We recently interviewed London College of Communication graduate and Photo Scratch co-founder Hanna-Katrina Jędrosz about the Environmental Bursary grant she received from The Royal Photographic Society. She also introduces us to the first chapter of her resulting body of work.
We hope you enjoy reading through Hanna-Katrina's thoughts on applying for opportunities like those from The Royal Photographic Society.
Tell us about the bursary you received from The Royal Photographic Society. In 2016 I received the Environmental Bursary awarded by The Royal Photographic Society and The Photographic Angle. I won in the Under 30 category, and I was awarded jointly with Carl Bigmore who I collaborated with on the first chapter of the project.
Tell us about the work it allowed you to make. What's the work about? Is it complete? The bursary enabled us to make a major body of work about the Fennoscandian section of the European Green Belt. The European Green Belt is an area of land that spans the breadth of Europe from the Barents Sea to the Black and Adriatic Seas. It traces the boundary of the former Iron Curtain from north to south. For nearly five decades, this space was an out-of-bounds no-man’s land dividing east from west. This corridor enabled wildlife to flourish. Today much of the route is connected through national parks, biospheres and nature reserves. The project aims to explore and document the interplay between human activity and wildlife on a specific but vast stretch of land that comprise the European Green Belt, and in turn, how nature has reclaimed the land during and since the Cold War era.
The first chapter of the project is complete and I have just returned from making the next phase in Poland, Germany and the Czech Republic. There will be another trip later this year across the Balkans and Turkey which will comprise the final chapter.
What did winning the grant mean to you and your work? Winning the grant from The RPS was such an honour. It’s an organisation with a long and established history and they have supported thousands of photographers over many years. It felt like a vote of confidence in my work and in the idea.
Though it wasn’t publicly announced until the award ceremony in September 2016, it was shortly after the EU Referendum that we received news that we had won the backing to make this project. It felt very timely. On a personal level I felt disturbed by the results of the referendum. Receiving news of the bursary at that particular juncture provided a genuine sense of hope. It felt like an opportunity to channel some of the feeling of chaos I was experiencing into making work that would involve traversing the European continent, crossing many borders, encountering different people and places, and being given an opportunity to create something hopeful.
What encouraged you to apply for the Environmental Bursary in particular? It was the idea more than anything that lead to this application. It was Carl who suggested applying for this particular bursary when I told him about the idea. The Environmental Bursary seemed like a good fit for the project. I had never particularly considered myself to be a landscape or environmental photographer. I’m interested in connections between people and places, histories of the land and environment, the presence of history and the impact of a place on human experience.
What support did you receive? I received the financial backing to bring the project into being. We pitched the first chapter of the work which would see us travelling from Norway, through Finland, Estonia, Latvia and Lithuania - the Fennoscandian and Baltic sections of the Green Belt. The support meant we could buy the film stock, book the flights, make the trip and get back in once piece. It simply would not have been possible without this kind of grant.
On top of this practical financial support, I have felt very supported by The RPS and, in particular by the Education Manager Liz Williams. She has provided letters of endorsement, helped me to connect with people in the industry and has been a really positive influence throughout the process of making the work.
Give one positive and one negative in regards to applying for opportunities like these. There is no negative to applying for opportunities like these! What’s the worst that could happen? If you aren’t successful, you will have gone through a process which hopefully has helped to clarify your intentions and thoughts, and will make your next application even stronger. It can help to identify gaps in your knowledge too. If you are lucky enough to receive funding then that is of course wonderful and a huge opportunity to get on and make your work. The RPS application form itself, at the time that I applied, was reassuringly straightforward.
Every grant comes with a sense of responsibility to do the work justice and seize the opportunity. It’s a good idea to have an awareness of the organisation or funder’s motivation for offering the funding. Be prepared to fulfil obligations to your backers, like supplying images when the project is completed within a specific time frame.
Writing a budget can be challenging because sometimes you might not know exactly how much you would need, or there are variables. My advice would be to keep it simple and include a contingency of 10-15%. Be prepared to save up some of your own money to cover unexpected costs. I have never made a project without working really hard to save up for it first, even with external funding. Before going away to make the first part of this project last year, I worked six day weeks for six months (a combination of freelance photography jobs and picture editing shifts at two different organisations) just so that I wouldn’t come back and be completely overdrawn. More established photographers may not require this, but with relatively few years (five) working professionally, as well as the costs associated with living in London, and photographing on film, this is how I have managed.
With any endeavour, ultimately it’s your decision to be committed to a project and then do whatever you need to do to make it happen. Having external funding is a huge initial enabler that paves the way for you to then fulfil the opportunity to its full potential.
Can you give any advice to those considering a submission to any of The Royal Photographic Society opportunities?
When applying for funding, and in no particular order…
Ask for help if you need it.
Look at what has been funded in recent years and don’t repeat an idea.
Be clear. Don’t be ambiguous or try to sound academic or mysterious for the sake of it.
Trust your own voice.
Be honest about your idea - what are the challenges? What are your strengths?
And most of all: apply! Someone once told me they allocated a day a month to apply for funding, residencies and other opportunities. I don’t manage to be as organised as this but I do allow myself time to do applications, time to discover and articulate ideas, and cast the net.
Let The RPS realise your photography dream…
The Royal Photographic Society has announced this year’s bursaries to help photographers and students alike develop, finance and realise projects across the still or moving image.
Recipients can use the funding for aspect such as travel, equipment, website or mounting an exhibition. Michael Pritchard, Chief Executive of The Royal Photographic Society, explains: “The Society’s bursary programme is an important part of our educational activities, allowing photographers to realise important and worthwhile projects. Many of those it has supported in the past have gone on to establish respected careers and the Society continues to support and maintain contact after those initial projects have been completed.”
2017 Postgraduate bursary winner, Cebe Loomis from Santa Cruz in the USA, explains: “Thanks to the Society I was given the opportunity to create a dynamic body of work that would greatly contribute to the professional field of photography including the funding of my fieldwork in Virginia City, Nevada, as well as begin designing the book that will soon house the complete project, Tailings.
Being awarded this prestigious bursary has given me the resource to pursue my project to its fullest capacity. From travel support for months of fieldwork, to funding the purchasing and developing my 120mm and 35mm film, this bursary has been invaluable in a number of ways. Additionally, to have the encouragement of the Society is invigorating and I feel proud and inspired to continue creating and exploring the field of photography.”
Details for the 2018 bursaries are as follows:
Two annual bursaries in partnership with The Photographic Angle -
£3000 towards a photographic project to support environmental awareness.
Applications close 29 May 2018.
Annual bursary offered in partnership with The Guardian -
£2000 for the production of a photographic essay on an overseas social documentary issue. Photo essay published in The Guardian and RPS Journal.
Applications close 18 May 2018.
Annual bursary of £3500 in support of a postgraduate student studying in the UK or abroad.
Applications close 29 June 2018.
DepicT! challenges filmmakers on any budget from anywhere in the world to show their work in just 90 seconds. The RPS supports Main Award of £1500 and Cinematography Award of £1000.
Applications close 2 July 2018.
All photography bursaries (excluding DepicT!) benefit from an additional £500 worth of equipment from Vanguard and the opportunity to have a portfolio printed by Metro Imaging. All bursary projects will be published in the RPS Journal.
For more information about funding and bursaries please visit http://www.rps.org/learning/project-funding
For further press information including images and interview requests please contact Caroline Hook, Marketing & Communications Manager, on direct tel: (01225) 325 799 or email: firstname.lastname@example.org
Closing date: 4 April 2018
World’s longest running photographic exhibition, IPE 161, is calling for entries from amateurs and professional photographers.
This year marks the 161st edition of the IPE, making it the longest running photographic exhibition of its kind in the world. Each year it provides a fascinating insight into the range and diversity of contemporary and traditional photography.
Michael Pritchard, Chief Executive of The Royal Photographic Society, explains: “Last year’s IPE 160 received over 5000 entries from over 56 countries. The exhibition was widely acclaimed as one of the best of its kind and we would expect IPE 161 to be equally strong.
From pin hole to Instagram, The RPS welcomes entries from all genres, styles and approaches by photographers worldwide, more importantly all levels of practice. International and national submissions are welcome, professional as well as non-professional.”
Taking the form of a competition, The Royal Photographic Society is on the look-out for engaging, visually striking and inspiring work across all genres including Fine Art, Documentary, Landscape, Wildlife, Portraiture, Travel, Fashion, Photojournalism and Street Photography to name but a few.
The images will be selected by a panel of expert selectors. The chosen panel will select Gold, Silver and Bronze award winners and the exhibition will open in the new RPS Gallery at HQ Bristol in the autumn and subsequently as part of PHOTOBLOCK at The Old Truman Brewery in London.
This year’s panel of expert selectors includes Karen Knorr (photographer and Professor of Photography, University for the Creative Arts), Jack Latham (photographer), Christiane Monarchi (curator and founding Editor of online magazine Photomonitor), Aaron Schuman (artist, writer, editor, curator and Course Leader of MA Photography, UWE) and Jon Tonks (documentary photographer).
In addition to exhibiting in the touring exhibition, winning photographers will be eligible for several cash prize awards, totalling £4,250, aimed at helping to support future photographic projects. This includes a dedicated award of £1,500 for a photographer under 30 years of age.
The RPS will be sharing standout images throughout the submission period on Instagram.
For further information and entry details visit www.rps.org/ipe161
The IPE is proudly supported by theprintspace.