Celebrating RPS Digital Imaging Members’ Distinctions
Welcome to Accolade 16
In this edition we are highlighting the Digital Imaging LRPS Support Group headed by Marie-Ange Bouchard and, on pages 3 and 4, she explains how the group works and what you can expect from it. It is a very good place to start if you are thinking about an LRPS or you would just like to know more about it. Participation is free and available to Digital Imaging members only, so do make the most of this additional avenue of support.
We are delighted to celebrate successful members, Fintan Healy and Munier Hossain who were both helped by the group on their way to their LRPS distinctions. You can see their work and read their stories on pages 8 and 12.
The Photobook is a relatively new genre for Associate and Fellowship distinctions and the DI Books and Zines project will have whetted the appetites of some of our members to consider a distinction in this genre. We are pleased, therefore, to be able to bring you an example of a Fellowship Photobook recently gained by DI Membership Secretary, Madeleine Lenagh, on page 54. We are only able to present a small selection of the images from her book, Perpetual Motion, but you can visit Madeleine’s website to find out more.
Further information about the Photobook genre can be found in the Resources section, a one-stop shop with interactive links to all the information available on the RPS website for distinctions at all levels and in all genres. It is an invaluable source of information put together by DI Web Content Manager, Lois Wakeman, including the dates for the Autumn 2025 ARPS and FRPS Assessments.
We always welcome your feedback, so please get in touch on the Accolade email and tell us what you think. Lastly, we would like to congratulate all the DI members featured in this edition of Accolade and we hope you enjoy their stories and images as much as we have.
Sue Vaines
Accolade Editor Caroline Petch
Accolade Contributions
The LRPS Support Group – Helping You on Your Distinctions Journey
The RPS Distinctions journey can feel daunting. Who do you ask for advice? What’s expected at each level? So many questions - and you’re only just starting.
To help members working towards their Licentiateship, the Digital Imaging Group has set up an LRPS Support Group. Any DI member can join, regardless of where they are in the L process.
Meetings are held on Zoom and generally alternate monthly between the third Friday and the second Saturday. Each one runs for two hours and typically features four participants who present their panels. This format allows ample time for image discussion, feedback, and suggestions.
Each event is led by Marie-Ange Bouchard or John Porter, with support from Janet Haines and Robin Price. In addition to the panel presenters, up to ten silent observers join the video call - and they consistently tell us how valuable it is to listen in on the discussions.
The Support Group isn’t a replacement for a one2one or Advisory session, and we aren’t assessors - though some of us are former assessors from the L Panel. Instead, it’s a friendly, constructive forum designed to help you progress towards your Licentiateship.
Between gatherings, members can continue the conversation via a dedicated online forum. There, you’ll find people asking for image feedback, whether or not their panel is balanced, and helpful resources - from screen calibration videos to recordings of past LRPS Support Group sessions.
The group is welcoming, respectful, and full of insightful perspectives. It’s also a great chance to see some fantastic photography. Whether you’re just thinking about applying for your L or ready to submit, we’d love to see you at a session or on the forum. To get involved, simply email us at DISupportGroup@rps.org
Janet
Marie-Ange John Robin
LICENTIATE LRPS
LICENTIATE
Fintan Healy LRPS
I have been a photography enthusiast since my school days, but it is only in the past few years that I’ve had the time and energy to really focus on improving my photographic skills.
In 2019, I joined my local photography club to get some guidance and feedback on my work. In 2020, I took the next step by joining the RPS to further my learning. I participated in as many activities and competitions as I could, all with the goal of critically evaluating my work and experimenting with new ideas and techniques. For me, pursuing the LRPS Distinction was a natural progression in my photographic journey at that time, and I relished the challenge.
The Process
Last year I set myself the goal of obtaining an LRPS. The first step was to fully understand the process. I spent time studying all the relevant information on the RPS website to digest and understand the evaluation criteria, as well as the application procedure. I also looked at examples of successful panels, which I have to say was a bit daunting, as I found myself wondering whether my images were as good and up to the mark. But that was the point; to become good enough to earn the distinction!
The first challenge was to select images for submission. It’s natural to choose favourites, and that’s exactly what I did picking twenty or so of my ‘best’ images. However, I soon realised that favourites didn’t always fit into a panel, so I had to change my approach. This might mean removing one or more favourites, which is tough but essential.
When preparing the initial panel, I found it helpful (if not essential) to print all the
images, lay them out on a table and try different arrangements to get a feeling of how the panel might look. With a general preference for symmetry, I adopted some working rules for the layout. Balancing square crops with square crops, landscape with landscape, and so on and ensuring a uniform height for all images. As the layout rules crystallised, I realised that some images selected wouldn’t work as square crops or as mono conversions, so they weren’t included.
Once a ‘contender panel’ was in place, it was time to book a one2one session. This was extremely helpful, although it was a little disappointing to hear that the panel didn’t make the grade at that point. However, that’s the point of the one2one: to receive clear, impartial, and neutral advice without any emotional bias that family and friends might have. It’s far better to receive disappointing news at the one2one stage than the final assessment stage.The positive take-away from the session was confirmation of being on the right track.
I must mention the Digital Imaging LRPS Support Group. It’s an excellent resource, and I highly recommend it to anyone considering applying for the L. Participating in the group, viewing, and critiquing other photographers’ images was incredibly helpful, and I also received valuable feedback on my own work. I want to express my gratitude to everyone involved in setting up and running the group, as well as the active and helpful members.
Personal Insights
I found it to be very beneficial to review images (my own and those of other photographers) against the ‘ABC criteria’ of the L assessment. This helped me to become more critical of my own images, which in turn helped in the selection and editing of images.
Some Favourite Images
The images on this and the previous page were both taken at the Talk-Walk-Talk (T-W-T) event ‘The Built Environment’ in Bath, run jointly by Digital Imaging and the Landscape Groups. I highly recommend participating in T-W-T and Landscape Group Member
Led Events (MLEs). It was particularly rewarding to capture images that I might not have otherwise taken, and I was delighted when they made it into the final panel.
The image ‘Eriskay Pony’ (below) was included as image No. 1 in the contender version of the panel. However, the one2one advisor really did not like the composition. That really made me think about whether I wanted to include it. After some thought, it was taken out and replaced with the image from the Bath T-W-T which had been submitted as a ‘spare’ or ‘back-up’ image at my one2one and was assessed as a much stronger image.
Advice for Others
Make full use of the resources available to you. Study other members’ work and consider how the images demonstrate compliance with the assessment criteria. Adopt an assessor’s mindset and take all advice and feedback in the spirit it is intended. Crucially, don’t give up!
Future Plans
My current projects include developing my own website. I’m also considering a project involving the National Parks of the UK and one about Cornish mining heritage. Ultimately, the aim is to pursue further RPS distinctions.
On Reflection
I learned to be more careful and more critical in the assessment of my work, both at the capture stage, and the processing stage. Attention to detail was one of the phrases in the one2one feedback letter. I like to think that I have adopted that advice.
It would be disingenuous to suggest that I was anything other than delighted to receive confirmation of achieving the LRPS Distinction!
Munier Hossain LRPS
RPS membership has helped me enormously in my photographic journey.
I am a member of the Digital Imaging group and attend a monthly digital e-circle critique session. I wanted to test my photographic skills against RPS standards to understand where I stood, and the regular feedback I got from my group led me to believe that I might be ready for the LRPS.
The Process
The main challenge I faced was selecting a set of images that were coherent together in presentation yet demonstrated variety in technique and style.
Early in my application process, I downloaded the presentation template from the RPS and started trialling images to see which ones gave an overall cohesive look.
I attended a one2one, which I found very useful. I am also a member of the South Manchester Camera Club and several club members, specifically my good friends Tony North and Jeremy Roussak, supported me by giving advice and helping me choose the final set of images.
Finally, I would like to mention that I got a lot of useful information from the online Digital Imaging LRPS Support Group.
Skills & Techniques
I don't think any specific techniques or skills are crucial for LRPS. However, it is essential to be thoroughly grounded in photographic techniques and acquire a range of skills to succeed at the LRPS level.
I have attended several workshops, both online and face-to-face, not specifically designed to help with LRPS, but they all contributed to my photographic journey. In this regard, I would like to mention that the workshops organised by the Digital Imaging group are excellent and good value for money.
Important Images
I love astrophotography and I took the image on the previous page while travelling in Madagascar. Taking it on a dark, lonely night was unnerving but worth it in the end.
I don't think the image on this page one is of my strongest, but I felt I needed an image to show my skills with a fast shutter speed.
The image of a Banded Demoiselle on the next page is a favourite of mine. However, since I had already included a macro image I decided to exclude it to avoid repetition of the same theme.
Personal Insights
I found the whole process to be a great learning experience as I received detailed feedback at each stage. The most important aspect of the process to me was having a variety of skills and being able to demonstrate them.
My approach to photography has not changed as I did not make gaining a distinction my sole target, it came as part of the journey.
Advice for Others
My advice would be to enjoy one's photographic journey and not to be too fixated with the distinction process. Distinction is a nice validation, and it's great to have it, but enjoy your photography first, embrace the genre you enjoy and try to get better at it. Distinctions and accolades will surely follow.
Download the presentation templates early and start trialling your images. Lastly, become a member of the Digital Imaging LRPS Support Group!
Future Plans
I am drawn to nature photography. Currently, I am eagerly pursuing bird photography along the Yorkshire and Northumberland coasts. I would like to pursue further RPS distinctions, but I am not in any rush.
On Reflection
I feel my photography has improved during this process as it has certainly made me more aware of the importance of communication within an image. Also, the technical aspects of a good image, especially avoiding distractions and taking care with highlights and shadows.
The most rewarding aspect for me was the support I received from my peers and friends.
Achieving an LRPS is a stamp of validation and a confidence boost that my photography has achieved a certain standard.
Barrie MacJannette LRPS
I have been into photography for as long as I can remember, but it developed into a more serious pursuit when, in my twenties, I photographed the dramatically changing face of Leeds in the 1970s, as thousands of old terrace houses were demolished, to be replaced by tower blocks of flats. I spent many hours in my home darkroom printing those monochrome images, some more successfully than others.
I am interested in all genres of photography, but especially in using my photography as material for producing photo composites to tell a story and to engage the viewer's imagination.
Having been a keen photographer for many years I was ready for a new challenge.
The Process
I was determined to find my own style, and being a designer, the creative approach was the one which seemed the best fit for me. Discussions with friends gave me a good insight into what other people found interesting and stimulating in a photograph, and together with my good technical ability I decided to try for an RPS distinction.
At first, I considered going straight for an 'A' but decided that I didn't have enough material on any one topic to form a good panel so, as a generalist with a leaning to the creative side, I decided an 'L' was the way to go.
My problem was then to select ten images out of the many thousands in my back catalogue, that would fulfil the quite demanding list of requirements to gain an LRPS. I decided not to seek advice from the RPS but to use my own judgement, based on my experience gained over the years. However, putting together a balanced panel that displayed all the qualities, both technical and aesthetic, that had to be demonstrated was no simple task, and many hours were spent selecting and discarding, arranging and rearranging the ten images to cover all seventeen requirements for a digital submission.
Personal Insights
Achieving technical excellence in a photograph is of paramount importance. As are all aspects of camera control, attention to detail, and appropriate post processing. But also, a point often forgotten in the enthusiasm over a technically perfect image; is the picture interesting! I always ask myself the question 'was that picture actually worth making?'
Favourite Images
'Golden Fleece' (this page) is a good example of 'the decisive moment'.
Passing by a field of sheep, with the sun low and shining through the mist, I grabbed my camera and fired straight into the sun. The sheep were briefly curious and came towards me just as the shutter fired creating a near perfect composition.
Because of the strong contrasts in light, much post processing was needed to extract detail from the deep shadow areas and to reveal the disc of the sun at the other extreme. I'm really happy with the result.
'The Enchanted Glade' (previous page), is a fantasy which took a huge amount of work to create.
The starting point was a single statuette of the three graces which I separated in post processing. I arranged them to suggest two were looking at something, which is the image of a bird bath including a lily from my garden pond 'floating' in it. A background of woodland was added and a variety of filters were applied to the different component parts to create a surreal feel to the whole composition.
A picture that didn't make it into my selection is 'Harry Hotspur at Alnwick Castle' (below). Despite the drama of the image, I felt that 'Steam Punks', the central image on the second row, was a better fit.
On Reflection
I learnt that it is far from straightforward choosing images to satisfy the stringent requirements of the Assessment Panel, and that no matter how much I liked a particular image, I had to remain objective regarding its potential and set it aside if it failed on any point.
I wouldn't say the experience has changed my approach, but it has perhaps made me more critical of my results.
Future Plans
Whether or not I pursue an 'A' depends on available time and on finding the right subject matter. However, I will continue with my love of the art form of photo compositing by creating engaging fantasies and images with lasting appeal.
Advice for Others
My advice is to study and be inspired by the excellent work featured in the RPS sub-group publications. Know your camera intimately and don't rely on auto-everything. Be ruthlessly self-critical when assessing your results, but endlessly enthusiastic in pursuit of your objective.
ASSOCIATE ARPS
ASSOCIATE
Mike Kitchingman ARPS Visual Art
When I gained my LRPS I already had an idea for an ARPS in mind which I had been playing around with for some time.
About the Panel
I have always been fascinated by geometric shapes within architecture, and this led me to experimenting with architectural details and their interplay with each other. The only feasible genre for me was Visual Art as this is the sphere I mostly work in, very rarely taking architectural shots of entire buildings.
The Process
My panel is monochrome and so the main challenge was achieving a perfect tonal balance between each image, avoiding any colour casts and then panelling them to give a fluidity to the panel. All the images are of the staircase at the Liverpool Museum, and I initially took around fifty or so to work with but then needed a second trip to retake a few that weren't up to standard.
Before taking formal advice from the RPS I availed myself of the opportuity to show my initial panel at an Amersham Photographic Society PiC group where I received some sound advice from my peers.
My Statement of Intent was most important as I needed to get across my thought process in taking the set and this changed many times during the process. One of the most important things, probably THE most important, is to have a one2one with an Assessor. My attention to detail was rewarded and I was given an unconditional go ahead to submit my panel.
Although no particular skills were required, rendering the images in black and white required the careful balancing of each image to complement the others.
Personal Insights
I initially started by taking architectural shots of whole buildings but this soon evolved into experimenting with details of modern buildings utilising shadow and geometric forms, distilling them down to very basic shapes.
One particular photographer who I admire immensely is Fan Ho whose wonderful minimalist images in monochrome use shadow and negative space beautifully. Although not specifically architecture they show a superb use of shape and shadow.
Favourite Images
It’s hard to single out images from such an abstract group but I would say that images one (next page) and five (this page) stand out for me as they seem to be the most subtle of the panel and I like the way they anchor the top line and I really love the almost vertical lines of shadow detail and pure white that run through them.
Unfortunately, I don't have any of my rejected images as I didn't consider them worth keeping but I do remember distinctly one particular image that stood out when I showed the panel at Amersham. When viewed as a panel there was one image that seemed flat and devoid of shadow detail, and someone remarked that it could almost be pieces of black and white paper stuck on a piece of card.
I'm sure that if it had been included in the panel it would have resulted in failure, and this showed me how important it is to view and consider your printed panel in a proper setting such as an Advisory Day.
Future Plans
I am still looking at buildings, notably by such architects as Santiago Calatrava, Frank Gehry and Zaha Hadid but there are also some wonderful examples springing up in London.
I am currently experimenting with multiple exposure, reducing architectural forms into more abstract ideas. I would love to be considered for a Fellowship at some future stage but I'm still waiting for that spark of inspiration...it will come, I'm sure.
Advice for Others
The watchword for me has always been to carefully read the requirements for any Distinction and above all to spend the money on a one2one. You are submitting to one of the most prestigious photographic societies and you will achieve your goal with the mentoring on offer. Avail yourself of it. Fortunately, I have always been one to explore all possibilities before going forward so the only hint I can offer is to follow suit. It always pays dividends.
On Reflection
My photography has expanded into different approaches to the subject I love and is always in a state of flux as it should be for all of us. Creativity needs to be constantly fed with different ideas and approaches.
I found the creative process very rewarding. Building a panel that worked as a whole I found really inspiring and this led me on to treat most of what I do now in terms of panels and projects that work as a whole.
I think that to most of us, gaining a distinction is a validation of all the preparation and hard work that goes into the process, and we also become one of a relatively small group of people who stand out in a world of photographers.
STATEMENT OF INTENT
For me, buildings are more than their architectural design, I have a passion for photographing the shapes, contours and spirals hiding within their structure.
This panel has been an ongoing project since 2019 when I visited the Liverpool Museum and was captivated by the Central staircase and the wealth of patterns I saw there. Photographed then, these minimalist images comprise aspects of the staircase which are reduced to blacks, whites and intermediate tones.
Devoid of colour the high contrast, graphic nature emphasises the shapes, forms and dimensionality I wished to portray, the images losing their primary identity and becoming abstract forms, each an entity of its own but combining to form part of a whole.
John Nash ARPS Natural History
A visiting speaker to my camera club introduced me to the idea of obtaining distinctions as a measure of photographic ability. In 2015 I joined the RPS and learned about its three levels of distinction.
With advice from club members and attendance at several Advisory Days I applied for the LRPS. I was not entirely comfortable with the ‘L’ as it appeared to require photos from different genres to gain the award. I have, from the beginning, been a nature photographer and so I failed the ‘L’ several times and was on the verge of leaving the RPS. However, from being a member of the RPS Nature Group I discovered that one member had decided to bypass the ‘L’ and go straight to the ‘A’, which, at the time, I did not realise was possible. I decided to follow his example and go directly for the ARPS.
About the Panel
I have always been interested in nature with a particular passion for insects and so a panel of insect photographs was the obvious choice.
The Process
After much research I realised I did not have sufficient photos of the required standard and would need to take more. The other important requirements are that the Statement of Intent should match the photos and vice versa, and that the panel should be harmonious. I found that writing the Statement of Intent was straightforward, but I tried 24 versions of the panel before I was happy with the layout. I felt that I was ready, but I needed advice from a nature panel member before
submitting. I applied for and was accepted for the first print Advisory Day to be held in person since Covid.
My panel was the first to be seen and comments by the advisors were supportive. I was told that I had a very good Statement of Intent with the aims and objectives clearly defined. Of my panel I was told that I had ‘a good range of subjects with a thoughtful layout in terms of shapes, colours and orientation’. If you think they do not check the Statement of Intent – they do. It was also pointed out that one image had been wrongly identified. Just before the Advisory Day I swapped one print in my panel but forgot to change the name in the Statement. It was noticed, so be warned!
I made the amendments suggested and I felt ready to apply for the Assessment. This was booked for early April 2023, and my wife and I decided to travel to RPS House in Bristol to observe the proceedings in person rather than via Zoom. On the day my panel was the first to be seen. It was nerve wracking watching the panel members examine each photograph at close quarters before resuming their seats to vote on whether the panel met the standard or not. I am pleased to say that I was successful.
Skills & Techniques
I have been honing my skills in taking photographs of insects for many years. This type of photography requires not only good photographic technique and knowledge of insect behaviour and habitats but also fieldcraft. In particular, being aware of shadows and shiny surfaces on the insect's body; an appropriate background and, for ARPS, the insect should be sharp everywhere.
My Favourite Images
My favourite images (opposite and right) were taken at my garden pond. I was particularly pleased to capture the damselfly eating a pondskater
nymph as it was taken handheld with a FFE 800mm lens. I chose these two as it was a challenge to obtain clean backgrounds due to floating debris in the pond.
The image of the ‘Orange Tip Butterfly on Sweet Rocket’, below, was excluded from my panel because, at the Advisory Day, some white scales were deemed overexposed and this image should be corrected or replaced. I could not successfully correct the overexposure so, for safety, I replaced the image with a common blue butterfly.
Future Plans
I may consider applying for a Fellowship in due course, perhaps in a different genre. If so, this will require learning new skills to improve my photography.
Advice for Others
Have a clear understanding of the genre criteria and guidelines, especially the Statement of Intent. Research thoroughly by looking at examples of successful panels and by observing an Assessment live by Zoom.
Take advice on your prospective panel from a current panel member. If showing prints, ensure the prints and mounts are of the highest quality.
With hindsight, and if I had known, I would have gone directly for the ARPS rather than applying for the ‘L’.
On Reflection
The process of preparing for the ARPS helped me to improve the quality and presentation of my images. The most rewarding part of the entire experience was achieving the ARPS and proving to myself that I was good enough to achieve this prestigious distinction.
STATEMENT OF INTENT
I have been interested in insects for many years. Their lifestyles and habits and their body structures and colours are fascinating and are often missed by passers-by or visitors to my garden.
The aim of my panel is to show a small selection of those I have photographed in my garden and within a short distance of my home. I have included common insects and some which are less often seen or photographed.
The objective of my panel is to display their natural behaviours including resting, feeding or mating. All photographs have been taken handheld in natural light.
Blue-Tailed Damselflies Mating (Ischnura elegans)
Male Broad-Bodied Chaser Dragonfly (Libellula depressa)
I like to challenge myself and having achieved my LRPS in 2012, I felt it was about time to try for an ARPS.
About the Panel
The idea was inspired by a holiday to Valencia. I generally shoot travel photography, so landscapes, architecture, people, wildlife. I particularly love modern architecture so I felt The City of Arts and Sciences would be a fitting subject for an ARPS.
The choice of genre was fairly straightforward as it fitted well into the definition for Visual Art.
The Process
I took hundreds of images while in Valencia. I initially took advice from Richard Tucker FRPS and then from friends and my photographic club.
I also attended an RPS Advisory Day which proved to be very helpful. A few changes to the panel were suggested and I was also advised to make my Statement of Intent more concise.
Skills & Techniques
I wanted to print the images myself, so an understanding of printing and paper types helped me with this.
My Favourite Images
The Buildings in the City of Arts and Sciences are surrounded by pools of water, lined with ceramic tiles. I loved the abstract nature of this closeup image (previous page) of one of the pools and a wall. I did some work on the raw file to bring out detail.
The photograph on this page shows, in abstract form, a variety of the buildings which make up the City of Arts and Sciences. It was a reflection in a window which I spotted while walking in the Science Museum. Again, some work was needed, mainly to tidy up the image.
The Science Museum on the next page was going to be my central image. This was meant to tie all the more detailed images together. However, at the Advisory Day, this one was replaced with a more ‘arty’ image to fit in better with the rest of the panel.
Personal Insights
I would say that over time I have become more interested in getting closer to the subject and capturing details. I am inspired by modern artists such as Charles Rennie MacIntosh.
Future Plans
My photography is mainly taken on holiday now as the new experiences and environments inspire me.
Although I have no plans for further distinctions at the moment, I am always on the lookout for potential subjects. I have a couple of ideas in the pipeline from recent holidays.
Advice for Others
I think you must be passionate about the subject to succeed and have the patience to get all the images blending together well as a panel.
On Reflection
I think I have become a better printer during this process, and it has made me look at taking more unusual images.
The most rewarding part for me was watching the Assessment and hearing I had passed. It means a lot to me that I have attained this high level with my photography.
STATEMENT OF INTENT
City of Arts and Sciences - Valencia
The work of Valencian architect Santiago Calatrava, is of great modern architectural interest.
His other-worldly buildings gleam and seemingly float in the Spanish sunshine.Surrounded by walkways, lifts, staircases, bridges and reflective pools, the buildingsincorporate a variety of materials from concrete, metal and glass to ceramic tiles.
I felt the many structures could best be captured at different times of day and weatherconditions to embrace the changing light and colour.
My aim is to explore the complex in a more minimalistic and abstract way, oftenconcentrating on smaller areas of these imposing structures.
Although the architecture is obviously static, when investigated closely it is an everchanging and moving futuristic environment which I thoroughly enjoyed capturing.
Clive Watkins ARPS Documentary
My father was diagnosed with incurable mesothelioma in the spring of 2023. At the same time my mother's dementia had begun to worsen. My brother and I knew that we would need to effectively care for both of my parents for what we knew would be the last few months of my father's life.
I was very aware that I had only a few recent photographs of my parents, so I made the decision to document my time living with them. Although I am continuing to make photos of my Mum now that Dad has passed, I realised that the photos I had taken during the period up until his death conveyed what I thought was a strong narrative. It was this that made me consider using them for an A Panel.
About the Panel
I am working increasingly in documentary and contemporary styles. I am a wedding and event photographer, and I try to adopt a documentary approach.
I had a one2one with Simon Leach and also attended an Advisory Day at the RPS Scotland Photofest last year and I was lucky enough to have Simon Hill sit in on it. The consensus was that it could have been Contemporary or Documentary. I eventually went for Documentary because I thought the idea of narrative was clear and strong enough to carry it in that genre.
I think with this kind of very personal documentary it was just about being true to myself and trying to let my connection with the subjects show in the photos.
The Process
I couldn't re-shoot any of the photos featuring my father, so sequencing the panel was tricky.The selection changed after the one2one and then again after the Advisory Day. My experience of both was very good, although the more I discussed it the more I was tempted to keep changing it. At some point you must draw a line and accept it for what it is otherwise I would still be swapping things around now! The Statement of Intent went through many iterations to ensure a consistency of narrative in both the text and the photographs.
Important Images
The image on the previous page is very special to me as it shows my parents as I'd like to remember them. It is a candid intimate moment. Hands are an important element of my panel and this is a particularly poignant moment.
The image on this page is a hard one for me to look at. My father is only just visible in the hospital bed we had installed in the living room and my mother is staring out of the window into space. She knew he didn't have long left, but the dementia was still causing her to forget exactly what was happening. This photo brings back those difficult conversations.
It was Simon Hill who suggested I didn't include a photo of my parents smiling happily into the camera (next page). He correctly pointed out that this was the only photo in the panel which broke the ‘fourth wall’. All the other images are me looking in at them, this one has them looking back at the camera. I love the photo, but Simon was right, it is out of place with the others.
Personal Insights
I have definitely moved away from pictorial photography towards a more personal contemporary style over the years. I want to generate meaning in what I do. Often ‘pretty pictures’, although fun to produce, leave me feeling hollow and unfulfilled as a
photographer. The photographers who have most influenced me are Diane Arbus, Robert Frank, Martin Parr, Joel Meyerowitz and Tish Murtha.
Future Plans
I want to keep doing personal photography, but I am also keen to find projects which interest me that I can look on a bit more dispassionately. I have a collaborative project in mind with a local artist called ‘Faces of Glasgow’. We have spoken about it for years but never properly started it. Maybe this is the time. I think I will eventually go for a Fellowship but I'm not rushing anything. If the right idea comes along and I feel passionate enough about it, then I may give it a go.
Advice for Others
Make sure your Statement of Intent is reflected in your photographs. Believe in yourself but don't be blind to the problems so, be your own worst critic.
My panel came out of a painful place. Putting it together was difficult but also cathartic in some respects. Being passionate about your work certainly helps, but you still need to regularly step back and take a dispassionate view to recognise where the weaknesses are.
On Reflection
Working on the ARPS has certainly made me more aware of the importance of clear and consistent communication in a body of work.
The most rewarding part was watching the assessment on Zoom and realising that the panel members did understand my panel and that it moved them. Up until that point I had no real expectation of it passing. It was a relief but also a validation of what I was trying to say and the emotions I felt during the time the photos were shot.
I'm proud to have my ARPS. It's has given me more confidence to try to produce more meaningful work.
STATEMENT OF INTENT
In summer 2023 my father was diagnosed with asbestos related cancer. He requested palliative care at home rather than to be admitted into a hospice. As his health declined, my mother, struggling with dementia, turned to her journal for solace.
I made these photographs to record their last few months together while the dementia was progressively robbing my mother of the ability to fully comprehend the gravity of our situation.
Through these images, I hope to honour my father’s memory and provide a lasting record of my parent’s enduring love and courage.
Janina Nash ARPS Visual Art
I took up photography in later life and joined the RPS. I succeeded in gaining an LRPS and this was a great confidence booster. I wanted to challenge myself further and be able to express my feelings. I saw ARPS as the next level.
About the Panel
Having followed my husband in an endless pursuit of insects and getting bored, I started to look at the wildflowers that attracted the insects. Although I would not normally photograph wildflowers, I appreciate their beauty, and I had the idea of showing these flowers in a soft way.
Looking through the RPS website and past ARPS distinctions helped me to decide which genre was best suited to my panel and Visual Art was the one I chose.
The Process
The selection of images was not easy. I fell into the trap of trying to keep a favourite in as it was the first creative image I had made. Taking it out was a little emotional. I had to be brave enough to step away and re-jiggle my images to make a more cohesive panel. I also had to consider the size of print, mounting and choose a paper to best reflect the softness of my subject.
My Statement of Intent changed throughout the process as I tried to simplify it and remove the waffle.
I booked a one2one and found the experience informative. I was advised that with a few minor adjustments I would be there. At the Assessment I was given a referral as I was very close but not quite there. I had a further one2one with a different panel member which helped enormously to make the panel more cohesive and enabled me to finally achieve the ARPS.
Skills & Techniques
I had to find perfect specimens without blemishes. I photographed them trying to get different angles in camera to achieve pleasing compositions. Then, in post processing I applied a white layer and adjusted the opacity to give the background the softness I required. I brought the flower back with an adjustment brush.
My Favourite Images
I have chosen the image on this page as it is a very small flower with an interesting pattern to attract insects.
The image on the previous page was chosen for the delicate light on the flower.
The image that did not make it into the panel was the Convolvulus on the next page. Although this was my favourite, the flower was too large in the frame compared to the others and less interesting.
Personal Insights
I was initially influenced by the work of the late Irene Froy and my style of photography has become more creative over time. I enjoy exploring new ideas.
Future Plans
I do have thoughts of applying for a Fellowship. Finding the right subject is challenging as it needs to be something original.
Advice for Others
You need lots of photographs to choose from, understand your subject and enjoy it. Sometimes your best photograph does not necessarily fit the panel so don't get too emotionally attached to it. Keep your Statement of Intent short and precise, don't put something in that does not appear in your panel.
Read the guidelines!
Reflection
Achieving my LRPS and ARPS distinctions has given me a greater confidence with my photography, and I wish I could have started earlier.
Since beginning my journey with the RPS my photography has come a long way, not just my camera craft at the taking stage but also in learning to express what I feel in the final image.
STATEMENT OF INTENT
Whilst walking in the Lincolnshire Wolds Area of Outstanding Natural Beauty I noticed that many wildflowers can often be overlooked by passers-by. Some are very small and, in their environment, can be obscured by grasses or foliage.
My intention in this panel is to capture the beauty of these wildflowers and create images to convey their individual characteristics which attract their pollinators.
My objective in this panel is to show a small selection of these wildflowers and to express their beauty by giving the flower heads the prominence they deserve.
FELLOW FRPS
FELLOWSHIP
Madeleine Lenagh FRPS Photobook
I felt that a distinction would be a good way to call attention to my book. I consider my book to be the culmination of my development as a photographer up to now. It seemed fitting to mark that achievement with a distinction that speaks of mastership.
About the Book
I have always loved to work in projects and series and I've always loved the sea. When I moved to my home near the beach, it felt fitting to start a long-term project about the seacoast. As I progressed, the theme became more specifically about the many changing moods. At a certain point, with some nudging from my mentor, I decided that the project should become a self-published book.
The Challenges
My challenges were similar to those faced by members when putting together a panel. After collecting about 400 photos, I needed to select images for a book of 112 pages. That meant thinking about the sequencing. How implicit/explicit a storyline did I want? Which images were given a full-bleed double spread and which ones would be on facing pages?
My friend and mentor,Theo Bosboom, helped me with the selection and sequencing. It was very good to have a second pair of eyes during that process.
The main work I had to do for the Fellowship was write to a Statement of Intent and the Supporting Evidence that would clearly state why and how I had produced the book. I had a one2one with Simon Ciappara FRPS who gave me some excellent tips on writing them. He also encouraged me to go straight for the Fellowship.
Skills & Techniques
This starts with the dedication to pursue my vision for the project and taking the time to go deeper and deeper into what the changing moods of the sea mean to me and how to visualise that through imagery. Staying open and receptive to what presented itself to my camera every time I went out.
Choosing expressive styles and techniques to fit the specific mood and scene I was communicating.Then finding the right rhythm and tone to support the narrative in the selection and sequencing. Designing the book to show the ebb and flow of the sea by creating dynamism and rest.
My Favourite Images
The image on the previous page was taken during an extremely foggy morning in December. The tide was very low, there were no other people around, and the world basically disappeared. The soft cool fog permeated everything and blanketed all sounds. There was just me, the sand, and that path of water.
The image on this page was taken on the same beach during a blustery day in September. There was a stiff breeze, a tangy salt smell coming from the waves, and I was watching dark clouds roll in from the horizon. Not a minute after I snapped the shutter for this, I was pelted with rain and had to run for cover.
Personal Insights
When I go out with my camera, I am now focused on my connection with the landscape and what that triggers in me. The images I make are for myself.
I am much less concerned with what others think of my work and my work has grown increasingly abstract. It is no longer about what I see but about my response to that.
My work has been influenced by Theo Bosboom who, as my mentor, taught me to follow my own instincts and recognise my strong points as a photographer. Other photographers I admire are Sandra Bartocha and Valda Bailey. Valda has greatly contributed to my search for a more abstract style.
Future Plans
I am working on a series of very abstract images based upon the Marram Grass growing in the shallow dune lakes near where I live. Another new focus of mine is to turn my photography into even more of a tactile experience through making handmade artist's books, working with photo encaustics, and working with layers and textiles.
Advice for Others
Stay true to yourself and your vision. It is easy to get caught up in trying to please and that can make you unsure of yourself. Remember, even if you are not successful, it simply means that you were unable to please that group of assessors at that time. Believe in your photography and create the work that you want to create. In the long run, that will give you more pleasure and gratification than the approval of others.
On Reflection
My photography has evolved through working on my book. Working on the Statement of Intent and Supporting Evidence gave me a wonderful way to articulate the 'what' and 'why' of the process. As far as the distinction process itself is concerned my most rewarding experience was the deep discussions I had with Simon Ciappara about articulating that 'what' and 'why.'
Gaining the FRPS distinction feels like a recognition of all that led up to the book and beyond.
SUPPORTING EVIDENCE
A photography book tells a story through images. My book tells the story of the changing moods of the sea, as they mirror my own inner landscape. This played a role in both the making of the photographs and the selection and sequencing of the images.
Sometimes my forays to the beach with my camera were planned (according to tide tables and weather forecasts), but more often spontaneous. I usually didn’t know what to expect, so I stayed open and receptive to the way the landscape resonated with my emotions, thoughts, and memories.This is what determined when and how I pressed the shutter. And the deeper I connected to what I saw, the better I was able to express the feelings that it gave me.
Creating expressive – impressionistic even - images seemed to be a perfect fit for the theme of the book. I didn't confine my style to a single technique (ICM for example) but chose the technique to match what I was seeing and feeling in the moment.
The sea displays the rhythm of the moving tides and the ebb and flow of the waves. I wanted the book to express this rhythm in the narrative, so this was an important ingredient for the image selection and sequencing. The process evolved quite organically, and with the help of friend and landscape photographer Theo Bosboom, a loose structure emerged that is somewhat reminiscent of the structure of a symphony, with an introduction, a slow, calm movement, a crescendo, and a conclusion.
This structure is supported by empty pages, which form a resting point, and lyrical fragments of text. The texts are meant to emphasise feelings and thoughts that cannot be expressed by the images alone. Sometimes the texts mark the transition to a different mood.
The sequencing of the images, which alternates between groups of full bleed spreads where the viewer can immerse themselves in the feeling, and pairs of images on opposite pages that allow more distance, also reflects the movements of ebb and flow.
STATEMENT OF INTENT
Perpetual Motion
When I moved to a home very near the coast in 2021, it wasn’t a surprise to find myself on the beach with my camera at all hours. I’ve always loved the sea. And the Dutch coast, with its flat sandy beaches and moderate waves, may hold little interest to some landscape photographers accustomed to wilder shores, but for me, they are an endless source of fascination.
I was inspired by the many, swiftly changing, faces of the sea, as they reflect my own changeable moods. I also wanted my images to express that you can find beauty in ordinary things close to home if you slow down and start paying attention.
As I collected images along the coast, creating a portrait of an everchanging landscape, I decided to share my feelings with others in a tangible form. And so, the book was born.
RESOURCES
RPS DISTINCTIONS
Find out how to start – or continue – your Distinctions journey:
LRPS is a general assessment of your photographic skills, for which you provide a panel of 10 images. ARPS and FRPS assessments are assessed in specific genres, namely Applied, Contemporary, Documentary, Film, Landscape, Natural History, Photobooks, Travel, and Visual Art. For prints and digital submissions, you provide 15 and 20/21 images for A and F respectively, as a panel or a wordless book.
Each of the pages below includes handy links to guidelines and genres for distinctions, assessment dates, and a ‘how to apply’ document:
• Licentiate (LRPS) – the process for LRPS is digital only – see below for more details.
• Associate (ARPS)
• Fellowship (FRPS)
Changes to LRPS
The LRPS application process uses a dedicated portal for digital submissions only – no prints or books will be assessed. There is lots of supporting info on the RPS website.
ARPS and FRPS submissions continue to support print-based assessments as well as digital ones and photobooks.
Photobooks
The Photobook genre has its own special guidelines and submission process (as opposed to an ARPS or FRPS submission in book form). You can find out more here: Photobooks. You might also like to see a talk hosted by Stewart Wall which is both informative and inspiring.
Preparing for submission
Whatever your readiness for LRPS, we offer an LRPS Support Group to DI members only. We’ll be offering DI members their own dedicated LRPS advisories in due course – watch out for details.
Advisory Days for all levels can be booked here; these may be online, in person, or both, and are offered at various venues. You can generally attend as an observer if you aren’t ready to step up yet (usually advertised a week beforehand on the Facebook group). In addition, some Chapters and Regions offer online Distinctions Study Groups. You may be able to find these by searching the RPS website.
You can request a one2one portfolio review – an online session with a panel member appropriate to your genre/ distinction. See how to book a one2one for more information. There has been some confusion over what happens next – someone from HQ will find you an advisor and put you both in touch to arrange a date and to send images/ presentation plan. This can take time depending on how many volunteer assessors in your genre or at your level are available, and you are advised to make your request at least 4 months before an assessment.
As for Assessment Days, you can sign up to observe an Assessment Day (in person or online). It can be very helpful to hear what assessors say about other panels, successful or not.
And don’t forget, as well as projected and printed images, you can also apply for a Film, Video and Multimedia Distinction at any level, and also a written Research Distinction: Film and Research.
More avenues of support
If you missed the Distinctions Live talks, you can catch up via the RPS Distinctions channel on YouTube.
This talk from Stewart Wall gives advise on How To Pass Your Licentiate
The private Facebook Group RPS Distinctions **Official Group** is still growing after 5 years, and now has over 5400 members. It includes news and notices of events from HQ, links for observer places at assessments, and posts celebrating distinction successes to inspire you.
It’s a civilised venue to ask questions, share your successes – and disappointments – and ask for critique or expert advice on your proposed submissions. If you aren’t sure which genre or level to apply for, you can post 6 images (plus your Statement of Intent, I if appropriate) and request moderator advice.
Details of the Autumn 2025 Assessments for Associate (ARPS) and Fellowship (FRPS) have been released and can be found on the RPS Distinction pages for ARPS and FRPS. Click on the links to find the new dates, booking forms and venues.
You’re reading issue 16 of Accolade, which celebrates Digital Imaging members’ distinction successes, and is useful for insight into the process in many different genres and at all levels. All the back numbers are available on the DI website.
