RPS Documentary Distinctions Advisory Day

Photography which communicates a clear narrative through visual literacy

In February of this year, the Western Region hosted the first Documentary Distinctions Advisory Day at RPS HQ in Bristol, organised by Michelle Whitmore ARPS and Suzanne Johnson LRPS. Leading the day were Simon Leach FRPS, Documentary Distinctions Panel Chair, and Steve Smith FRPS, one of the Documentary Distinctions Panel Members. As well as many photographers seeking advice and observers, the day was attended by the Documentary Group Chair, Mark Phillips ARPS and DM Editor, Dave Thorp.

The Royal Photographic Society launched its new Documentary genre distinction at the end of 2019, defined as ‘Photography which communicates a clear narrative through visual literacy’. This feature aims to expand on the key points raised during the first dedicated Advisory day. It is intended to supplement, not replace, the definitive guidance published by the RPS Distinctions team and highlights additional sources of information that may be helpful to those aspiring for a distinction in Documentary.

The Documentary Special Interest Group aims to support members achieve RPS Distinctions by helping members undertake high-quality documentary photography projects generally. Specific advice on distinctions is provided by the Distinctions Team and we aim to continue to work with them to help you in your journey.

Our 2020-2021 Plan, through its goals to Promote, Educate and Encourage, includes a range of activities intended to assist photographers as they develop their practice and showcase high-quality photographic work and thinking. A series of workshops and features are planned, covering the lifecycle of a project from initial idea and intent, developing narrative, conducting research, through execution, to editing, sequencing and ‘getting it out there’.

Simon Leach discusses Ron Evans’ successful ARPS panel

Dave Thorp

The February Advisory Day started with introductions from Simon Leach, Steve Smith, and Mark Phillips, and a talk through some successful Associate panels.

The RPS website currently includes examples by Chon Kit Han ARPS, Phillip Butler ARPS and Brian Morgan ARPS. In this edition of The Decisive Moment, we also feature successful Documentary Panels by Liz Vaz ARPS and Ron Evans APRS as well as documentary work by Jo Kearney ARPS, who you can watch discussing her ARPS project with Peter Hayes FRPS on the RPS website.

RPS Members can also read Gemma Padley’s interview with Simon Leach FRPS in the December 2019 edition of the RPS Journal, which covers similar themes to the introduction he gave on the day. Applying for a distinction is a personal education process; looking at subjects that you are passionate about and using photography to show how you see things. Good documentary photography is knowing how to tell a story and the submission, both the images and statement of intent, plays a part in that.

Documentary Submissions

The big difference between documentary and other distinction genres is embedded in the heart of the definition - ‘communicates a clear narrative through visual literacy’. A successful panel is more than just a collection of ‘record shots’, the images need to convey a clear intent.

The RPS have recently published a set of genre definitions and guidelines aimed at ARPS submissions, which includes the following guidelines:

• Concepts could include events, objects, people or places which are explored through the photographer’s immersion in the subject.

• A submission regarding a particular place may have one aim but may need to clearly show many different aspects or objectives of that place; the landscape, it’s people, it’s history, a geographical aspect etc. to avoid a repetitive element.

• A submission may be an opportunity to communicate 15 different visual elements of your aim and objectives within your chosen subject.

• Studying other bodies of work by Documentary Photographers may help, not to replicate, but to inspire. Find elements that could develop your own approach and understanding to Documentary Photography.

• It is advisable to avoid stereotypical images produced at workshops, course or tours. Although images produced at workshops, courses and tours are accepted.

‘So what transforms these simple records into pictures of lasting merit? It comes down to the choice of subject. The photographer must have intense curiosity, not just passing visual interest, in the theme of the pictures. This curiosity leads to intense examination, reading, talking, research and many, many failed attempts over a long period of time.’ David Hurn - from ‘On being a photographer’

Documentary projects are unlikely to be successful from a single visit or a couple of short visits; it is more about a real in-depth engagement and understanding of your subject.

• How accessible is your chosen subject matter?

• Are you photographing from outside or from within?

• Can you return to it to shoot more images as required?

• How has the subject been covered previously? How does this inform your work?

Developing the Project

There was a great deal of useful feedback on the day which we’ve tried to capture the essence of here, though it can be no substitute for specific comments on your own work from a distinctions panel member.

There are many other ways of developing a project idea including: researching how the topic has been covered previously, by photographers or in other fields; using peer review events run by local groups or organisations like Photo Scratch. Research also plays an important part; it defines the context for the project, and it is also important to understand what others have already done and what approach they took.

The team offer online advice and, more recently, one to one portfolio reviews online to help shape the project, identifying gaps or even shifting focus to another genre. The challenges of the documentary genre mean that the intent, narrative and the images required to convey them are likely to change as the project progresses. Many of the projects we’ve published in DM have followed this path, for example, Alys Tomlinson’s Ex-Voto. Plan on attending an Advisory day early in your project rather than treating it as a ‘mock exam’ for the assessment itself.

Steve Smith at the Documentary Distinctions Advisory Day, February 2020

Dave Thorp

A successful panel is more than just a collection of ‘record shots’, the images need to convey a clear intent

Statement of Intent

The statement of intent requires photographers to explain their idea clearly and convincingly in a maximum of 150 words. There is no minimum word count and a succinct statement could be more effective than a lengthy one. Technical information about how the project was shot is generally superfluous and does not need to be included. Candidates need to be clear on what their project is about and why they are presenting it. As a starting point, you may consider trying to articulate this in one sentence, finding 3 or 4 images that tell this story and then building the panel and statement from there.

Technical Aspects

During the Advisory Day, observations were made about how an individual project might fit with the genre, the coherence of the panel and the strength of narrative, as well as more technical aspects such as point of focus, attention to highlights, consistency of colour and tone, colour balance across the panel, and challenges of dealing with lighting or the subject. The example panels included in this issue illustrate many of these points. The Associate distinction requires a body of work of a high standard demonstrating a high level of technical ability using techniques and photographic practices appropriate to the subject. The Fellowship requires a distinctive, distinguished and cohesive body of work throughout the project, demonstrating the highest level of technical ability using techniques and photographic practices appropriate to the subject.

Narrative and Visual Literacy

The documentary genre presents the challenge of conveying the intent through a visual narrative. During the advisory day there was a lot of discussion about the terms used in the Documentary definition. Although definitions of ‘Narrative’ and ‘Visual Literacy’ are easy to find, understanding how to apply them to documentary projects isn’t always clear. During the discussion on the day, Mark Phillips offered the following suggestion:

“Narrative may be simply communication that tells a story, or may ask questions, but above all, it makes us think. It is important to get your work out, test your ability to construct a narrative and get feedback.”

Visual literacy is the ability to interpret, negotiate and make meaning from information presented in the form of an image

“Visual literacy is the ability to interpret, negotiate, and make meaning from information presented in the form of an image. Like writing and music, you can build competence in visual literacy by studying the work of others, going to exhibitions looking at photo books, and then putting this into practice in your own work. You cannot write good stories if you have not read much; you cannot compose music unless you have listened to others. Photography is no different – you need to learn how photographic techniques and symbolism can convey meaning.”

The RPS Documentary Group website includes a range of resources, and suggested references, to explore these concepts further, and to understand how to apply them in practice. This resource will be expanded regularly, so it might be worth bookmarking for future reference.

Suzanne Johnson, Steve Smith, Simon Leach and Michelle Whitmore

Dave Thorp

The latest, definitive sources of advice relating to distinctions can be found on the RPS Website: rps.org/qualifications

ARPS

The Associate distinction requires applicants to submit a body of work/project consisting of 15 images and a written Statement of Intent. The images must be of a high standard. Associate Criteria • A Statement of Intent that defines the purpose of the work, identifying its aims and objectives. • A cohesive body of work that depicts and communicates the aims and objectives set out in the Statement of Intent. • A body of work that communicates an individual’s vision and understanding. • A high level of technical ability using techniques and photographic practices appropriate to the subject. • An appropriate and high level of understanding of craft and artistic presentation.

FRPS

The Fellowship distinction requires applicants to submit a body of work/project consisting of 20 or 21 images and a written Statement of Intent. Submissions are open to everyone (New for 2020). Fellowship Criteria • A submission that demonstrates a distinctive and distinguished body of work. • A Statement of Intent that defines the purpose of the work, identifying its aims and objectives. • A cohesive body of work that depicts and communicates the aims and objectives set out in the Statement of intent. • A body of work that communicates and individual’s vision and understanding. • The highest level of technical ability using techniques and photographic practices appropriate to the subject. • An appropriate and high level of understanding of craft and artistic presentation.