“I Don’t Hate Part-time Photographers”

“I don’t hate part-time photographers, really I don’t.” These are not my words; this is a quote from a “Professional” photographer who wrote an article in a “professional” magazine. I continue to study photographers’ work, the craft, art, and technical side of things. I suppose I would be classified as a “part-time” photographer, and admittedly I am; but, I also put in about 40 hours of photographing, processing and studying each week (weekends and evenings). But, nevertheless, I have full-time, gainful employment; I do not have a studio, so I guess that makes me a hijacking part-timer; I’ll explain.

While I was looking for additional information with which to expand my knowledge and to examine what other photographers do, I accessed a “professional” website and, while I have been aware of the organization, I have hesitated to subscribe to their magazine. Since the organization had a special price on their publication, I figured I could learn something constructive with which to better my craft and art. So I downloaded an electronic copy and began to read. One of the articles purports that “part-time” photographers have no “skin in the game” and they are “hijacking” the author’s photographic opportunities on weekends. Didn’t know they were hers to begin with. The author qualifies her sentiment by stating that, “she is a professional and encourages part-timers to invest in what it takes to join the ranks of the full-time professional.” I am aware of plenty of “part-timers” who have a significant monetary and time investment in the craft.

Generally, when people make statements in conversation, or their writings, and then immediately follow the statement with “but,” you can assuredly assume the initial statement will be discounted because the real sentiment and meaning will be forthcoming. I checked Oxford’s Dictionary just to be sure I was assuming the correct meaning of the word hijack. The definition reads: “illegally seize, to steal goods, take over something and use it for another purpose.” Oxford’s Thesaurus uses the words: commandeer, seize, take over, appropriate, confiscate. Here are the author’s words, you decide, “part-time photographers who get paid to work a full-time job all week long and then hijack work from a full-time professional when it suits them.” She continues with her definition: “a professional is someone who works as a photographer 24-7, who has made a sizable monetary investment and, more important, a sizable time investment.

At what point did it occur that only “professional photographers” have the right to take photographs? There is no licensing required to be a “professional photographer.” The person writing the article has a studio, a few initials after her name that supposedly indicate her “professional” ascension and she feels free to deride an individual with whom she came into contact and had the misfortunate of stating that, “she was a photographer too.” The author then goes on in the article to find fault with the person’s ability to properly pose her and her ability to take a proper portrait of her with a camera meant to take driver license photos.

There are many reasons people consider having a friend take photographs of special occasions. One of which is money, and, I will agree, the mistaken assumption that just because a person owns a camera, they have the ability to record good and pleasing photographs. Some do; some don’t. Regardless, caveat emptor…it is up to the person commissioning the work to make the decision and up to the “photographer” to decline or accept the job and provide alternatives; the acquiesces of photographing and event or individuals becomes mutually agreeable.

There is something to be said for the perpetuation of mediocrity (but that’s another argument for another time) and the author goes on to say that simply because you own a “nice” camera, it does not make you a photographer. I disagree. Simply because you own an expensive camera and possess a handful of initials, it does not make you a photographer. I would argue that there are “legitimate photographer” who go on photographic excursions and use an iPhone. Camera, schmamera, it ain’t about the camera. If you take photographs, by definition, you are a photographer.  You may not be good, but with practice and increased knowledge, that should change.

I am dismayed that a supposed “professional” organization has an individual authoring a monthly article with the latitude of deriding anyone who has the audacity to take photographs for fun, the pure joy of the art, or at the request of friends and family members. By belonging to this “professional” organization one is not elevated to the stated and hallowed status of professional. Simply having a bunch of initials after one’s name does nothing, in and of itself, to promote one’s ability and output. Photography is an art, and the pleasure is in the eye of the beholder. If a person wants a family member to photograph an event, should one then say, “I am not part of this organization, I do not have initials after my name, I have not taken a test,I do not have a studio, and I do not do this full-time, so I can not take your photographs?”

Initials being what they are and provided by this particular organization, which is not one of higher education, or globally accepted to some degree, determine that a person should only seek these blessed and annointed individuals for their photographic needs? Does a BFA of MFA recipient have a higher right to take photographs and do the work than one who has letters and initials from an organization? There are many who ascended to “professional” status and are revered for their work, but do not have these letters after their name indicating the passage of an examination process conducted by this organization. Most of the photographers I have been exposed to who acknowledge their BFA or MFA support and encourage budding photographers, part-time or otherwise. There are many “part-time” photographers who produce excellent works of art who simply choose to do it in this manner; part-time. Ironically, this organization chose to recognize Kenny Rogers for his photographic prowess and who also just happens to be a “part-time photographer.”

I love some of the last comments: “Owning a nice camera and dabbling in Photoshop doesn’t make someone a professional photographer…” And the last paragraph, “But I don’t hate the part-time photographer – really I don’t. In fact as a working professional, I encourage every part-timer to consider investing in what it takes to join the ranks of full-time professionals: training, time, commitment, licensing, insurance. You know you want to. And I’d like you a whole lot more.” I suppose; so, she would like you more until such time as you did and opened a studio in the same town and legitimately began “hijacking” her photographic opportunities during the week and not on the weekend.

While this is a singular article, the undercurrent of sentiment runs through other articles authored by the same person. It cost me about $20.00 for a one-year subscription to a magazine that will be forever tainted by this author’s distaste for those who do not see the world as she does and is considered to be hijacking her work. I have viewed her work and genre…I reserve my impression, art and its emotional impact are a personal issue and as varied as people. And, if you know from whence the article came, I leave you to judge for yourself.

The audacity, the temerity, the arrogance.

Accepted Photographs

Photographs accepted to the Language of Light Exhibit

Photographs accepted to the Language of Light Exhibit

No text this time, just a compilation of the photographs accepted for the Language of Light Exhibit.

The Language of Light

The Language of Light

The Language of Light

It’s Saturday, not Sunday and another installment. Tomorrow is a travel day and, incidentally, football playoff day – the extended end of a year and the beginning of a new one. Last fall, I had the opportunity to submit photographs to a selection competition for an exhibit. So, shallowing my ego and pride, I went through files and files of photographs and made selections of those I thought worthy. Deciding I needed an independent voice, I consulted my wife and asked her to go through the photos I had thought worthy and provide her impression (believe me, she is an independent voice). Between the two of us, 30 photographs were selected for submission: five photographs each in six categories of different perspective and content: In Nature, The Built World, The Human Experience, In Detail, Creative Angel, and Global View. Those who dabble in any type art usually view themselves in worse light than others – we are are our own harshest critics.

I anxiously awaited the verdict. When an email arrived in November announcing the selections, I was excited and hesitant; acceptance would validate a level of performance; the opposite, ego smashing rejection (or so one would think). Submitting any artistic product to unknown others takes a level of risk. Gathering sufficient fortitude to expose oneself is a hurdle in and of itself. I emailed the link to my wife and then opened the link with expectations of submitted demise. I was shocked. With expectations similar to checking the cut-list for sports tryouts, I scanned the list for my name. I was shocked and surprised. I found my name; I had succeeded in the endeavor. A total of almost 500 photos submitted by various photographers, 30 of those I had submitted (the maxim by allowed by each person). I checked the various categories and found that 19 had my name attached – I was elated, and nervous. Now, the public would render their decisions on the work I submitted, had accepted, and now presented for their evaluation. Even though I had a number of photos accepted, I am humbled and at the same time afraid of continuing the currently achieved level and, as one would expect, elevating that level to a new standard.

Did I win? No, I was fortunate to have submitted works that struck the emotional and technical strings of those making the selections. Each person who submitted experienced the same emotions and expectation of possible rejection as I. Each person worked just as hard to find their best work, make selections, and submit themselves into the arena of potential ego-dashing rejection. To the others who had photographs accepted my congratulations. To those who did not, my congratulations as well for crossing the threshold, and although perhaps not successful this time, have succeeded in putting themselves and their egos at a certain level of personal and emotional risk.

I am cautiously proud of this accomplishment. Now on to the voice of others who will judge outside the arena of Acceptance Committee eyes. The above montage contains all of the photos submitted; some have been posted here, many have not and may be in the future. If you are in the area, visit the exhibit and enjoy the work of all who were fortunate to have been selected. Photos are exhibited at Salt Lake County Libraries from February through April through the efforts of the Wasatch Camera Club.

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2014 Goal

Double Arch Composite

Double Arch Composite

Much of learning about the craft of photography is placing one’s work and artistic impressions in front of others to view and for those who choose to view the photos and/or artistic impressions to, hopefully, provide comment. During the next year, I have a goal of posting a new photo, commentary, or something that I find or have learned that may be useful, each week on Sunday. This goal has two has two components: one, it forces me to provide a new photo or post at least once a week, which means taking, reviewing and editing more photographs, and continuing to learn and provide better visual content (you’ll just have to accept the level of text and writing as it is). On occasion, I may have a specific task to find and record a specific type of photograph or editing process for posting.

The above photo is a composite. I seem to have an interest, or at least be captivated by the creation of composites by various photographers/graphic artists. This is, I believe, in keeping with the idea that “photograph are not taken, they are made” (paraphrase Ansel Adams). Photographers, I believe, envision a certain scene or outcome for their work. Each person sees and remembers scenes and circumstances differently, which contributes to the rich output and vision of photographers. Consequently, even though the initial photograph was fairly plain, this composite is how I envisioned the scene and as it developed in my mind. This took a few months. The initial photograph provided a bland sky, no stars, no moon, and no clouds. A battery-powered torch was used to light the rocks, but in doing so, provided a stark light that was uncomfortable, slightly visible, and did not contribute to the overall scene.

The composite was made up of:

  • The original Double Arch photograph, (Arches National Park)
  • Moon: taken with a Nikon D50 mounted on a telescope
  • Fire: from flame and fire files found on the internet
  • The Sky & Clouds: taken during the early stages of a storm in Mexico City
  • The Stars: created with a custom brush made in Photoshop (this is one of the things I am learning to do and just happens to be my first attempt at creating stars in this manner)
  • All other components and editing were done in Lightroom and Photoshop.

I look forward to the year and being better in the end than I was in at the beginning….. Happy New Year.

Digimarc