The standard “old fashioned” way of “making it” in professional photography—involving a lot of assisting, long-distance networking and a fair dose of luck—seems like Sisyphean nightmare from hell compared to the avenues available to today’s enterprising young photographers.
Fine art photographer Victoria Bjorklunk picked up a camera (digital) only a few years ago and she is already having great professional success with frequent exhibitions. And Bjorklund is certainly an impressive master of her specialty—B&W digital photography. She made this clear while providing expert guidance for my article “Going Black & White—The Easy Way” for the December/January 2008 issue of AfterCapture.
Oleg DOU is a Russian fine art photographer who proves that age is no obstacle to rapid international success. At only 25 the self-taught DOU has already won the Photographer of the Year award in the Special category of the 2007 International Photography Awards (IPA). His story is featured in “Oleg DOU: Surrealism and Issues of Identity,” which made the cover of the cover of AfterCapture’s April/May 2008 issue. Not bad for 25!
These are just two examples of the many young, impressive artists I have been running into. These fresh faces have gotten me thinking about what is it that new, successful photographers have in common with the seasoned, successful photographers. More than anything I believe the most important trait they share is their adaptability.
Regarding his theory of natural selection, Charles Darwin is often paraphrased incorrectly when people say, “It is the survival of the fittest.” What Darwin actually expressed in his writings is that the species most likely to survive is that which is most adaptable.
In the photo world we have seen this very clearly in how digital has impacted the old pros. Many brilliant image makers have left photography altogether simply because they were not able to keep up with rapid changes in technology. On the other hand, many old horses are showing a vigorous adaptability to everything digital that will be sure to keep Bjorklund and DOU on their toes.
As I said, I am excited by the opportunities available to new photographers. For one thing, they are available to everyone. Also, I believe that our craft as a whole will benefit from increased competition. But where do you stand on the issues related to “Younger and Younger”? Are new photographers missing out by not having to run the gauntlet of assisting? How does training in digital with no reference to film affect photographers’ perspectives?
Most important, how (and what) are you doing in your pursuits to be as photographically adaptable as possible?