Category Archives: OpEd

OpEd: I Don’t Know Very Much About Photography


©Don Hudson

Growing up I was a sports fanatic.  I played baseball and basketball. During the fall I spent my Sundays glued to the TV for eight hours watching football.  I played video games and created fake sports leagues with fake sports legends. I had to know everything about sports. I studied and memorized statistics.  I listened to everything Chris Berman and Peter Gammons told me.

Being on the field was the real education though.  In a game, you’re constantly forced to make decisions and embrace the consequences.

During my sophomore year in college I became burned out on sports.  One team always wins, one team always loses. There was always next year, there was always the next superstar.  After reading a biography of Jim Morrison, I decided to look into some of the writers that had influenced him – Kerouac, Nietzsche, Rimbaud, William Blake.  Those writers led to other writers, and down the rabbit hole you go.

Art and sports share many similarities amongst their devotees. There is an incessant need to know, to know what went before and what’s happening now. If you can keep up on either, I applaud you.

Since I’ve became interested in photography I constantly need to feed my appetite for new imagery and ideas. Sometimes that need has taken me to the library, and other times I’ve ended up on blogs or in Flickr forums. I’ll go wherever my appetite for new knowledge or information can be satisfied.  But for some reason I can’t read Susan Sontag, Walter Benjamin or Barthes right now.  Every time those names come up I get distracted and think about taking a walk.  Maybe in a few years.


©Missy Prince

Every now and then I remember something my photographer friend from Los Angeles said about his girlfriend who graduated from Bard.  ”She can’t make pictures.  Everything she looks at bores her.”

Perhaps she knew too much about photography and got bored with it, just like I got bored with sports.  There’s always the next brilliant project and the next hyped star.

I went to the SVA spring show, and asked a photographer I knew what photographs are worth checking out.  He told me to check out the videos instead.  ”Photographs are photographs, it’s all kinda been done. I enjoy making them, but I can’t look at them really.”

One of the mantras you hear over and over again on the web is that you need to an expert or a though leader in your field.  With photography, it’s the cult of connoisseurship.  Why should I pay attention to your blog or magazine? “Because I have great taste.”

I admire people that have deep understanding of the history of photography.  I just don’t think I ever want to be one of them at the moment. These days, I find myself more interested in photographs from someone on Flickr photographing in some random city (Phoenix), than finely executed projects with polished artist statements.  Don’t get me wrong I do enjoy looking at many of those projects and find them interesting, but they don’t provide the same intellectual spark as finding a photographer still searching for their voice while sharing more photographs than they probably should on Flickr.

I suppose it’s kind of like watching a band at the very beginning when they’re still fine tuning their sound.  There’s something about the energy, the creative struggle, and misfires that I enjoy observing.  ”But it’s crappy photography!” Oh, we’ve covered this already….


©Marek Wykowski

I don’t know very much about photography.  And I’m content with that right now because the journey is interesting and inspiring.  I want to read Stephen Shore and more Szarkowski.  I like those guys.  I’d prefer to maintain a certain level of ignorance though because that’ll force me to keep seeking and thinking.  Or maybe we never know too much? I’m not sure.

I wouldn’t mind checking out a baseball game either. Even though someone always wins and someone always loses, I think I can appreciate the game for the sake of the game, just like I can appreciate photography for the sake of photography.

“The brain now is full of information, cluttered up, there is no space in it, and one must have space.  Space means energy.  When there is no space, your energy is very limited.  The brain is now so heavily laden with knowledge, with theories, with power, position, so ever lastingly in conflict and cluttered up, that it has no space.  And freedom, complete freedom, is to have that limitless space.  The brain is extroidinarily capable, has infinite capacity, but we have made it small and petty.  When there is that space and emptiness and, therefore immense energy – energy is passion, love and compassion and intelligence – then there is that truth which is most holy, most sacred, that which man has sought from time immemorial.  That truth does not lie in any temple, in any mosque, in any church.  And it has no path to it except through one’s own understanding of oneself, inquiring, studying, learning.  Then there is that which is eternal.” – Krishnamurti

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OpEd: Monthly Shows Out, Quarterly Online Magazine In


©Todd Fisher from September, 2007 Show

In September, 2007 we launched our first themed group show.  The objective at the time was to produce one show a month and an archive of the admirable work we were discovering on Flickr.  We brought in a variety of photographers to edit each month, each creating their own theme and interpretation.  We sailed along and developed a niche following.  Near the end of 2009 a few questions started to emerge about the similarities between the monthly shows.  Essentially, we seemed to be following a certain pattern.  It was at this time that I started to question the format.

Plenty has changed in the three years since we’ve launched.  The emergence of stellar online magazines like Fraction, Ahorn, 1000 Words, Unless You Will, Deep Sleep, as well as my discovery of Seesaw and F-Stop, has opened my eyes to what’s possible in the online space.  These magazines are doing it right.

A few months ago, I decided it was time for a change.  We’ve had our best monthly shows in 2010 in my opinion which pretty much convinced me that we could move on.  The August, 2010 show will be our last monthly show.  We’ll have a full three years of shows, 36 in total.  It’ll be an archive I hope people re-visit often when they’re looking for inspiration. So, what’s next?

We’ll be moving to a quarterly online magazine format.  In January, we’ll launch Issue #1.  Each issue will be themed and include a print version of Photographs on the Brain. I think there’s room to experiment, and I’m excited to try something different while staying true to our sensibility.  That’s my goal.  However, I’m also somewhat apprehensive, and here’s why.


©Andrew Wiese from March, 2008 Show

What Makes Your Magazine Unique?

Last Sunday Fraction Magazine released Issue #17. It was stellar as usual. On the same day F-Stop Magazine released their latest issue.  It was also stellar. But my critical mind had some questions. If the design and branding were stripped away, could I tell them apart?  What differentiates these various magazines?

For the most part, the fine art photography magazines are sensibility driven. An ambitious, intelligent editor/curator/publisher has a certain perspective on contemporary photography and they produce issues based on their sensibility.  Often times the issue will have a theme but for the most part, what you’ll get is a selection for photographs from 3-4 photographers, and perhaps an interview with one of them.  Of course, there are some variations, but for the most part this what you get.  I admire those that are starting to create a synergy between the web and real world.

The stock answer will be that the sensibility of the editor will shine through because it’s unique and refined. This is true to some degree (debates about taste will always be with us), but I also think that many editors are dipping into a relatively similar pool of photographers.  But then again, with the photography surplus, this pool maybe expanding quicker than we can imagine, so maybe the shades of difference will stand out.

What are the alternatives to sensibility driven magazines? The most obvious wold be genre.  These are out there.  I haven’t seen too many regionally focussed magazines.  Perhaps I’m not looking deep enough, but if there was a magazine that produced contemporary photography about Minnesota, I’d be all over it.  I’ve always thought Urbanautica had a unique, and specific vision for their publication. Magazines based on demographics can be tricky. I was a fan of Nymphoto (more of a collective but..) until they closed shop.  Maybe magazines that focus on certain socio-economic issues? A photography magazine the examines the decay of suburbia and the middle class?

I suppose, to sum up, at times I get a bit jaded about the cult of connoisseurship in fine art photography.  A refined sensibility is necessary, but how you implement that sensibility is important as well, and I think there’s room to innovate.

I believe in the adage that “a rising tide lifts all boats” so the more the merrier, but at the same time, I think there needs to be more innovation and creativity in publishing photography on the web.


©Erik Borst via January, 2010 Show

What Will Make The LPV Magazine Unique?

That is the question on my mind, and right now the answer is unknown.  LPV is certainly based on sensibility, and there are plenty of blogs/sites/zines that dive into the depths of Flickr to find photographs and photographers.  It’ll be a challenge for us to create a magazine that stands out, but I’m looking forward to it.

The blog will stay active with features and OpEd’s, so for some, the change likely won’t be noticeable.

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OpEd: The Photography Surplus


©Alison Scarpulla

I’ve been meaning to pick up Clay Shirky’s Cognitive Surplus but since I’d rather eat this week, I’ll have to wait awhile longer.  Instead of inaccurately describing the book, I’ll just use Shirky’s own words, taken from his recent TED Talk.

Cognitive surplus is made up of two things. The first, obviously, is the world’s free time and talents.The world has over a trillion hours a year of free time to commit to shared projects. Now, that free time existed in the 20th century, but we didn’t get Ushahidi in the 20th century.

That’s the second half of cognitive surplus. The media landscape in the 20th century was very good at helping people consume. And we got, as a result, very good at consuming.

But now that we’ve been given media tools — the Internet, mobile phones — that let us do more than consume, what we’re seeing is that people weren’t couch potatoes because we liked to be.  We were couch potatoes because that was the only opportunity given to us. We still like to consume, of course. But it turns out we also like to create, and we like to share. And it’s those two things together — ancient human motivation and the modern tools to allow that motivation to be joined up in large-scale efforts –that are the new design resource. And using cognitive surplus we’re starting to see truly incredible experiments in scientific, literary, artistic, political efforts. Designing.

There is a spectrum between mediocre work and good work. And as anybody who’s worked as an artist or a creator knows, it’s a spectrum you’re constantly struggling to get on top of. The gap is between doing anything and doing nothing. And someone who makes a LOLcat has already crossed over that gap.

One of the frequent refrains you here about photography is that we’re drowning in a sea of mediocre and worthless images (It’s all crap on Flickr! It’s ruining photography!).  This isn’t off base. There’s a lot of crap . But the other day, I asked myself, ‘what if there’s actually an abundance of good photography? What if there’s even a surplus of good photography? ‘

When everyone has a camera, you’re bound to have a percentage of people who are going to want to take their photography to the next level and learn to become better photographers.  With the internet, it’s easy to find and look at the great work from the past, and learn from your peers.

And increasingly, those peers are going to include people with a formal education in photography, who are out there sharing their work and knowledge, A Photo Student is a good example.

So, perhaps people are becoming more visually sophisticated both in their production of photographs and in their consumption. And if this is true, then maybe we’re seeing an abundance of interesting imagery.

Photojournalism and editorial photography are as competitive as ever, with more photographers competing for fewer jobs.  Fine art photography is thriving but there are only so many galleries and opportunities. There will be a fortunate few who break through, and deservedly so, but what about those that don’t? Is their work valueless? And I don’t mean personal value, but value as photography?

I know there will be lots of people that will disagree, and say, the cream rises to the top, and the rest is just crap. But I disagree. I think there’s value on periphery.


©Shawn C. Smith

What photography and which photographers rise to the top is a complex issue.  Certainly, the photography has to be accomplished, but to make it, photographers also need to know how to market their work and be savvy networkers within the industry.

Photography is a tough occupation and the art world is competitive.  It’s understandable that many people choose to make their work a labor of love and not pursue a career, or success in the art world.  You can call it a hobby, or call them amateurs, but I think this is often an easy way to simply dismiss the work.

I think this work has value, and I think there’s an abundance of interesting work being produced by amateurs.  This is where we find the surplus.

The biggest hurtle to having a broader understanding of the photography surplus is organization.  Currently, the landscape is far too fragmented for anyone to really understand all the work that’s being produced and presented on the internet.  Blogs do a reasonably decent job at filtering through the work, but even so, there’s far too much work for anyone to consider and consume.

Every so often I’ll follow a link and find myself looking in from the outside on a photography community I didn’t know about. It’s always interesting to see what they’re discussing, and more often than not, it’s the same issues with the amount of mediocre work on the internet.

It makes me think, how many of these communities are completely ignorant of each other?  Probably many. Then I wonder if any of them ever think like I do, and wonder what else is out there?  I’m not sure, but I do know that we all know that there’s lots of “noise” and the internet is filled with ‘mediocre crap.”  Perhaps thinking about everything out there is just too overwhelming which is why we often just give up and say things like “it’s all mediocre.”


©Anabel Navarro

As I sit here thinking about all the photography and all the mediocrity, I suddenly find myself thinking of Errol Morris, the Dunning-Kruger Effect and the unknown unknowns.

A “known unknown” is a known question with an unknown answer.  I can ask the question: what is the melting point of beryllium?  I may not know the answer, but I can look it up.  I can do some research.  It may even be a question which no one knows the answer to.  With an “unknown unknown,” I don’t even know what questions to ask, let alone how to answer those questions.

But there is the deeper question.  And I believe that Dunning and Kruger’s work speaks to this.  Is an “unknown unknown” beyond anything I can imagine?  Or am I confusing the “unknown unknowns” with the “unknowable unknowns?”  Are we constituted in such a way that there are things we cannot know?  Perhaps because we cannot even frame the questions we need to ask?

How does this relate to the surplus?  Perhaps the photography overload has blinded us and we don’t even know what questions to ask in order to figure it out.  It’s much easier to just say “it’s all mediocre crap” and go on looking to established blogs, mags, galleries and experts to help us make sense of it all.

There are those that will live by the philosophy that amazing work will be discovered, and they’ll go on writing about and anointing photographers into the cannon. As much as I enjoy lots of that work, I’m more fascinated by the periphery and what’s developing in the margins.  I’m not afraid of the photography wilderness the internet has created, in fact, it excites me because there are so many unknowns and unknown unknowns.

Now every time I have the knee jerk reaction to say, “there so much crap photography,” I catch myself and think, what if “there’s too much great photography and I’m just not intelligent enough to understand it all?”

That’s when I get excited again, click on a link, and peer into the work of a photographer I’ve never seen before.

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OpEd: Get Off The Internet and Just Make Good Photographs (Or The Other Options)


photograph ©xiaopeng yuan

About once a week (not really), somewhere on the internet, I encounter a photographer making an impassioned plea.  They’re fed up with technology, marketing, the internet, Twitter, blogs, writing, and everything else.  There’s only one thing that matters to them.

“Just make good photographs.”

Many people will agree with them.  I however, will not be one of those people because the phrase ‘good photographs’ causes another type of argument, perhaps the most reptilian of all arguments about photography that you will encounter on the web (Nikon v. Canon gear talk excluded).

Photographer A: This is a really great photograph (photographer.)

Photographer B: Are you crazy? That’s a terrible photograph (photographer.) You have terrible taste.

“Yeah, well, you know, that’s just, like, your opinion, man” is the best way to end that sort of debate, especially against an overly pissed off individual.  However, it’s a complex world and photography is a complex medium, so there’s more going here than dueling opinions.

Essentially, what the person proclaiming ’just make good photographs’ is saying is that you should just focus on the work and not worry so much about what’s happening on the internet.  This might work for some people, but I’m guessing most photographers would like to have their work viewed and enjoyed by others as well. And that takes effort, these days probably more than ever.

From my observations, you have a four primary routes when it comes to getting your work out there.

1) Just Make Good Photographs

I know, I know. Well, you CAN just make good photographs. But then you either have to be a freak of nature genius of which there are very few, or you have to get extremely lucky and have your work fall in the lap of a sophisticated editor/curator/photographer who immediately understands your immeasurable, overwhelming, mind blowing, sensational photographs and will hook you up with the right people.

Then you’ll get a solo show, a book deal, make lots of money and hold seminars where you tell young photographers that all you have to do is ‘Just Make Good Photographs.’

2) Play The Art Game

Put together a coherent body of work with a well written artist statement, go to portfolio reviews, enter contests, network, make more work, refine, repeat and eventually if you’ve got some luck and some talent good things will probably happen, to varying degrees.  And if you’re really lucky, you’ll end up recouping all the money you spent on producing the work and entrance fees.  But even after your dazzling solo show and limited edition book, you’ll have to do it all over again.  ”What have you done for me lately” really is soul crushing phrase for an artist.

3) Build a Following On The Web and Network With Other Like Minded Photographers

It’s not that difficult to build a following on the web if you put forth some work. It might not be a large following, but with Flickr, blogs and the many established communities already thriving on the web, you can fairly easily find the type of people who might find your work interesting and follow what you’re doing.

The key here is participation.  It’s a give and take. You have to support your fellow photographers, and you need to be actively engaged with the community.  If you’re lucky, you’ll meet plenty of interesting, talented photographers and find new work on a regular basis.  Not to mention, you’ll meet some of the most interesting, crazy, intelligent people you’re likely to encounter in your life.

Since this approach is relatively new, it’s yet to be seen how it will evolve over the years.  It could go in many different directions.

Most smart photographers these days take a hybrid 2/3 approach.

4) Just Make Photographs For Yourself

Make photographs, hide them away on your computer, in your closet, and screw everyone else. Perhaps when you die, some photography nerd will buy your work at a flea market and you’ll be lauded as an undiscovered genius.  But who cares, you’re dead.

Self-Promotion or Self-Distribution?

Part of the reason I suspect photographers need to shout ‘just make good photographs’ is because the amount of “self-promotion” that occurs through social media causes a fair amount anxiety and a high degree of irritation at times. For me though, I’ve stopped viewing it as self-promotion.  When you’re publishing and distributing your own creative work, it’s self-distribution.  You’re a one person media entity, like it or not. You can still be human, and I hope you are, but you’re also a media entity.

“You’re wrong! It is self-promotion!”

I’m sure many people won’t agree with my distinction (and might even yell at me) but for me self-promotion is when someone uses social media to promote their life and daily activities, even though their life and or activities are not interesting, or of much benefit to anyone other than them. They’re doing it simply for attention.

But if you’re putting out creative work you believe in and think some people would find interesting, then I see it as self-distribution.

With social media, people have to opt-in to receive your content. So these are subscribers/fans/followers who are giving you permission to distribute your work to them. If they determine that you’re annoying (or simply a self-promoter) or they end up not enjoying your work, they can easily opt out.

If you’re not comfortable with self-distribution (or disagree with me and think it really is self-promotion) then there are plenty of blogs and Tumblrs out there that you can submit to who are always looking for new work to publish.

Stop Talking About Photography! Stop Blogging!

Often preceded with the call to ‘just make good photographs’ is the a call to SHUT UP and stop talking about photography on the internet.  Sometimes there will actually be a command to go outside and make photographs, immediately.

And as many of us know, there’s sort of a passive aggressive, love/hate relationship with photography blogs amongst many photographers.

When you put it all together it might read something, like this: STOP TALKING ABOUT PHOTOGRAPHY ON THE INTERNET, STOP BLOGGING, STOP TWITTERING, STOP TUMBLING, GET OFF OF FACEBOOK, JUST GO OUT AND MAKE FUCKING GREAT PHOTOGRAPHS!

The irony being of course is that this message is usually communicated on Twitter, Facebook, Flickr or Tumblr.

There is a fair point within all the lashing out, which is that there are too many meaningless arguments about what constitutes good photography, or the right gear, or whose a genius, or whose a hack.

But overall, the discussions, the Twittering, the Tumbling, the blogging, are necessary if the new online photography culture is going to grow and evolve.  And there’s lots of room for growth, but it’ll take awhile and it’ll take discussion and ideas from all sorts of passionate people.  My call to arms would read something like:

STOP ARGUING ABOUT TASTE! FIND THE PHOTOGRAPHY YOU LIKE AND SUPPORT IT. BE OPEN MINDED ABOUT NEW WORK. BE PASSIONATE AND PARTICIPATE!

…and MAKE GREAT PHOTOGRAPHS!

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OpEd: The Portfolio Magazine

Normally when photographers announce a redesign of their website I don’t really bother unless I know them personally. Usually the design will follow a standard template – main photograph in the center, navigation on the left, top or bottom.  But when Andrew Hetherington announced his update I was a bit more curious because he’s done some innovative things on the web with his blog and such.  So I checked it out, and immediately the new layout caught my attention.  It was a hybrid of a standard portfolio site and a blog.  And I thought it was brilliant.

What came to mind was that it looked and felt more like a magazine featuring his work than a standard, stale portfolio site.  The scrolling features gave the instant impression of activity, of a photographer that was producing new work frequently.

That impression is important, in fact it’s enormously important.  Most of the time the recent work is buried a few clicks away, but here on Andrew’s site, it’s right there. We know immediately what he’s been up to.  For photo editors this has to be a dream.

I was talking about this with James over the weekend, and he thought it was certainly good for commercial photographers.  I said, it would also be good for documentary and fine art photographers.  Again, it shows immediately that you’re actively producing work.  I know most photographers have blogs where they update their audience on current work, but again, they’re sometimes buried, and in many cases infrequently updated which can actually send the wrong impression.

Andrew’s approach eliminates the need for an infrequently updated blog, or even a news page.  Could this work for someone who blogs more frequently? I’m not sure. Andrew tackles that problem by having a separately branded blog, ‘What’s the Jackanory?’ that’s more frequently updated with his day to day production.

Perhaps I’m making too much of this or maybe I’m just unaware of other sites that have done this but I think this approach is on the money, and I suspect we’ll see more photographers move in this direction.  Too many photographer’s websites feel static. I don’t think that’s the type of impression you want to send out to your audience or clients.  I’ve been calling this ‘The Portfolio Magazine’ approach because ‘portfolio blog’ just doesn’t seem to fit. ‘Portfolio stream’ might be another way to describe it.

Whatever you want to call it, I think its a sign of what’s to come.

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