LATEST DISTINCTIONS UNDERWATER IMPACT STUNNING IMAGES FROM ROB WHITE S LRPS PANEL MY BEST SHOTS LIVING THE HIGH LIFE WITH JOHN SWANNELL BLEEDING LONDON HOW SOCIETY MEMBERS CAUGHT THE CAPITAL JUNE 2015 / VOLUME 155 / NUMBER 6 / WWW.RPS.ORG
ROB WHITE 424 DISTINCTIONS LRPS Rob White LRPS Sea life seen in all its glory IN 1997 I TOOK UP SCUBA diving as a hobby, deciding in 2005 that I d like to teach others. In that same year, I took a digital camera in a waterproof housing on a holiday to the Philippines and my obsession with underwater photography began. I ve since moved up to a DSLR and these days love taking photos above the water almost as much as below it. As I work as a software engineer, at an office desk in semi-darkness during the week, I enjoy taking photos of sweeping vistas, landscapes, seascapes and images that give a sense of scale. I ll often include sunlight too. When choosing images for my panel, I looked through my portfolio and shortlisted about 150 I thought worth considering. I narrowed the shortlist down by focusing on images which showed a variety of techniques, eventually coming up with an aquatic theme, finalising my selection based on images which featured water. I hope my underwater images demonstrate not only an appreciation for the beauty of marine life but also an ability to be comfortable within that environment. Without the training and practice I ve had, I suspect I d be a liability not only to myself but also to my buddies and the wildlife around me. The images were all taken in the past two years. I ve tried to include underwater images from the UK, as people tend to assume we have very little that they d consider photo-worthy around our shores, but this is far from the case. 424 / THE RPS JOURNAL / JUNE 2015 / VOL 155
FEATURE SPONSORED BY Grey Seal in Sunlight, Lundy Island, UK. Canon 550D, Nauticam underwater housing, two Inon Z-240 u/w strobes. Tokina 10-17mm lens @ 12mm VOL 155 / JUNE 2015 / THE RPS JOURNAL / 425
426 DISTINCTIONS ROB WHITE LRPS FACTFILE Rob White LRPS is a software engineer based near Brighton. A keen scuba diver and scuba diving instructor, he has been taking underwater photos since 2005 and enjoys working above the water too Clockwise from top right: Under/over dive boat on coral reef, Red Sea. Canon 550D, Nauticam underwater housing, two Inon Z-240 u/w strobes. Tokina 10-17mm lens @ 10mm behind a Zen mini-dome u/w port; Fish in anemone, Maldives. Canon 550D, Nauticam u/w housing, two Inon Z-240 u/w strobes, Canon 100mm macro lens; Old rope and groyne on Shoreham Beach. Canon 550D, Lee Big Stopper filter, tripod, Canon 10-22mm lens @ 15mm; Hermit Crab, Plymouth. Canon 550D, Nauticam u/w housing, two Inon Z-240 u/w strobes, Canon 60mm macro lens 426 / THE RPS JOURNAL / JUNE 2015 / VOL 155
FEATURE SPONSORED BY ASSESSOR S VIEW HANGING PLAN Rob s vision and technique are faultless. The images were superbly printed and the panel balanced, presented in a way that maximised potential LEO PALMER FRPS CHAIR, LICENTIATE PANEL One of the keys to success in a Licentiate submission is variety. There is a misconception that variety must mean, for example, a portrait, a landscape, a still life, sports shot etc. And although most applicants follow this route successfully, variety can also be shown in a more specific subject area. However, when working within a specialised area the ingredients of variety of approach and technique are essential, and Rob s panel is a great example of someone photographing a subject close to their heart but still managing to capture images that show a range of technique and an excellent understanding of lighting. The images tell a story of the location and life above and below the waves. They were all exceptionally well composed. That, along with appropriate lighting conditions, enhanced the subjects. The underwater shots were exciting and not just simple records of the species; they had a vitality that brought the creatures to life. They were clearly the work of a photographer with great empathy with his subject. Rob s vision and technique are faultless, and cover a wide range of skills. The images were superbly printed and the panel balanced, presented in a way that maximised potential. I believe it is important to submit a panel in a tight discipline if that is what you enjoy doing. Remember, in a Licentiate submission, it is essential to show variety of approach and technique. Rob did just that. We had no hesitation recommending his stunning set of prints for the Licentiate Distinction. VOL 155 / JUNE 2015 / THE RPS JOURNAL / 427