The future of photography lies in education

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The industry in a nutshell: everything depends on everything else, but most importantly, knowing what everything does.

Over the course of the last few months, I’ve had a number of interesting conversations with quite a number of people involved in various areas of the photographic industry – from the corporate juggernauts that make the hardware, to the niche manufacturers, to professional photographers, to amateurs, clients/ image buyers and everything in-between. I suspect the nature of my work and involvement with the greater photographic community means that I have a little more insight into the big picture than most, and what I’m seeing honestly concerns me.

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So…I bought a Nikon D750. Here’s why

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Reference bear #1 wonders what on earth has Ming done now?

I admit to having a change of heart. Yes, I was rather lukewarm bout the initial announcement at Photokina; but I do also remember saying that this would be the camera for a lot of people: right size, right price, right spec. It has “enough” resolution; “enough” performance; and isn’t too large or intimidating. In fact, I’d venture to say that it blows way past sufficiency, but then again, the whole idea of sufficiency is relative anyway. In many ways, this purchase is both rationally driven and a form of recognisance on my part. Bottom line: am I happy? Very much so.

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‘Painterly’ photographs

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Ready to go

The idea of a photograph looking like a painting isn’t a ridiculous one. In fact, I personally find it quite appealing, and a very good solution for the times when you don’t have strong enough light to make something more dynamic. It’s certainly a style I’ve been exploring increasingly – beginning consciously with Havana – but what exactly makes a photograph ‘painterly’?

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Derivative works and photography

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Influenced by the architect? Surely. Created by him? About as much as it was created by Apple, because it was shot on an iPhone.

I originally wanted to call this article ‘is anything truly original?’ – however, I think that’s the concluding question I’d like to leave the reader with rather than the opening one. There has been a lot of debate recently – both in the comments here, offline amongst my usual correspondents and in various places on the internet about why a) photography is perhaps not perceived as ‘highly valued’ as other art forms; b) obviously derivative works and the creative value – or lack of – contained therein; and the greater question of whether c) the medium as a legitimate creative art form rather than merely a recording/ documentary one. Perhaps the biggest question is in the title: ‘but is it art?’

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System thinking

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Choices, choices, choices. From the ultimate image quality shootout.

We have a rather strange hardware problem: on casual observation, simultaneously too much choice, but at the same time, when all things are taken into account, a lack of it. It isn’t the problem of the perfect camera not existing, but rather that we have to jump through a lot of hoops for a complete solution. There are digital systems with sensor sizes ranging from 2/3” (Pentax Q) to 645 (Phase One, Hasselblad) – and to make things more confusing, surprising amounts of interchangeability*. So what is a serious photographer to do?

*Practically, this is nothing more than an illusion and a bunch of empty promises: even if you can do it, it doesn’t necessarily mean it’s a good idea.

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Digital maturity

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State of the art – but for how long?

We’re now into ten years into the mainstream DSLR revolution started by the Nikon D70 and Canon 300D; that’s a decent amount of time by any measure, and by consumer technology standards, an eternity. I suspect many readers of this site will remember those cameras well – they probably marked the point of switching from film, a revival in interest in photography, or the beginning of a new passion. For me, it was the latter: I go into the digital game in late 2002, with a Sony compact that I carried pretty much everywhere (and made zero memorable images with). A bridge camera followed in 2003, and was swiftly replaced with a D70 on release day in 2004. I would say that was personally the opening of the floodgates: I had good enough, and I didn’t have the inconvienience or cost of film. The rest was up to me.

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The Four Things

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The reformed tree – available to buy as a 12×15″ Ultraprint in a limited series of 20, here. Please remember to include your phone number in the comment box for the shipper – thanks!

I’ve lost count of how many times I’ve mentioned ‘the four things’ in any context – teaching, essay, article, review, photoessay…and promptly realised that there’s actually no article in which I explain and detail them comprehensively. Granted, there’s a sort of semi-prioritized proto-version in these articles (first part, second part) on what makes an outstanding image; I go through it in quite some detail as it forms the underlying structure of the making outstanding images workshop series, and of course I go into significantly more detail in the teaching videos (episodes 1-3) including examples – but after wrapping up the San Francisco Masterclass yesterday, I was looking through the archives recently and didn’t find any solid mention of it anywhere. So, here goes.

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I have to be a professional so I can be an amateur.

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At first glance, the headline makes no sense whatsoever. But contemplate a bit further, and you’ll find that it’s a perfect summary of what happens when you turn your passion/ hobby into your job. It’s taken me a while to figure out where the balance lies – and I admit I nearly gave up a couple of times – but I think we’re just about there. Let me explain…

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Have some stones

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Rocks, hard places, stones…mix and match your own metaphor.

Today, a few tangential thoughts on photography and the overall state of marketing strategy these days. Yes, I’ve done a lot of this kind of work extensively in my previous life as a consultant, but guess what: most of it is really common sense. And sometimes it can be very difficult to see the wood from the trees if you’ve been lost in the forest for too long. I’ll start with two thoughts:
Have some stones and
Social media metrics are not an indicator of fiscal success.
This principles apply equally to both sides of the negotiating table.

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Digital posterity: will your images survive you?

An old family photograph: the young man in the center is my grandfather; he passed away 22 years ago in 1992.

Back story: my grandmother’s passing last year and sorting of her effects unearthed a number of photographs from a much earlier era; my guess is the mid 1950s; that’s the better part of 65 years ago. There weren’t that many – about 10 in all. Ostensibly being the authority on all things photographic in the family, they were passed to me for restoration. Combined with a recent SSD failure on my primary machine, it got me thinking on a subject beyond backups: how can we ensure our images survive us? Do we even want them to?

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