Photography News Issue 53

Photography News | Issue 53 |

25 Interview

Above Garry Hayes’ successful L panel was split equally between action and nature images. Right Karen Jones has been into photography seriously since 2008 and she took the black & white route for her successful L panel.

increasingly popular. Many people have taken their inspiration from Henri Cartier- Bresson. The decisive moment is vital in street photography, but record shots are not enough; we are looking for a personal style. As explained earlier the intention of the photographer is all-important. Reflections in street windows could be Fine Art. Life in Camden Market could be travel. Explaining an issue via street photography, such as the increasing number of homeless people, could be Contemporary and Conceptual, and if your portfolio was based on an illustrated article documenting the decline of themarket traders it would be Applied. So let me emphasise that the purpose of your panel is key – you need to explain what you are trying to achieve. One category, in a short period, changed from Visual Art to Pictorial and Creative and is now Fine Art. What was the reasoning behind the changes and why were they needed? We have more than 11,000 members and we

do listen to them! There was considerable debate about whether images produced entirely in camera should be in the same category as those heavily manipulated in post-production – hence the split. After a trial, it was felt better to put them into the same category: Fine Art. This means it does not matter how you produce your body of work. You may use any software you like but all the images must be your own; you may also use commercial printers. What matters is what you ultimately produce for the assessors to see. People can apply for Distinctions with prints, books and projected images. Do you have a view on which method works best? The short answer is: whatever works best for your work. Personally, I love the feel of prints and books. There is no doubt, for example, that specialist paper can add hugely to the cost of a fine art panel so of course prints are more expensive. We are currently encouraging people to submit applications using projected

What is the single biggest reason for a panel of pictures to fail? At LRPS: • Print quality/presentation • Over processing in post-production • Poor composition At ARPS: • No consistent style • A lack of seeing • Not understanding subject matter • Inconsistent with statement of intent At FRPS: • Personal style not strong enough • Lack of distinguished photography Who decides whether applicants are successful or not? The RPS is a membership organisation. We have among our volunteers highly qualified photographers who are specialists in their field. The Distinctions Committee appoints members to the various Distinctions panels according to their ability and experience. If you had to give a photographer keen to achieve an RPS Distinction just one single piece of advice, what would that be? It may sound corny but choose a subject or project that you are passionate about! It really does show through in your images. Above all, read the requirements, and remember: we really do want you to succeed! Left This is the hanging plan for Angus Stewart’s successful ARPS panel featuring singers, circus and burlesque performers and went into the Applied category.

images (IFS: Images For Screen). We have acquired an 85in monitor and the images look absolutely stunning, but I would always recommend you submit the format you are most comfortable with, and do not base the decision on costs.

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