Teaching photography as a subject is something that I have a passion for. Teaching photography as part of art history and discussing ideas and concepts is something that is vital to the future careers of my students. So, I find it shocking that many professional photographers (usually social photographers) have little or no knowledge, or interest for that matter in the history, or of the major figures in their chosen profession. Many will profess to know the work of Cartier-Bresson and some will have heard of Julia Margaret Cameron. But beyond that, there is very little awareness.
If you are not a photographer professional social photography is an industry based around weddings, family portraits and such.
Most, but not all of these ‘professionals’ tend to be drawn to photography through equipment fetishism. Big camera this, big lens that. Some of these people then develop enough basic craft skills to earn money. The enjoyment of making images (and money) is then encouraged and furthered by the national photographic institutions, the qualification process and manufacturers and allied services.
Our photographer, let’s call him or her, Sam, becomes a slavish follower of trends. Trends that are established by those with a bit more foresight and business acumen than Sam. In recent years these trends have included, in portraiture, white backgrounds and garish colours and, in weddings, reportagedocumentaryphoto-journalism (all one word) wedding photography thingee. Perhaps in black and white (because the client thinks it’s a bit trendy and modern) but now more in colour. Do we go formal or informal – a bit candid? I know, let’s try a bit of ‘strobist’ off camera flash. Sam follows but never instigates these trends and looks to others for ways of producing images.
Along the way though, there is a foundational and fundamental part of Sam’s development as a photographer missing. Sam is not learning about what came before, and aside from a very narrow contemporary corridor of interest (brides and babies) is missing out on hundreds of years of artistic practice and discourse, all of which could have a profound effect upon how today’s (social) photographic imagery looks and is considered. This awareness will not have a negative effect upon industry and profit. This new found interest could enrich Sam’s photography. It will point the way of good practice and even introduce an element of gravitas.
Sam has invested a lot of time, energy and finance in establishing his business. He knows how to get things in focus, knows about exposure. He can utilise photoshop to twiddle, fiddle and faff with his images. He has joined the BIPP, the MPA and SWPP. Sam enters competitions and walks away with plaudits galore. He markets his successes aggressively. But although he knows all about unique selling points he misses the point of making his pictures unique to him and could be selling more.
An important issue here is that Sam, with the help of the institutions and networking groups, becomes a business person. He becomes better at making the pictures and marketing, his client base and income grows. Sam becomes better qualified and as a result achieves respect amongst his peers. I feel that this is a great thing for Sam and the industry. I’m all for capitalism. It is a honourable endeavour. Money and industry keeps the world turning and drives human society.
Sam could be a plumber, a builder, a green grocer. Sam is not a creative person. Sam will say to the client that they are an artist, that their work is highly creative, look, here are the awards and certificates to prove it. But this is just marketing and transparent marketing at that. Deep down Sam knows he isn’t creative or in any way artistic, but Sam secretly would love to be so. When at an industry event with all the other Sams, he will say that when he feels a bout of creativity coming on, he will lie down until it goes away. And they will all laugh at the pretentiousness of those that are truly creative. As though creativity can damage profit. Deepening the contextual knowledge of photography is a duty of all intelligent practitioners. Sam can still market his business, he can still enter the competitions. But with a little re-education he could achieve even greater respect from his peers and greater profit.
As it is at present many will say ‘let Sam be what he is’. Hi is a tradesman, there is no dishonour, no indignity. But unless he adds those foundations, don’t believe him when he says he is creative. He cannot make anything other than pretty pictures. Pretty pictures are great up to a point, they will elicit an emotional response from the client, there are tears of joy. This is wonderful for the client, they will go home with pictures that they love. They will recommend Sam to all of their friends. Sam’s bank balance will be improved. But are the photographs distinctive or even good. It is highly unlikely.
To even begin to create a photograph that is more than aesthetic superficiality, Sam must learn, in depth, the reasoning behind artistic endeavour. The why’s and wherefore’s of the history of photography and of art itself. You never know, Sam may become a superior photographer because of this education. Sam’s clients may not evaporate. Sam may find new markets and a greater love for his profession. And in the end, photography itself would benefit from all of those new and improved Sams out there.
For those Sams with the wit to want to create fresh work I have added a short reading list to initiate your education. Listen to the creative thinkers and escape the shackles of imitation.
Ways of Seeing Author: John Berger Publisher: Penguin ISBN: 0-14-013515-4
On Photography Author: Susan Sontag Publisher: Penguin ISBN: 0-14-118716-6
On Being a Photographer Author: David Hurn & Bill Jay Publisher: Lenswork ISBN: 1-888803-06-1
The History of Photography Author: Beaumont Newhall Publisher: Bulfinch Press/Little, Brown and Co. ISBN: 0-87070-381-1