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THE VISION TO CREATE

F FIND OUT MORE

Discover how the Society can help you take your photography to the next level through its Distinctions, workshops and regular competitions.

Just visit rps.org

PRINCIPAL PATRONS

ounded in 1853, The Royal Photographic Society is the world’s most established photography organisation, and the largest in the UK. As both a charity and a membership organisation, we are here to promote all genres of photography and support photographers in developing their skills. We also act as an advocate, on behalf of the photographic community, with government and the media.

Membership of the Society is open to all – whether you’re a professional photographer or just starting out, shooting on your smartphone or using the latest DSLR. Whatever your ability, we will help you on your photographic journey.

When you join the Society you can: Develop your skills by attending our acclaimed workshops, covering a broad range of subjects from portraiture to architectural photography, or running a business to pinhole photography.

Achieve recognition for your skills and letters after your name through our internationally recognised Society Distinctions programme.

Promote your work by taking part in our regular photographic competitions, with opportunities to see your images featured in the press, and exhibited around the world.

MAJOR PARTNERS

Engage with a like-minded creative community, join one of our specialist groups such as landscape, contemporary or documentary photography, and attend regular meetings and events in your region.

Benefit from our member-only offers from some of the best names in the photography industry.

We hope you enjoy this taster edition of our award-winning RPS Journal. We have pulled together a small selection of our favourite articles from recent issues of the magazine, which is sent to all our members monthly. The Journal features the best in photography, with tips from the world’s top photographers, providing inspiration and practical advice in every issue.

You can find details of how to join the Society, along with an exclusive 20 per cent discount, on page 13. We look forward to welcoming you to the RPS.

DR MICHAEL PRITCHARD FRPS Chief executive

SUPPORTING PARTNERS

THE RPS JOURNAL / 1

2 | CONTENTS |

The Royal Photographic Society Fenton House, 122 Wells Road Bath BA2 3AH, UK www.rps.org reception@rps.org +44 (0)1225 325733 Incorporated by Royal Charter Patron Her Majesty the Queen Published on behalf of The Royal Photographic Society by Think Red Tree Business Suites 33 Dalmarnock Road, Glasgow G40 4LA thinkpublishing.co.uk EDITORIAL ENQUIRIES Editor Andrew Cattanach andrew@thinkpublishing.co.uk 0141 375 0481

Design Matthew Ball, John Pender, Andrew Bell Sub-editor Sam Bartlett Advertising sales Molly Matthews molly.matthews @thinkpublishing.co.uk 020 3771 7233 Editor-in-chief Clare Harris clare.harris@thinkpublishing.co.uk Group account director John Innes © 2017 The Royal Photographic Society.

All rights reserved.

Every reasonable endeavour has been made to find and contact the copyright owners of the works included in this newspaper. However, if you believe a copyright work has been included without your permission, please contact the publishers. Views of contributors and advertisers do not necessarily reflect the policies of The Royal Photographic Society or those of the publishers. All material correct at time of going to press.

COVER Javier Bardem by Ray Massey FRPS This photograph was taken in a glass-sided swimming pool in Barcelona for a poster to publicise the Alejandro Amenábar film The Sea Inside 2 / THE RPS JOURNAL

Orchid Cuckoo Bee

By Levon Biss FRPS

BACKGROUND

Commercially I shoot sport and portraits – the insect photography is a personal project. I started shooting a few bits and pieces using a microscope and designed and built the rig I now use.

PROCESS I use a 36-megapixel camera with a 200mm tube lens and a 10-times microscope objective.

The camera is mounted on a rail

that is automated to move the camera forward by 10 microns between each shot. That way I have all the images I need to stack in post-production.

I photograph the insect, which is mounted on a pin, in about 30 or so different sections. This image took up to six days to shoot and up to five days to process. I took around 10,000 photos to build this image. microsculpture.net

4 Why the Society’s Distinctions are a proven path to success

22 OK Go, as captured by contributing editor Fiona McKinlay

ANDRE DU PLESSIS FRPS; FIONA MCKINLAY; LEVON BISS FRPS

Contributing editors Fiona McKinlay, Jonathan McIntosh

NICKY ROCHUSSEN LRPS

IN THIS ISSUE 4 | DISTINCTIONS A guide to our internationally recognised set of standards

14 | GARDEN PHOTOGRAPHY RPS members share the secrets of their award-winning images

10 | HOW I ACHIEVED MY LICENTIATE Nicky Rochussen reveals how she turned her dream into reality

18 | SOCIETY SHOWCASE The stories behind the outstanding entrants in the International Print Exhibition 159 competition

22 | HOW TO CAPTURE LIVE MUSIC Fiona McKinlay sets the stage by talking technique and equipment 24 | MY FAVOURITE CAMERA Viveca Koh FRPS sings the praises of her trusty iPhone 6

10 Buttermere by Nicky Rochussen LRPS THE RPS JOURNAL / 3

WHAT ARE DISTINCTIONS?

Distinctions are standards of achievement recognised throughout the world

LRPS Applicants need to show good photographic competence in five key areas

ARPS Evidence of a creative ability and personal style, plus complete control of the technical aspects of photography

FRPS Our highest Distinction is given for excellence and a distinguished ability in photography

A prestigious path to success

The Society offers a unique set of standards that you can achieve

S

ince its foundation in 1853, The Royal Photographic Society has striven to promote excellence in the art and science of photography.

In 1895, as part of its remit, the Society established a series of Distinctions to set a benchmark for the recognition of photographic skills. It has been doing this for more than 120 years.

Offering three levels that allow photographers to chart the progress of their development – Licentiate, Associate and Fellow – the Society’s Distinctions cater for all facets of photographic practice, from still and

4 / THE RPS JOURNAL

moving images to imaging science and education.

With a standard-led assessment process that is constantly reviewed, those seeking to gain a Distinction are assured that modern advances in photography are recognised, as are traditional skill sets such as creative input and quality imaging skills.

The gaining of Distinctions should not be seen as an end in itself, but more of a way of measuring progress.

The Licentiate (LRPS) level looks at the applicant’s work to confirm that he or she has gained the necessary skills and

techniques to be regarded as a competent general photographer.

The Associate (ARPS) is quite a step upwards, with the emphasis on more specialist categories and artistic interpretation as demonstrated by a portfolio of 15 images, indicating a high degree of advanced skills.

The Fellowship (FRPS) is the pinnacle of the Society’s ladder and is, for many, the best international accolade to which photographers can aspire.

Read more about the Society’s Distinctions at rps.org/distinctions

FIND OUT MORE

Discover everything you need to know about the Society’s Distinctions, including the opportunity to view more members’ portfolios, by visiting the RPS website

rps.org/distinctions

Clockwise, from facing page: Buhle, Mr Trouble, Christine Jantjies

FRPS APPLIED

Andre du Plessis ‘I am inevitably photographing people who have a hard life’ Andre du Plessis has lived in England for nearly 20 years but finds most of his photographic inspiration in the people of his South African homeland.

Almost all of the 20 photographs for his Fellowship were taken between 2009 and 2015 in the communities of the Tsitsikamma, the ‘Garden Route’, on South Africa’s south-eastern coast.

‘I knock on the door and when someone opens it, the whole thing kicks off,’ he said of his approach. ‘I have to get those inside to trust me THE RPS JOURNAL / 5

6 | DISTINCTIONS |

within a minute or two. The challenge is to overcome that anxiety and start the enjoyable process of engaging them with images. Then, all of a sudden, they come on board and it becomes a collaboration.

It’s fascinating.’

The portraits are always done on the understanding that Du Plessis will give his sitters prints in return.

‘I am inevitably photographing people who have a hard life and I try to meet them on that level,’ he explained. ‘I just have a camera and a tripod; no reflectors, no flash. I always look for cloudy days and soft light.’

He added: ‘I’m looking to create an emotional response.’

1x.com/member/andreduplessis 6 / THE RPS JOURNAL

Clockwise, from left: Feelings, Eva and the Child, Broken, William and Nellie III, Sonja and Nellie, A Good Season

FACT FILE

An advocate for the peoples of his homeland, Andre du Plessis FRPS is keenly aware of the power of photography and its accompanying responsibilities

HANGING PLAN

‘I have to get those people behind the doors I knock on to trust me within a minute or two’

THE RPS JOURNAL / 7

8 | DISTINCTIONS |

Ilya Fisher As the Licentiate is about demonstrating technical ability, my main aim was to show a variety of approaches and techniques.

I included portrait, landscape, details, slow and long shutter speeds and short and long depth of field, while balancing the panel colours so they work together.

Most of the images use a 25mm (50mm equivalent) prime lens. When I bought my Olympus I was new to serious photography and only knew how to point and shoot.

A friend recommended I start with a 50mm lens.

I loved this idea as it meant I could get to know the camera and lens without the extra variable of different focal lengths.

The prime was invaluable in helping me appreciate the distortion you get with different lenses. I now have several primes and one zoom.

I was a textile artist and think this comes across in my interest in texture, particularly with details of peeling paint and scraps of wall posters. I also love an image to be taken from straight on and balance symmetrically but am trying to make myself take images from more unusual angles.

The central image of the boats was burnt out until this was pointed out. Bringing down the brightness in that area was the easy part – noticing the fault was harder.

I am not sure if I’d have passed without the wonderful advice of Richard Walton FRPS who was at the advisory day I attended and kindly had a final look at my images before the big day. I hope I learned from this to look more closely at the prints, not just images on screen.

8 / THE RPS JOURNAL

LRPS

DORIT’S HAT FACING PAGE

Parija, who works with me at Citizens Advice. She’s wearing a hat by my friend Dorit Young, who designs them for Muslim women. Olympus E-M5, 75mm lens LOST IN A SEA OF SAND LEFT

The first photo I took with my wide-angle lens. I was very resistant to getting the lens as I really like details and am not so interested in landscape. I was wowed by this, though, completely surprised by how the lens made the rock so imposing. Olympus E-M5, 12mm lens PARSLEY ON A SHELF BELOW FAR LEFT

I was in Warsaw for a long weekend, and ate at a lovely modern restaurant.

This perfectly balanced composition was begging to be photographed.

Olympus E-M5, 25mm lens SHOREDITCH WALL LEFT

The image that started my ongoing obsession in looking closely at walls. Sony Cyber-shot DSC-WX300

HANGING PLAN

‘I was a textile artist and think this comes across in my interest in texture'

FACT FILE

Ilya Fisher began taking photographs during a trip to China with a borrowed compact camera. In 2015 she took the Society’s Open University course – digital photography: creating and sharing better images THE RPS JOURNAL / 9

10 | LEARNING |

How I achieved my Licentiate With her interest in photography growing, Nicky Rochussen decided she wanted to achieve an RPS Distinction.

Here she explains how she got there, one step at a time

Self-portrait, left, and Sydney Opera House

I

n July 2015, I set myself the challenge of gaining a Licentiate Distinction. I had owned a camera since I was 12, but was ready to take my photography to the next level. The whole process took me 14 months, and on the way I learned some vital lessons that have come to shape my photography and develop my eye for judging a good image.

It is this process that I’d like to share, to let you know that there are ways and means of making it as easy as possible for yourself. I hope to show you how enjoyable – but no less challenging – it can be, if you take the most direct route.

I’ve always been interested in photography but a couple of years ago my interest intensified. I’d been blogging a photo every day on the image-sharing website Blipfoto, but found myself searching for a new goal. I think it’s important to always have an objective, and to keep developing your practice.

A Society Distinction seemed to fit the bill perfectly.

My next step was to attend an advisory day, where

10 / THE RPS JOURNAL

individuals show their work to Society panel members and get advice on how to bring their submission up to Licentiate standard.

Attendees take a portfolio of 10 photos, plus five extra images, for the advisor to look at and give feedback.

At the day I discovered my first major mistake. I had printed the images on fullgloss paper when I should have used matte or halfgloss. The advisor also suggested some adjustments to the order of the portfolio, swapping in some of the five spare images where necessary. He explained the importance of the hanging plan – the arrangement and order of the 10 images – and how that is fundamental to gaining a Distinction.

Up to this point I had assumed a portfolio was simply my 10 best photos, but the assessors are looking for good-quality images that sit together as a well-ordered body of work. These might not always be your best or even your favourite images.

I was told that six or seven of the 10 images were up to scratch, but that I needed to

Clockwise, from top left: Droplets, Yosemite and Buttermere – all of which went into making up Nicky Rochussen LRPS’s successful submission

take more. So I did the only thing I could, and started shooting more photos.

A month before my assessment, I rearranged my portfolio then submitted it for online advice through the Society’s website. As with an advisory day, you upload your portfolio so that a Society panel member can give you feedback. Because

‘LOOKING BACK ON IT ALL, I’M SO GLAD THAT I ATTENDED AN ADVISORY DAY’

it’s digital the advisor cannot comment on print quality, but he or she will advise on how the portfolio is as a body of work and how it might be improved.

The advice was very helpful and left me feeling more confident.

I changed one more image, then submitted my work for assessment.

I was nervous when I attended my assessment day.

I really thought it could go either way, and was preparing myself for possible failure. I thought: ‘If they don’t pass me, I’ll just have to keep going and try again’.

The assessors really scrutinised the work. It was surprising how much time they gave to each portfolio.

THE RPS JOURNAL / 11

12 | LEARNING | Clockwise from left; Thomas, Aim, Strawberry splash

They spent what seemed to be a very long time peering at the monochrome portrait of my son (left). It made me really nervous, and I thought they had found some terrible defect. But after looking at it they turned round and gave positive feedback.

And so I passed. My portfolio was one of the first assessed that day, but I stayed to watch the others because I found it interesting, and enjoyed hearing the assessors’ feedback. It was a good learning experience.

Looking back, I’m so glad I attended an advisory day and submitted my work for comment online, as this was fundamental to my success. I don’t know how anyone

could go through this process without attending an advisory day.

My next goal is an ARPS, but I realise it’s a much tougher level and it takes time to reach that standard.

I’ve booked to go to an Associate advisory day this month, as a spectator. I want to do the next stage, but I’m not rushing into it. I’m taking it one step at a time.

Five-step guide to Licentiate success READ THE GUIDELINES Download a guide to applying for a Licentiate Distinction from The Royal Photographic Society website.

You will find instructions on the technical requirements for your submission, including directions about suitable mounts. Go to rps.org/ distinctions/downloads

1

HAVE PLENTY OF IMAGES Make sure you start with lots of images – Nicky Rochussen LRPS, for instance, began with 100.

This will allow you to really work on your hanging plan,

2 The hanging plan is a key element

12 / THE RPS JOURNAL

swapping in images to help make it as balanced as possible. It will also let you respond to advice more quickly: if you need another monochrome picture, you’ll probably have an option to hand.

ATTEND AN ASSESSMENT DAY Sit in on an assessment day to find out what assessors are looking for. What kind of errors are they picking up on? What kind of positive feedback do they give? This will help you get a feel for what not to do.

3

GET ONLINE ADVICE Once you think your portfolio is ready, have it checked once more by one of the Society’s experts.

Submit your portfolio, plus five spare images, and allow four to six weeks for feedback.

To find out more, go to rps.org/distinctions/advice

4

ATTEND AN ADVISORY DAY It cannot be emphasised enough: attend an advisory day. Knowledge gained from these events is invaluable and will help you develop your eye and improve your chances of success.

5

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ROYALPHOTOGRAPHIC PHOTOGRAPHIC SOCIETY SOCIETY ROYAL MEMBERSHIPISISTHE THECHOICE CHOICE FOR FOR YOU YOU IN MEMBERSHIP IN 2017 2017 Improve youryour skillsskills by attending photography Improve by attending photography workshops and and events workshops events towards achieving an internationally WorkWork towards achieving an internationally recognised RPS distinction recognised Society Distinction Be part of an active community of like-minded Be part of an active community of like-minded creative individuals creative individuals Enter our members’ competitions and exhibitions

Enter our members’ competitions and exhibitions Enjoy our monthly photography magazine

Enjoy our monthly photography magazine

Discover our many membership benefits at Discover our many membership benefits at :

rps.org/membership rps.org/membership

Blooming great garden photo tips

Society members shortlisted in International Garden Photographer of the Year competitions reveal the secrets of their craft. By Geoff Harris LRPS

14 / THE RPS JOURNAL / JULY 2016 / VOL 156

| INSPIRATION | 15

Polina Plotnikova ARPS

Highly Commended: Photo Projects, Monochrome polinaplotnikova.com My approach to flower photography is somewhat similar to that of a portrait photographer – for every flower and plant, I try to find its unique look, study its mood and character, and ultimately unlock its hidden beauty.

Also, a good floral portrait – unlike a purely botanical illustration – triggers

G

arden photography is more popular than ever, as the high quality of entries submitted to International Garden Photographer of the Year (IGPOTY) confirms. Since it was started in 2007 by five members of the Garden Photographers’ Association, IGPOTY has blossomed.

The competition is now run in association with the Royal Botanic Gardens, Kew, and attracts entrants from all over the world.

The IGPOTY main exhibition is

a thought or emotion in the viewer’s mind.

I like a limited colour palette and work a lot in monochrome; in the absence of colour you need to concentrate on lines, shapes and tonality.

I work in my home studio, and studio flower photography is great for a perfectionist. Nobody fidgets or makes faces, your models

don’t talk back to you, and no sudden gust of wind or other quirk of ever-changing weather can spoil your shot.

But, by the same token, you cannot count on something interesting that just happens all of a sudden.

It is all up to you; the choices are infinite, the result entirely in your hands.

also held annually at Kew, with a rolling programme of touring exhibitions in the UK and overseas.

The Society has strong links with IGPOTY and sponsors the Portfolio Category.

We spoke to some of the Society members who have made the final cut in the contest, including Polina Plotnikova ARPS, David Jordan FRPS and Justin Minns LRPS.

For more information on the competition see igpoty.com THE RPS JOURNAL / 15

16 | INSPIRATION |

Justin Minns LRPS Commended, Wildflower Landscapes justinminns.co.uk The soft, delicate nature of flowers attracts me, so these are the qualities that I try to emphasise in my floral images.

Using a combination of a large aperture and a telephoto or macro lens to create a shallow depth of field, it’s possible to focus the viewer’s attention on the flower while leaving the rest of the image to fade into beautiful blurriness.

16 / THE RPS JOURNAL

Accurate focusing is essential and my Canon 5D MkII’s nine AF points don’t cut it, so I focus manually, with the image magnified in live view.

My favourite lenses for this sort of photography are the Canon 100mm f/2.8 L macro and Canon 70-200mm f/4L.

The former produces wonderfully smooth blurred areas and allows me to really fill the frame with the subject, while the zoom range of the latter gives me more flexibility and the longer focal length makes for very shallow depth-offield effects.

‘ACCURACY IS ESSENTIAL SO I FOCUS MANUALLY, WITH THE IMAGE MAGNIFIED IN LIVE VIEW’

Gillian Hunt ARPS

Highly Commended and Commended: Photo Projects, Macro Art photographybygillianhunt.com I’ve been taking macro images of flowers and grasses, both domestic and wild, for around 10 years, and I am always drawn to macro, no matter what I set out to shoot.

I spend a lot of time observing my chosen subjects and the available natural light throughout the day, and doing short test shoots to see what is

working and what isn’t.

I grow domestic/ cultivated plants in my decking garden and photograph them in situ, whereas I visit wild flowers on a daily basis until I find the best time to do a ‘serious’ shoot.

I’m lucky that I live in rural Perthshire, an area with a wide variety of wild flowers and grasses.

I always shoot with a Nikon D800 and a choice of three macro lenses: a Nikon 60mm, a Lensbaby, which I use mainly, and a Nikon 105mm.

Photography for me is as necessary as breathing. Wherever I go, I’m constantly wondering if what I am looking at would make a good photograph.

THE RPS JOURNAL / 17

18 | EXHIBITION |

Competition comes of age

The winners of last year’s International Print Exhibition – all women – reveal how they captured their images

UNDER!30s WINNER

GOLD AWARD £1,500

SCHOOL BUS Anna Shustikova, Russia SHUSTIKOVA.VIEWBOOK.COM

These are pupils from Taldom, a small town north of Moscow and its nearby villages. I went with them to the Dubna wetlands where, every spring, children from Taldom’s schools seed a field in preparation for the thousands of cranes that gather there in

18 / THE RPS JOURNAL

the autumn before their long flight south.

I was standing in front of the children for several minutes, waiting for the right moment. At first the girls tried to pose, but they soon forgot about me. It was interesting to watch how the small boys tried to win the attention of the girl in the middle, who was one of the teacher’s helpers.

The Society’s International Print Exhibition has been staged since 1854 and is currently in its 160th edition.

Now called the International Photography Exhibition, it has over its long history included work by some of the world’s most eminent photographers, including Julia Margaret Cameron, Roger Fenton and Edward Steichen.

‘Last year’s competition attracted entries from more than 1,400 photographers in

WINNER

GOLD AWARD £1,500

57 countries worldwide,’ says Society exhibitions manager Lesley Goode. ‘We were delighted that, for the first time, all four award winners were women – a sign of the increasing role they have in today’s world of photography.’

The annual exhibition invites entries from all genres of photography by amateurs and professionals, and represents the Society’s commitment to promoting and supporting photographers.

ALICE Carolyn Mendelsohn, UK CAROLYNMENDELSOHNPHOTO.COM

Alice is an 11-yearold girl who responded to a call-out for subjects for my project Being Inbetween, an ongoing portrait series exploring the lives, thoughts and feelings of girls aged between 10 and 12.

From the moment Alice entered the

room I was struck by her self-composure.

There’s something luminous about her.

Girls of this age are bombarded with advertising and marketing. It is vital that this marketing doesn’t come to define who they are.

It was important I took honest images, where they can be themselves and celebrate who they are at this point.

NICKY ROCHUSSEN

| INSIGHT | 19

LEFT

School Bus by Anna Shustikova MAIN IMAGE

CREDIT SITS IN BOX 4MM DEEP

Alice by Carolyn Mendelsohn.

The selection panel were captivated by this image and all agreed that it was a clear standout from the start

THE RPS JOURNAL / 19

20 | EXHIBITION |

WINNER

SILVER AWARD ÂŁ750

20 / THE RPS JOURNAL

LUCIE Polly Braden, UK POLLYBRADEN.COM

In 2014 I was asked to make a body of work about what people with learning disabilities and autism could achieve

with the right support. The project culminated in the photobook Great Interactions: Life with Learning Disabilities and Autism, and an exhibition.

Lucie was swimming at the edge of the pool watching some of the boys who were jumping in and showing off for the camera. I went over and asked if she

would like to swim underwater for a photo. She dived to the bottom of the pool several times while I photographed her. There are around 1.5 million people in the UK

WINNER

BRONZE AWARD £500

LEFT

Lucie by Polly Braden BELOW

The Jûngølā Klöwñz of Deptford by Poem Baker

with a learning disability and 700,000 with autism. I spent two years working with a few who are supported by MacIntyre, a charity that provides more

than 1,500 children and adults with learning, support and care.

The photographs look at everyday moments and milestones in the subjects’ lives.

THE JÛNGØLĀ KLÖWÑZ OF DEPTFORD Poem Baker, UK POEMBAKER.CO.UK

Tuttii Fruittii and Toni Tits, aka the Jûngølā Klöwñz, are an experimental comedy art duo.

They perform in underground clubs and festivals as part of performance art group Haus of Sequana.

This portrait is from a series that follows the duo around their home, place of work and neighbourhood. This particular shot was taken in their local pie and mash shop in Deptford.

Tuttii and Toni are such amazing characters and it was exciting to

be given the opportunity to share their world with everyone.

Every day they dress up and put on their make-up.

It’s not just an act for the camera, either – they look like this 24/7.

I wanted to show a day in the life of the Jûngølā Klöwñz of Deptford, and therefore I photographed them in bed, having breakfast, getting dressed and going to the market, as well as showing Tuttii working in her caravan hair salon.

It took about a year to put the project together, meeting once a month to make a portrait.

ENTER | SOCIETY COMPETITIONS The Royal Photographic Society holds regular competitions, many of which, including International Photography Exhibition (formerly

International Print Exhibition) are open to non-members.

To find out more about the Society’s competitions, visit rps.org/competitions

THE RPS JOURNAL / 21

22 | THE CRAFT |

Shoot live music

MASTER CLASS

Contributing editor Fiona McKinlay explores the challenges of concert photography

I

started out as a clueless teenager with a cheap, fully automatic film camera at King Tut’s in Glasgow.

The results were dire.

When I got my first digital camera, a 2-megapixel Nikon Coolpix, things got much more interesting – the uncontrollable variables of a live music environment are much easier to deal with when you can just hit delete and try again.

shows, with drenchingly bright white lights, shooting at anything over f/2.8 is going to be a total nightmare.

GET FAST LENSES My kit consists of a Canon 5D MkII plus three prime lenses: a Sigma 20mm f/1.8, Canon 50mm f/1.8 and Canon 100mm f/2.0. For low light, these are all a dream.

Unless you’re covering arena

ARRANGE ACCESS Most larger venues won’t let you just stroll in with a DSLR … although many small ones will, so that’s a good way to practise and build up contacts. For bigger shows, you’re usually going to need

22 / THE RPS JOURNAL

PUSH YOUR ISO To deal with low light, you’re going to need to crank up that ISO. I usually shoot at ISO 800 or 1,600. You’re going to be capturing movement too, so the combination of ISO, shutter speed and aperture will always be a compromise.

to go through a press contact – and you’re going to need to be shooting for a purpose.

The online music press can be a good place to start: the work is likely to be unpaid, so think about what you’re looking to gain – experience? enjoyment? – and give your expectations a reality check.

PROTECT YOUR EARS Foam earplugs will do, but the music will sound better if you get some ER20s or similar.

Don’t get tinnitus, because that does not sound like fun.

GET GOOD AT PHOTOSHOP Shooting raw is a no brainer, but given that you’ve got changing lights, often ranging from very bright to off, there’s

a good chance you’ll leave a gig with lots of over and underexposed snaps. Being quick on your camera’s controls will give you better results, but your most remarkable shots will sometimes be the ones that involve being pretty heavy handed with the sliders in Adobe Camera Raw. Colour correcting musicians bathed in nasty red or blue light is an incredible skill – and one I’m still working on.

KNOWLEDGE IS POWER The more you know a band, their songs, their set list and the venue, the more you might be able to predict what’s coming. A lot of bands can actually be pretty

AUTHOR PROFILE FIONA McKINLAY Fiona McKinlay, a contributing editor to The RPS Journal, has been shooting gigs for 14 years. Her photographs have cropped up in newspapers, music magazines and, bizarrely enough, on BBC’s The One Show.

MY KIT I usually shoot gigs with my Canon 5D MkII, Sigma 20mm f/1.8, Canon 50mm f/1.8 and Canon 100mm f/2.0.

When I’m ‘off duty’, I’ll usually take my Sony RX100. I have a cheap zoom lens that comes out of the cupboard for festivals, where the stage can be pretty far from the pit.

BOOK NOW! SOCIETY WORKSHOPS

Learn new photography skills and techniques rps.org/learning

ABOVE LEFT

Katy Perry on her Prismatic tour (SSE Hydro, Glasgow, May 2014), shot with Sony RX100. Settings: f/4.0, 1/250, ISO 400 ABOVE

OK Go, having invited fans on stage for the last song (at KOKO in London, February 2015), shot with Sony RX100.

Settings: f/1.8, 1/500, ISO 400 LEFT

The Xcerts at the O2 ABC in Glasgow, October 2011, shot with Canon 5D MkII and Sigma 20mm f/1.8 lens.

Settings: f/2.2, 1/160, ISO 1,600

static, so knowing when the singer’s going to grab the mic and dive into the front row, having your camera set-up ready for it and being in position, will give you shots you’d otherwise miss.

It will also save you from being trampled by security when things get crazy.

KEY SHOTS As the usual rules for live music photography are that you can only shoot for the first three songs with no flash, you’re fairly time restricted to get what you need. So, know what you’re aiming for. If you’re shooting for mainstream press they’ll want a good shot of the singer. If you’re with the band,

they probably want a stylish shot with every one of them in it. Oh, and you never know when the drummer’s mum might get in touch and ask if they can blow up that one handsome shot you got of him on a canvas for his 21st birthday (true story).

GET A GOOD COMPACT At some point you’re going to find yourself at a gig without a camera or a pass, the lighting is going to be perfect and you’re going to wish you had more than your smartphone in your back pocket. I’ve got a Sony RX100, and I’ve taken shots with it as a punter that I could never have got with a photo pass and a DSLR. THE RPS JOURNAL / 23

AUTHOR PROFILE Viveca Koh FRPS Viveca Koh was awarded her Fellowship in June 2014, having become an Associate in June 2011 and Licentiate in 2010.

She is the current honorary secretary of the Visual Art Group, of which she is a highly active member.

A self-taught fine-art photographer with a penchant for using layering and texturising techniques, Koh aims to create images that make viewers question the world around them.

MY FAVOURITE CAMERA

Koh’s work can be seen at instagram.com/ vivecakohphotog

iPhone 6

Viveca Koh FRPS relishes the freedom and sense of fun that the smartphone offers BEFORE THE iPHONE

I started using manual film cameras, both SLR and compact, followed by a DSLR Nikon D700 and Panasonic Lumix LX3.

While I have greatly enjoyed using all of them, my favourite of all is my iPhone.

This may appear somewhat philistine when comparing it to my ‘real cameras’, but for ease of use, processing on the go and sheer fun my iPhone 6 cannot be beaten.

WHY THIS CAMERA?

There’s something incredibly refreshing about carrying iPHONE 6 SPECIFICATION Introduced: 2014 Lens: Fixed Dimensions: 138.1mm x 67mm x 6.9mm Weight: 129g Focus: Autofocus with focus pixels

24 / THE RPS JOURNAL

around this lightweight camera rather than a bag bulging with lenses.

I enjoy the discipline of having a single, fixed focal-length lens because it encourages me to think more creatively.

I absolutely love square format. Previously I cropped many of my photos to this aspect ratio in post-production but the iPhone allows me to ‘shoot square’ and compose my image within the frame.

EDIT ON THE GO

As a fine-art photographer, I use double exposures and texture overlays when processing many of the photographs taken with my Nikon.

The huge selection of apps for smartphones allows me to process my photos in the same way I would using Photoshop.

Effectively, the iPhone offers a much more streamlined approach to my work.

KEEP CONNECTED

I constantly have my phone with me, so I’m able to photograph anything that catches my eye, including various textures to add to my database for use as overlays on other photographs.

As a keen user of social media, I love that while I’m out and about I can process and share photographs to Instagram for immediate response and comments.

ABOVE

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© Andreas Lundberg

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