Re: [Leica] Amateur vs. Pro

[Alan Ball <AlanBall@csi.com>]

Greg and others,

I agree completely with the idea that an income slip proving someone is
a "professional" does not per se make that person a better craftsman
than someone else who's income slip states he/she is a teacher, plumber,
dentist or steel factory worker. That income slip simply states that the
professional photographer sells photographs. That he has the business
knowledge, the network connections, the reliability and the avilability
to do so. No more, no less. I profoundly disagree with those of us who
use that income slip as an argument of authority in our debates.

I used to be an "amateur" writer (in French, my mothertongue), feeling
bored and frustrated working as a marketing manager in a trading
company. I would write, and write, and everyone would want me to write
more and more, and I got a few small things published. Then I decided I
could be a professional writer, and I became a journalist. So I've been
writing professionally for the last 6-7 years. But boy, that did not
make me a better writer. It made a tired writer, a sarcastic writer, a
writer using 'tricks' to get the pages in at deadline time, a repetitive
writer. I hardly ever write anymore for the fun of it...

But the marketing managers look at me with envy, thinking 'boy, he's
lucky making is living out of writing'. 

My income slip also states I am a 'journaliste-photographe'. Thank God,
up to now, I have not concentrated on selling my images. I'm afraid that
would make me a very blasé photographer...

Alan

Greg Locke wrote:
> 
> At 04:05 PM 26/11/98 -0600, you wrote:
> 
> >Just because some one does not make their living with photography does
> >not  make  them  less  of  a  photographer.  Heck  those of you who do
> >photography  for  fun probably get more enjoyment from it that many of
> >us who do it for a living.
> >
> 
>         I can guarantee it.  I shoot thousands of rolls of film a year on
> commercial and photojournalism work. Most of the commercial stuff I couldn't
> care less about but my job is to make the client happy (and pay the mortgage
> and car payments) so I have to use all my tricks do give him something to
> make him OHHHH and AHHHH. (no jokes about prostitution, either! :^D )
> 
>         Out of a year of commercial shooting I would be lucky to have a
> couple of dozen "keepers" for myself.  It's a business. I provide a service
> to other people.
> 
> Then there is the documentary and photojournalism work which I consider my
> personal work that I am lucky enough to get paid to do. This is my reward
> for doing the commercial stuff.
> 
> Emotional detachment from your pictures and objective editing is a big part
> of being a professional.  You have to think about the clients needs or the
> viewers needs and, sometimes, put them ahead of your own.
> 
> An amateur (or art photographer :O) will often "love" a picture or have an
> emotional attachment to it because of the memories associated with it. The
> pictures means something to them. The attachment is based on the
> photographers personal feelings at the time they took the photo. This, of
> course, may not be evident to someone else viewing the picture....and it
> doesn't matter because the photographer is happy with his picture.
> 
> A pro doesn't have that luxury. A pro's job is to make pictures that
> communicate ideas and messages that the viewer or client can "read" or
> understand.
> 
> Think of it as the External Consumption Engine!(where did that come from?)
> 
> This brings us to the concept of "Visual Literacy"..... which we'll leave
> for another day.
> 
> I don't even take my camera on vacation anymore.
> My wife is the "family photographer." (shamefully, a Nikon girl)
> I can't handle the responsibility.
> 
> ...back to work,
> 
> Greg Locke <locke@straylight.ca>
> St. John's, Newfoundland.
> <http://www.straylight.ca/locke/>
> ----------------------------------
> "I've finally figured out what's wrong with photography.
> It's a one-eyed man looking through a little 'ole.
> Now, how much reality can there be in that?" -- David Hockney