TAKING ONE FROM THE TEAM
By MICHAEL PERKINS
THERE IS A CERTAIN DIVINE IMMUNITY attached to photographers who are lucky enough to remain amateurs, or, for those who do turn pro, the ability to remember how to shoot with an amateur brain. There used to be a cleanly defined line between people who had to make pictures for a living (under deadline, enslaved to editors, for the marketplace) and those who could never dream of doing so, but who might work every bit as hard just pleasing themselves. However, social media, with its ability to suddenly confer ( or cruelly withhold )sudden celebrity, has recently blurred this line between the careerists and the tinkerers. Now, even when we are making pictures for “no one”, we seem to be making pictures for everyone, anyway.
It’s getting harder to create a photograph in a feedback vacuum, to shoot without even a thought of how well a picture will be received. The tyranny of the new “like” and “fave” marketplace can riddle a photographer with doubt, gently bending his/her work to what might meet with the most approving eyes. In many ways, this new world is even more unforgiving, for amateurs, than the dreaded editing desk was for the professionals.
It’s more of a challenge than it used to be, these days, to allow oneself to make a picture like this one. The subject isn’t startling, or even especially unique, except to me. The composition is deliberately formalized, and so can’t qualify as avant-garde. The final shot, the product of a double exposure and some minimal color and contrast tweaking, is neither purely realistic nor challengingly abstract. In short, this picture is nothing in particular, except that it’s mine, made my way, for my own approval. I don’t have to worry that, as Frank Zappa would say, it suffers from N.C.P. (No Commercial Potential).
Any artist that is forced to produce for the popular market has two struggles: to achieve his vision and to package it for consumption by others. It’s THE tightrope act of a lifetime for photographers, with the amateurs envious of the pros’ access and the pros jealous of the casual snapper’s freedom. I have made my daily bread by a number of means over a lifetime, mostly under the gun of deadlines and editors in the print or electronic media, and so, while I have seldom earned a paycheck specifically with a camera, I have empathy for those who do.
There are things about working as a paid shooter that I will never have to endure, or suffer, and I know that. However, in the 21st century, even being an amateur is beginning to take on the haggard hassle that only used to accrue to the Guy Doing It For A Living. That is why the bigger fight in becoming a photographer is the mastery over one’s self rather than the perfection of mere technique. Sports and every other fun pursuit in our world has shown what happens when everything gets too serious and the meaningful meaninglessness goes out of something. In our art, we are being forced, more and more, to do everything for social reasons, to “take one for the team”. However, it is the pictures that you take from the team that truly remain your own, and that you will treasure the most over a lifetime.