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Hello, .

This is a tale of two photographers who resided in the same body as a professional photographer and how one photographer held the other back.

One photographer made pictures based on what he thought others wanted to see, resulting in tedious, everyday work. I like to call this visual Muzak, a term I use to describe photographs that lack a unique perspective and could have been made by anyone.

The other photographer made unique, one-of-a-kind pictures based on his thoughts about what he saw, resulting in unique compositions that were visually interesting, engaging, and unlike anything else.   

I know these photographers because they were me when I began working as a photojournalist.

Because of this conflict, I can't tell you how often I've created mundane pictures as a photojournalist, hoping to please my clients. 

The results were pictures that fulfilled the assignment.

Still, they lacked the visual uniqueness that would make editors want to work with me. 

The work was visually "good enough" but not outstanding, so the editors would call me only "when needed." 

I was making "good enough" work instead of the unique outstanding work I knew I could do. 

The irony is that what got me working with this particular client was the unique, outstanding work I created while working with other newspapers, which was displayed in my portfolio, like the color picture of a skateboarder made at an indoor skateboarding competition made by mixing flash with available light to give a "frozen" within "blur" effect.

But because I was afraid of being perceived as too "out there" visually by the different editors I worked with within this publication, I kept myself visually stifled.

I became disinterested in being a professional photographer/photojournalist. 

I felt removed from the spark that allowed me to create the unique pictures I'd made while working as a photojournalist for other publications. 

One day, while working on an assignment for this client, as usual, I made "good enough" pictures based on what I thought others (the editors) wanted to see.

But then I decided to make a few pictures for "myself" to keep myself connected to the spark I mentioned in a previous paragraph.

In other words, within the context and ethics of being a photojournalist, I decided to make a few pictures based on my way of seeing and thinking about what I saw while also creating photographs based on what I thought others (the editors) wanted to see.

What happened next changed the way I worked.

I mixed the mundane with the unique on the same roll of film.

\When the editor looked at the work, she questioned if I was the only one who used my camera to complete the assignment. 

I answered, "Of course, it was only me."

She proceeded to say that, on the one hand, she saw the usual "good enough" stuff she was used to seeing from me.  

But on the other hand, she saw the type of unique work she'd never seen before. 

So she insisted that another photographer she wasn't aware of must have made it. 

I assured her it wasn't another photographer and explained what caused the visual variance. I was torn between wanting to make sure I got the picture I thought they would find "pleasing" and my need to make the pictures I wanted.

In other words, I made pictures for "them" and photographs for "me."

And then, in her particular kind yet angry way, she admonished me for producing mundane, crappy work and praised the "other photographer" that, until that day, was hiding out of fear that their work was "too weird" for publication in their well-respected newspaper.

She then warned me that if I ever wasted her time again by producing "good enough work" instead of the visually outstanding, unique work she saw that day, she'd request that I not work with her again. 

After that little chat, I never again made photographs based on what I thought people wanted to see. 

I got contacted more often to do jobs after word about what transpired between the editor and me.

My work began to get played more often and prominently in the paper.

I went from being a photographer called by assignment editors only when needed to a preferred photographer to work with.

The moral of the story is if you want to stand out from the rest of the rule-following pack of photographers who produce visual Muzak, stop making pictures based on what you think people want to see.  

Instead of conforming to imagined expectations, create photographs that reflect your unique perspective on what you see.

The Introduction To Photography class is starting soon. 
 

Spaces are limited to five participants, so reserve your spot now.

More classes are below. 

Looking for a camera?

A friend has a Sony Mirrorless Digital Camera, lens, and a bunch of accessories for sale.

I can vouch that the camera, lens, and accessories are in "Like New" condition. 

It seems like an excellent deal.

You can see the details by clicking on the Facebook Marketplace link below.  

https://www.facebook.com/marketplace/item/3942433832662649/?mibextid=6ojiHh

Do you need to learn to use your camera or brush up on some skills and techniques, especially if you want to be ready to take pictures and record those holiday moments?

I've scheduled Introduction to Photography and Getting to Know Your Camera classes.

Since class sizes are limited to five participants, it's a good idea to reserve your spot as soon as possible.

If you need a different schedule, there's always Private Lessons.

Below are more ways to learn photography with me.

The Introduction to Photography class or a series of Private Lessons will help you study and practice to become a photographer who can make the best possible pictures.

By studying and practicing photography with me, you'll learn how to be a better photographer. 

More ways to study and practice with me are below.