RPS distinctions - my journey - first stop - the 'LRPS' - GOT IT :)

Pookeyhead said:
But what are they rewarding?.. the photography, or having the time, and financial ability to travel to exotic locations regularly.

Good studio work requires as much skill as location work.. often more so, as you have to create everything, including the lighting, yourself, and you often have to do it on demand.

Travel enough and you can easily just get lucky and happen across the right shot at the right time, with the right light. Which makes a better photographer? :)
Click to expand...

This is getting silly now :D

But - I wasn't saying it makes for a better tog - just a more committed one

And that chaps/esses is my last comment on this point :lol::lol::lol:

Dave
 
Pookeyhead said:
But what are they rewarding?.. the photography, or having the time, and financial ability to travel to exotic locations regularly.

Good studio work requires as much skill as location work.. often more so, as you have to create everything, including the lighting, yourself, and you often have to do it on demand.

Travel enough and you can easily just get lucky and happen across the right shot at the right time, with the right light. Which makes a better photographer? :)
Click to expand...

Not many 'lucky' shots make their way into the higher level panels David. It's a given you'll know the right light, and the right time, and you may be fortunate with both on the odd occasion - but the understanding, and technical and creative skill still needs to be there with respect to the genre you're exploring, and narrative is crucial on location as are all the other elements of the photograph. Whichever route makes for the 'better' photographer is a strange way of looking at it and makes no sense - the point I've been trying to make is that one method is not better than the other - just different, and with a different set of challenges. There is no less of a commitment, just a different process. At Fellowship level it's very hard to articulate what commitment means - but it becomes a very big word when you start putting an F panel together.
 
Lindsay D said:
Not many 'lucky' shots make their way into the higher level panels David. It's a given you'll know the right light, and the right time, and you may be fortunate with both on the odd occasion - but the understanding, and technical and creative skill still needs to be there with respect to the genre you're exploring, and narrative is crucial on location as are all the other elements of the photograph. Whichever route makes for the 'better' photographer is a strange way of looking at it and makes no sense - the point I've been trying to make is that one method is not better than the other - just different, and with a different set of challenges. There is no less of a commitment, just a different process. At Fellowship level it's very hard to articulate what commitment means - but it becomes a very big word when you start putting an F panel together.
Click to expand...

Or that you are good* at photoshop as in the case of the selective colour shots from an 'A' panel.....

* should really read - have some knowledge of photoshop - but it doesn't generate the same impact.
 
First update on the actual opening topic then ;)

I've just discovered that what I thought was to be an 'Advisory day' in May is actually an 'Assessment day' - this means I'd have to have a panel ready with no input from anyone and just 'go for it'

But as I'm in no rush and I'd be pushed to do that in time for the submission date I'm not going to do that, and will instead see about some other Advisory day in the future

The annoying bit is that pretty much everything seems to take place in Bath , and on a weekend - that is

a) a long way away (200 miles away), and

b) for a Wedding Photographer, bloody inconvenient :(


However, I can attend an Advisory day in person (no point otherwise I feel) then send my panel for Assessment by post - so not too bad overall

Just a pity they don't do a few more dates north of Bath !!! :cuckoo:

Dave
 
I went to an advisory day in Manchester, then sent my panel for assessment by courier to Bath as the A and F assessments are on weekdays.

Not sure I'll courier my F panel to Bath - when I got the portfolio box back with my A panel in, it had a massive dent in it that had actually penetrated through to the inside, but the only damage was a dink in the statement of intent. Not sure if the damage was incurred coming or going to Bath, but it was a close shave.
 
DG Phototraining said:
First update on the actual opening topic then ;)

I've just discovered that what I thought was to be an 'Advisory day' in May is actually an 'Assessment day' - this means I'd have to have a panel ready with no input from anyone and just 'go for it'

But as I'm in no rush and I'd be pushed to do that in time for the submission date I'm not going to do that, and will instead see about some other Advisory day in the future

The annoying bit is that pretty much everything seems to take place in Bath , and on a weekend - that is

a) a long way away (200 miles away), and

b) for a Wedding Photographer, bloody inconvenient :(


However, I can attend an Advisory day in person (no point otherwise I feel) then send my panel for Assessment by post - so not too bad overall

Just a pity they don't do a few more dates north of Bath !!! :cuckoo:

Dave
Click to expand...
Try this then ...
http://www.rps.org/distinctions_workshops/view/3034
or
http://www.rps.org/distinctions_workshops/view/2821

full details here http://www.rps.org/distinctions_workshops
:)
 
DG Phototraining said:
Cheers Paul - Wedding on the first date there

Busy doing something else on the 2nd :(

Though I may be able to move that... needs checking out if I can :)

Dave
Click to expand...
Yep, will always be the challenge finding a weekend that works!
 
Dave, you can go to the assessment day as an observer which would be very informative, although you don't get to ask questions. (except maybe at the very end,if you collar one of the assessors.)

Don't bother with sending your panel in on a CD, the pass rate is negligable!

It is definately worth taking your panel personally on your assessment day IMO.


Heather
 
Tigger.ufo said:
Dave, you can go to the assessment day as an observer which would be very informative, although you don't get to ask questions. (except maybe at the very end,if you collar one of the assessors.)

Don't bother with sending your panel in on a CD, the pass rate is negligable!

It is definately worth taking your panel personally on your assessment day IMO.


Heather
Click to expand...

Thanks Heather - lots have told me not to bother with the cd idea :(

This is taking a back-burner now as I can't do the advisory dates coming up, but I am soon going to an assessment day so that should be interesting :)

Dave
 
Today I went for a nosey at the Royal Photographic Society's 'Distinction Day' in York - the idea being to see what passes or fails the LRPS qualification for my own submission later this year

And after a very informative morning seeing lots pass (Well done all) and a few fail (oops) I'm pleased to say that I feel rather confident of passing - when I get round to it that is :)

Anyone interested in my observations from this morning's judging ??? :shrug:

Dave
 
Okies :)

My observations then...

First - prints size/mounts

The old adage that big is nice but bigger is better doesn't seem to be true for the RPS - the judges repeatedly remarked that those prints presented at A3 or thereabouts would have been better smaller; and A4 is their preferred max size, and their actually preference seemed to be 10x8"

As for the mounts, the opposite was true! Several had 10x8s or A4 on mounts only a couple of inches bigger, and again it was repeatedly stated that mounts should be 20x16", and ideally WHITE

The Big mount smaller print theory seems to be that it allows the photo to really stand out, and the subtext being smaller prints 'hide' things that may be judged 'wrong' on bigger prints !!!

Oops - gotta run out for the day now - I'll come back to this later :)

Dave
 
Interesting - I've not encountered this preference for smaller prints before - 10 x 8 is a daft size IMO as it doesn't fit the 3 x 2 ratio that DSLR's use (although I'm mindful that not everyone uses one).

What I will say though is that many people do over-enlarge up to A3, possibly less of a problem these days as cameras have higher MP counts, but a competition I recently judged had several severe cases of it.
 
And back... :D

General observations...

While many of those that passed were of a very high standard of work most were not, they were what I'd call competent photography. I don't mean that to sound harsh in any way, but they were just the sort of images pretty much anyone with a good understanding of light, exposure and composition would take on any decent day's photography out & about

I truly believe that many people could shoot an entire set for an LRPS in just one day if visiting a city for a few hours on a nice day

By that I mean you need 10 images, but showing a variety of skills in technical aspects of photography - so its not a bad idea to thrown in a couple of macro shots, a couple of wide-angle architecture shots, a couple of shots showing movement in the subject so a slowish shutter speed, a couple of portraits (Street type or even somewhat posed, even of strangers) and shots showing different uses of DoF and you've cracked it - all of which could comfortably be done in one day in Leeds for example. All you need to do then is add some hint of an eye for a shot


Those that failed did so because...

One had overdone the 'HDR' look to the sky to the extent it showed banding and halos around clouds; another had just one shot that failed the panels as it was a misty morning and hence very gradual tonal changes but the print had significant banding (this was referred to Head Office with the likelihood that the entrant would be allowed to reprint it, at which point the panel should pass). Another failed because of some clumsy composition which had significant blown areas attracting the eye away from the subject. And one which failed also had comments about the fact that the panel just didn't 'sit' as a coherent panel of images

That last comment basically means that there are 11 images judged on the day - the 10 actual mounted prints, and the 11th is what they all look like together in front of you. So make a pattern of the orientation, a pattern from which have strong colours, strong graphic subjects, B&W etc. Two passes were nicely done as one line of 5 colour and below a line of nice B&W

The 'L' then seems to me to be very much about being truly competent and doesn't need any spectacular shots at all - in fact, to me, a few panels were easily of a standard that could be worthy of an 'A', but then the range of images as a set isn't suitable for an 'A' because you're merely needing to show the range you can shoot


My one surprise... it is clear in the literature and in speaking to others that a 'range' of subjects is best as a means of avoiding failing for repetition, but then two panels that passed were purely portrait shots all done in a studio :shrug:

Anyway - that's my view, and it did indeed make me more confident in my ability to pass the 'L' - I hope something here may help you in going for your own :)

Cheers

Dave
 
I think you may be looking at this the wrong way Dave,

You are probably correct with your assumptions that the images/panels that passed the `L` might have been nothing special to you but to the people who had submitted panels for assessment you might find these are the best ten images they have produced.

And the idea that you could `have a day out` and get the images that show various competency with light DOF etc. might sound like it`s ticking all the right boxes but you would also find that the judges (who don`t forget are very very experienced ) would spot this from a mile off.
I think you would be better off displaying your best ten images that you have, that would make a coherent panel, your best ten images that you would be proud to display to the world.

I think you would get a lot more out of the process using this approach rather than going for images that `tick boxes`.

Just my two penneth worth
 
djinn said:
I think you may be looking at this the wrong way Dave,

You are probably correct with your assumptions that the images/panels that passed the `L` might have been nothing special to you but to the people who had submitted panels for assessment you might find these are the best ten images they have produced.

And the idea that you could `have a day out` and get the images that show various competency with light DOF etc. might sound like it`s ticking all the right boxes but you would also find that the judges (who don`t forget are very very experienced ) would spot this from a mile off.
I think you would be better off displaying your best ten images that you have, that would make a coherent panel, your best ten images that you would be proud to display to the world.

I think you would get a lot more out of the process using this approach rather than going for images that `tick boxes`.

Just my two penneth worth
Click to expand...

Not sure you read my post properly mate :thinking: but many of those images may well have been their best ever, I'm saying that they needn't have been - the level required to pass is not the best ever photography just good all round work, so if you have a genre (i.e. landscapes) that you're FAB at you may well keep back your absolute best to make that part of the panel for your 'A' that may otherwise be considered repetitive and hence fail the 'L'

If those judges allow a series of shots of models in a studio as not being too repetitive then I suspect a whole series of different images, styles, focal lengths, DoF and shutter speed usage that just happens to be taken in a city (whether on the same day or not) would comfortably pass inspection. Fact is, you MUST tick those competency boxes over arty interpretation; I've seen some 'F' panels that under the 'L' criteria would fail

:)

Dave
 
Last edited:
Enjoyed reading through this! Would have popped along to the York day but, but I live in a bubble and was unaware >.<

Interesting point on the exemptions, I wonder how they ensure national level of the listed courses, I know our Uni work is externally moderated, by two other institutions, I wonder if its a similar process.
 
On the subject of exemptions, the RPS allow a good A level pass to automatically gain the L. Given that most of the A level photography students I've met have no clue as to basic camera craft, I think this practise should be looked at.

At the end of the day the RPS only require 10 competent images - that's half what the other mainstream organisations demand. With that in mind, it could indeed be possible to produce a coherently themed panel from a well planned day out.
 
LONG past a proper update here !!! Soz :(

So anyway, after shelving all ideas of doing the LRPS thing due to workload (mostly Weddings) I've finally decided to get back on track (mostly as my pal is pestering me to get on with it so she can submit her's at the same time) - going to book onto the next suitable Assessment Day, which is March 2014, and tomorrow I'm off out to shoot something for it. Yes I easily have enough images from normal stuff I shoot and also enough from fun stuff I shoot, but that's not the point, so its going to be a whole new body of images shot specifically for the L

In fact I have a rather special day planned for tomorrow (weather permitting) and I'm off to Leeds for the day - I'll report later on how that goes :)

Cheers

Dave
 
viewfromthenorth said:
Have fun, hope your day is productive!

I submitted my FRPS panel in October but it was rejected. The journey continues.......
Click to expand...


Shame :( But probably not all together surprising...

I do find some of this distinction stuff a bit... 'odd'

Let me explain :D

The 'L' - competence in a variety of styles & images - my simple brain likes this

The 'A' - now we can accept the competence stage without question, so its more artistic, stylistic and theme based - it kinda makes sense when I see most A panel passes and I 'get' where most are coming from

The 'F' - having seen quite a few, and read even more *explanations* that are so arty I don't even know what they mean, and noted that quite a few don't even resemble photos any more I just have to conclude that I often don't 'F'-ing get them at all :D

I suspect your work was just too close to photography mate, or your explanation made sense to far too many people. Take a tab of LSD mixed with a bottle or two of wine, hit the OMG filters in CS6 and the WTF language button and you'll do fine

Good luck for next time :thumbs:

Dave
 
You may be right!

A lot depends on what category you enter your portfolio into at the A and F levels. I've heard mumblings of inconsistencies in the assessments but that's not my problem. The works either good enough or it's not, and I've got a reasonable idea in my head now of what I need to do to up my game! Sorry to derail your thread by the way!
 
Thanks for all the info, Dave (and additional contributors!).

I'd set myself the goal of LRPS for 2014 so it's interesting to see your thoughts on the process. Whilst I've got a few spare days over Xmas I think I'll have a look at the possible timetable of action over the next 12 months.

I'll keep an eye on this thread....

Mark
 
Gupster said:
Thanks for all the info, Dave (and additional contributors!).

I'd set myself the goal of LRPS for 2014 so it's interesting to see your thoughts on the process. Whilst I've got a few spare days over Xmas I think I'll have a look at the possible timetable of action over the next 12 months.

I'll keep an eye on this thread....

Mark
Click to expand...
Hi there - I went to a couple of advisory days - they were both very useful… as for shooting a day - hmm. Not convinced! ;)
 
I've just realised.... I can simply apply for ARPS based on quals. I thought it was only LRPS that allowed that. However.... £111 per year though... just to use the letters FRPS? LOL. That's £27.75 per letter... per year :)


Just had a look at the FRPS portfolio submissions ( http://www.rps.org/advisory_zone/Successful-Print-Panels )

If I'm honest, I'm not seeing a great deal of difference between LRPS panels and ARPS in terms of quality or originality. The single "Contemporary" folio for FRPS was the only one I thought was inventive in any way and had any backbone behind it in terms of concept... nothing that Nan Goldin hasn't already done though..

Seriously Dave... just submit.. stop messing around.... You'd have to be really terrible to not get LRPS. You're obviously beyond the standard they require for LRPS.
 
Last edited:
You must log in or register to reply here.
Back
Top