-60mm 1/15@f8 ISO 800

Image of my choice

Silence. This sums up all of my anxieties. I imagine the silent school staff-room, where I had enjoyed so much fun and laughter.

Now I “hear” the silence and see the empty coat-hangers, and I wonder what lies in store in the dog kennel.

Lumix GX9 Lumix 12-60mm 1/15@f8 ISO 800

Image of my choice No 2

My Hannahs. The one that didn’t make the panel. One of my favourites, but it was suggested that it looked set up and I should leave it out. That was hard. I thought it summed up my entire project. All of my images were exactly as I found them.

Lumix GX9 Lumix 12-60mm 1/40@f6.3 ISO 800

My panel has often surprised many people. Partly because I made A5 prints (is that a panel record?) mounted onto 50x40cm bright white mounts, and partly because it was all done with a micro fourthirds camera and one lens. MFT has a reputation for making noisy images in low light, but I have never found it to be a problem. And hand-holding was a doddle. This was printed on Epson Traditional Photo Paper, using a Canon Pro10 printer.

That paper is just utterly brilliant for mono prints. I used to teach City & Guilds Darkroom printing many years ago, and I am probably the fussiest printer on the planet! That paper is supposed to emulate a darkroom print, and I think it does a very good job.

Success Story 17

Name: Marilyn Taylor

Location Woking, Surrey

Successful F Panel Visual Arts

December 2022

About My Panel

I had been to Papua New Guinea twice, in 2018 and 2019, essentially for the cultural festivals that they run every summer. About a hundred different tribes, with anything up to 50 men, women and children in each, dressed in traditional celebratory feathers, leaves and masks. It was a chaotic few days, the singing, drumming and whistles, and together with the excited chatter and shouting of the local people was nothing like the English Civil War Re-enactment events that I normally attended. But it was an absolute privilege to be there. Even in 2019, I wondered how long their traditions would survive the onslaught of modern technology, which led to the title of my panel. For me, it was all about their costumes, their makeup and their weapons or tools. What I hadn’t expected was how friendly they would be.

What I learnt

When I realised that I had the makings of a Visual Arts or, maybe Contemporary, panel, I went back in August 2022 just for the three days of the festival, for a few more shots.

I have been trying for a Fellowship since 2012. I learnt that I wasn’t as good a photographer as I had thought.

I always knew that any panel had to be absolutely technically perfect, and unique in content. Perfection is very hard. I’ve been using Photoshop since 2001. There hasn’t been a week that I haven’t learnt a new technique, or seen a better way of doing something.

Keeping up with Adobe’s improvements has been an adventure.

Statement of Intent

The Disappearing Tribes of Papua New Guinea

Visiting Papua New Guinea in 2018 was an exciting adventure, if a little scary. I’ve always been intrigued by tribal cultures, but to meet and photograph such interesting people was a real privilege. I’ve been back twice since and it just got better. The villages are quite isolated within the rugged volcanic landscape and dress, face and body painting, language and weaponry vary throughout the islands.

I worry about how long these tribes will be able to continue their traditional sing-sing celebrations. Like many other ethnic communities throughout the world, the people generally wear modern clothing and their ancient way of life has been disrupted by the inflow of technology. But their government encourages villages to preserve their culture in annual celebratory summer festivals. Will my grandchildren be able to meet the Huli Wigmen, the Asaro Mudmen or the Simbai warriors? Or will they have disappeared forever? Time will tell.

My most favourite image is probably the Asaro Mud Man with the bamboo fingers. The other men are far more colourful with their faces painted and their luxurious feathers, but the Mud Man was one of the first photos I took in 2018. He crept up behind the group and put his hands around us. We all nearly had a heart attack; I can’t look at that image without remembering that moment. And this is what is amazing about photography – you don’t just see the photo years later – you are transported back to that wooden seat, sitting in the misty jungle, trying to focus on the amazing men in front of me, and these sharp pieces of wood come into my side view. By the way, we were all perfectly safe.

Image of your choice

My most favourite of the men with the gorgeous feathers and immaculate face painting is number 3 in the panel. He has such a serene aura. Behind him was chaos – cheering, singing. Selecting his portrait from such a complicated background was difficult but worth the effort. I experimented with a rough texture as an overlay (which I had photographed elsewhere), but also used some different blend modes, such as Color Burn, and Soft Light.

Olympus EM1-II 1/500 f9

ISO 320 with the 12-100mm lens

The whole panel was printed on PermaJet’s Portrait Rag on a Canon Pro-300 printer, at home, with Antique White mounts professionally cut by Cotswold Mounts.

Success Story 18

Name: Janet Richardson

LocationMarket Drayton, Shropshire

Successful Fellowship Oct 2022

My Photobook Fellowship

My Photobook Fellowship was a very different journey to presenting a panel. I had prepared a panel submission and then changed my mind as I felt a book would be a better medium for presenting my images and telling my story.

My photos were black and white, (except 1). I was in each shot, and they were metaphorical images relating to my childhood. My challenge was learning how to produce an interesting photobook, rather than a photo album, and then researching and learning how to publish my book and ensuring my images were exactly the tone I wanted. I needed to ensure my photos flowed as the pages were turned, and at the same time portrayed a story which had an introduction, a central theme, and a suitable ending.

I submitted a statement of supporting evidence containing my aims and objectives, which was about 1,000 words, which is different to a statement of intent.

I was over the moon (and shocked) when I was successful at my 1st attempt – the result of a 2 year project. My regret is the RPS not allowing an audience of photobook assessments. A congratulatory email didn’t feel quite real.

I had a couple of mentoring sessions with Maria Falconer FRPS to share ideas and help me identify my most powerful images which told my story.

I then had an online session with Stuart Wall learning how to create a photobook using Affinity Publisher, followed by a RPS zoom workshop with Tim Daly on creating a photobook, both of which were really helpful. 6 months before my assessment, a photobook one2one with Richard Hall was also very helpful.

I gained so much self-confidence through my journey, and learnt that everyone has different ideas about photographs and I needed to follow my own gut instinct of what was right.

I also learnt the photobook genre is an expensive route to a distinction.

I ended up having several books printed before I was happy with the end result.

I gained my LRPS in Sept 18, and Contemporary ARPS in April 19 and my Fellowship all at the 1st attempt.

My Favourite Image

My photos were taken with natural light, and I wanted to create a dark atmosphere

My favourite photo ‘the pain of seeing’ tells my story. This was a very difficult photo to plan, create and shoot because the barbed wire was strong and not very flexible. I wanted to have it appear as if a barb was in my eye so in some respects it was quite dangerous too.

Sony A7R3, Sigma 70mm macro lens @ 70mm, 1/15 sec, ISO 500

Image of your choice

I liked the colour photo of a pomegranate on my stomach as it broke up the sequence of mono shots in my book and created an impact. Its the only colour shot in my book of 27 photos. It was very difficult to balance a pomegranate on my stomach, keep breathing and trying to get the juice from it to run in the right direction!

Sony A7R3 Sony 28-75mm lens @ 75mm, 1/160 sec, f6.3, ISO 100

Success Story 19

Name:Richard Tickner

Location: East Sussex

Successful: Fellowship Oct 2022

About my book

November is the month of bonfires and Remembrance. A month of closing down, of reflecting on a summer long gone. A month of preparation for the inevitability that is December.

“November” is also the title of my book.

In November 2021 I did a small project photographing local trees for a book to be given to a friend as a Christmas present. I was pleased and frustrated by the result. I enjoyed the more abstract images and those with typical November mist reducing the clarity of the images but overall the book lacked a clear narrative and felt incomplete. During 2021 I returned to the images and thought about what was missing from the project.

I came across a quote from Ralph Hattersley; “We are making photographs to understand what our lives mean to us.”

In November 2021 I embarked on a new project that would embrace those aspects of November that interested me and would reflect my experiences of being in the November of my life. The photographer became as much the subject as the month. After many iterations “November” was created.

Photography

All the photographs in this project were taken locally in the month of November.

The book is sequenced as a series of short chapters each introduced by a quotation.

Every chapter has a distinct “look” reflecting its subject. There is a time line through the chapters but this is not rigid. The first three chapters refer sequentially to early November and the last chapter to late November.

The images tend to darken as the book progresses, reflecting Physical Attributes lengthening nights.

Physical Attributes

The book is hand made. It measures 23cm wide by 17,5 cm high, is 49 pages long and includes 32 photographs.

The paper used is a Japanese Kozo paper called Unryu or Cloud Dragon paper. I am attracted by the interaction between the random mulberry fibres and the pictures. The binding is a type of concertina that in Japan is called “Album” binding or nori-ire gajo. It is an important design element that the spreads lie flat. The front and back hard covers are made of bookboard covered with Buckram cloth of two different shades of grey.

The lighter cloth on the front cover, the darker on the back cover again referencing the darkening of the days through November. The jacket is bamboo paper.

The two fonts used are American Typewriter for the title and the quotations and Avenir for my words and name.

I think the informality and personal feel of American Typewriter work well for this book and I always use Avenir for my name and my words in photobooks.

The Experience

As with all projects, the making of “November” was a great learning experience. The project gave me a focus, a reason to think about my photography and what I want to say through it. The pictures were trying to tell two stories. One about the month of November and the second about my experience of being in the “November” of my life. It seemed appropriate to use multiple exposures to achieve this. The words were a challenge with a mix of appropriate quotations and my own words. Google was a great help! The physicality of the book was also an area of discovery, many mistakes and lots of frustration. When I started this project, it didn’t occur to me to submit it to the RPS for a distinction.

On completion I decided to have a 1-2-1 with a panel member. Richard Hall was very helpful, and his encouragement led to my submission.

And of course, I was honoured and delighted with the end result.

I am so pleased that the RPS has introduced the Photobook Genre. Congratulations to Stewart Wall and his colleagues.

Favourite Picture

The very last picture in the book. It talks of darkness at the end of November but there is a gate that leads to the warmth of a setting sun. The picture was made using two photographs blended together and cropped to a panorama.

Image of your choice

This picture reflects the importance of bonfires to November. Not just November the 5th celebrations but in the clearing up of the fallen leaves and general detritus of autumn

The picture was made by merging a number of photographs of an actual bonfire.

I hope that it conveys the feeling of warmth on a cold November evening whilst standing by a bonfire.

Image of your choice 2

The second chapter of the book relates to fallen leaves. This picture opens the chapter. Again a simple multiple exposure image that shows what is so often underfoot in November.

Image of your choice 3

This picture opens a chapter on the beauty and grace of trees without their leaves. How they spread their branches like dancers.

I am in the November of my life.

Still a life full of colour.

Just a little greyer.

Still a life full of memories.

Just a little fuzzier.

Still a life of joy and tears.

Just a little quieter, a little slower, a little darker.

“The Incomplete Circle” Simon JG Ciappara,

Supporting Evidence

Thirty years ago, whilst working as The Environment Protection Officer for an island in the Caribbean, I discovered an ancient method of making paper from Bamboo. On a small island, environmental protection must involve the population, enhancing their life chances to make a viable living. The ethos of the minimal use of natural resources and the highest value for the products created (low volume, high value) is a prerequisite. Thus, paper making from an abundant weed, Bamboo and ample rainwater was a perfect fit.

Community training and assisted business creation resulted in many projects that could provide skilled employment and viable alternate income generating opportunities. Some of which are still running thirty years on and still protecting the natural environment in which people live and work.

On my return to the UK 20 years ago I started to make paper in my own environment and experimented with many different plants, all of which grow within a 10-mile radius of my home. At that moment the idea of printing my Photographs of the plants from which I made paper “Plant self-portraits” was born.

Over the years my refinement of paper making processes resulted in many different plant based papers some of which received ink better than others. The resulting images “plant selfies” had a unique charm.

Through continuous experimentation I came to an understanding of the properties of the plant fibres and how get the best results from them. An assemblage of these images had a plethora of textures, colours and quality of print. My photography has always been about “The Print”. The combination of my handmade paper and images has resulted in some joyful success and some resounding failures. During the first spring of the “Pandemic” I had an epiphany. Why not mix different plant fibres chosen for their specific individual properties and create a “size” to seal the paper from starchy crops grown around me. The challenge was to formulate a recipe that would make a batch of paper for a book to submit for RPS Photobook Distinction.

In my book each sheet of paper must contain fibres from all the actual plants in the images, the other ingredients, rainwater and starch from the grain are also depicted in the photographs. So, there is a pictorial “recipe” of the book in its content.

As I refined the plant choices, I photographed the subjects but there was an element lacking, the images were “Of” not “About” the plants. I wanted to express not only the representation of the plants essential fibre but its contribution to the paper and the manner in which it is made. Thus the layering of multiple exposure images, echoing the layering of fibres in the paper making process came into being. The colour images still felt “Of” not “About” and thus monochrome prints became the embodiment of my idea. Eureka.

Bookmaking has always been part of my “low volume, high value” handmade paper ethos, but what type of book to make?

A unique one off “Artist” book that when finished will be the only physical embodiment of the idea. The book’s very existence unrepeatable as the material from which it is made is also a singularity. The handmade qualities would also embrace the “Wabi Sabi” in the making. Thus the design principle of this book took form in my mind, and subsequently in my hands.

“Design is not just what it looks like and feels like. Design is how it works.”

(S. Jobs)

As plants grow they unfold revealing their form, I wanted this book to unfold and re fold revealing its self in the hands of the viewer.

There is a Zen concept of “Enso”, in brush painting, for example, is often drawn as an “incomplete circle”, symbolising that participation is a necessary part of creation.

Within your hands, as you read the book and turn the pages, you handle the very essence of the plant material in the photographs. Your fingers engage with the texture of the page and as you view the image, you complete the circle.

“The Incomplete Circle” my photo book is just that “incomplete” until held in the viewers grasp and opened.

I hope you will find as much enjoyment in my book as I have had in creating it.

“Which came first the Picture or the paper?”

Resubmission

I resubmitted my Hand Made Photobook “The Incomplete Circle” for FRPS Assessment, in April of this year when the Chair stated the panel Assessors’ reasons for requesting resubmission out lined below.

Unfortunately, the photobooks panel could not recommend your submission for Fellowship due to a technical issue. If you look at the image of what might be corn growing, which is opposite the title page ‘Grain’ there is evidence of a horizontal white lines towards the bottom of the image. Similar lines are on several images, and it was agreed that this was a technical fault.

It was also mentioned on some pages, for example the title page ‘Bamboo’ there is evidence of black smudging which could possibly be black ink transferring from the opposite page. This might be part of your process to develop a certain look, and you might decide to write that into your supporting evidence.”

Having taken on board the above technical issues I have remade my book from first principles up.

Remaking the paper necessitated harvesting the plants in their spring growth which provided a different quality of fibre and pulp. The method of making the paper also needed addressing to eliminate small thickness differences which I felt were the root cause of the “banding” on some images.

For this batch of paper, I adopted a Japanese Washi technique and replaced the fabric textured “couching mats” with wool felt mats, which changed the surface texture to a more even finish, this, coupled with increasing the pressure to approx. 3000 lb per square inch in the press has resulted in a paper with somewhat different qualities to my previous submission.

To address the “smudging” I had to rethink both the size and whether to “seal” the prints, I felt it would not compromise the integrity of my intent to seal the prints with a purchased product and that it would eliminate the smudging issue.

“I have found much joy in the remaking of my book and am confident that I have eliminated the “Technical Issues” that the Assessment Panel found in the previous submission.”

“I think therefore I am, but it is in doing that I become” René Descartes

“You are what you do, not what you say you’ll do.” Carl Gustav Jung.

Success Story 20

Name: Simon Street FRPS

Successful: Fellowships

Landscape and Travel

Apologies again for imposing 2 further efforts on Accolade readers. I will therefore be brief.

Landscape Overview

Overview. In 2021, I tried my hand at Landscape Print and enjoyed it so much I wanted another excuse to explore panoramas. I had never tried a Photobook so that became the medium. I chose Estuaries as my panorama subject for my love of the sea. Learning. I learned how difficult it can be to get a printed book the way you want it despite screen calibrations, printer profiles and soft proofing. In the end I did a draft copy and made manual changes to each image before proceeding for a second print. The result worked but at A3 on archival paper this was not a cheap option. I also learned how to stitch images together in Lightroom using the Merge function. – really easy and great results.

Travel Overview.

My second effort was for Travel Print. I count myself as a keen Traveller but had always been wary about the limited access one has to any exotic travel location. My ‘big idea’ was therefore to find a Travel shoot location much closer to home. So began my ‘Portsea Island’ project – the island that Portsmouth sits on. Learning. The Travel category has special criteria that rightly constrain the use of post-production techniques such as Cloning. This is very demanding in terms of getting the image well composed and exposed in camera. Support. I did not get the Travel Fellowship the first time. It took a lot of guidance during a superb 1 2 1 review with the Travel Panel Chair to realise how to take and process the images to meet the criteria.

ACCOLADE 12

Hanging Plans for more detailed viewing