I received a note from a young photographer. She said she’s considering returning to school to get a degree in photography. Did I have any advice for her? Here’s my reply:
I studied photography in college and learned some valuable things. But the best education is the one I gained in the field.
I’ve always had doubts about the value of photography school. My sense is that there are better—and cheaper—ways to learn and develop your craft. And today a photography degree no longer brings any guarantees or opens any special doors.
In fact, I’ve been saddened by the many requests I’ve received from photographers with degrees from expensive trade schools who want to intern with me. The time for an internship, it seems to me, is before you enroll in a degree program, not after.
The great Henri Cartier-Bresson once said that you have to take 10,000 images before you find yourself as a photographer. And Malcolm Gladwell, in his book Outliers, says the general consensus is it takes 10,000 hours—about 20 hours a week for 10 years—to develop true mastery in a given field.
Both of these observations hold true whether you’re in school earning a credential or out in the field making pictures. So why not skip the degree?
Most of what you can learn in college, you can also learn just as effectively through books, online courses, and weekend workshops. To say nothing of good mentors.
One more thing. Too many people who go to school think that graduating means they are done with their education. The degree gives them the illusion they know everything they need to know. But we can never stop learning, any more than we can reach the limit of our creative capacities. People who are self-taught seem to understand this intuitively.
My best advice to you is:
- Volunteer/intern with an established photographer that you like and respect (or simply ask to follow him or her around in the course of a day’s work)
- Start a clippings file (or folder on the computer) with work that inspires you and blows your mind and then try to recreate some of those images in your own style
- Share your work with other photographers and solicit constructive feedback (and always take “likes” and other forms of positive feedback on social networks like Facebook and Flickr with a grain of salt)
- Spend time every day shooting for no other purpose than to have fun and experiment
Beauty is unbearable and drives us to despair, Albert Camus once said, because it offers us for a moment the glimpse of an eternity we would like to stretch out over the whole of time. I was remembering the quote last week on a visit to the Salton Sea, a place where beauty and despair always seem to go hand-in-hand.
Once a glittering oasis set against the Chocolate Mountains in southeastern California, the sea has become a stagnant and toxic wasteland in recent years. Restoration proposals abound, but lawmakers have mostly turned their backs on the sea. As it continues to dry up at an alarming rate—a result of geography, climate change, tough economic times, and ongoing water conflicts—time seems to be running out.
The four-minute exposure shown here was taken near Red Hill Marina on the south shore. It’s part of a personal project I’ve been working on documenting the effects of environmental devastation and decline. For more of my photos, see The Salton Sea: A Photoessay.
Someone once quipped that there’s nothing like autumn in Los Angeles when throngs of tourists come to watch the smog change colors. If the line is funny it’s because there’s more than a little truth to it. Smog is what I expected to see some weeks ago when I took to the skies with my pilot friend, Sam, for a daytrip to the Palm Desert. But it was one of those rare mornings when the haze seemed to lift for a few fleeting hours. As you can see in this photo, we flew just north of the city above the San Fernando Valley. Looking south we could see across the entire Los Angeles Basin. Palos Verde and even Catalina Island were clearly visible in the distance. Aerial photos of L.A. are hard to come by — you need a clear day and a good vantage point. On this particular morning, I was lucky to have both.
Eight of my photos from Burning Man appear in this month’s issue of Icon, the British architecture and design magazine, together with a nicely written piece by Charlie Hailey titled “Burn After Building.” Read more about the issue here. Here’s a preview of the spread:
Earlier this week I was interviewed by It’s Nice That about my Burning Man photography. It’s Nice That is a beautiful and well-curated art magazine and website based in London. The interview appeared along with about a dozen of my photographs. Since it was edited for length, I’m including the complete exchange below.
You’ve been documenting Burning Man for the last eight years. Why do you find it so compelling to document?
Burning Man is one of the most interesting events in the world, in my experience, but also one of the most difficult to describe. It’s not quite an art festival, not quite a desert rave, and not quite a social experiment, but something of all three. What’s remarkable about it is that it’s organized around creativity and self-expression. The idea is to fully immerse and express yourself in some creative capacity — through building installations, making art, playing music, dressing up, walking on stilts, spinning fire, or simply being beautiful. It means that it’s an endlessly fascinating place where you never know what to expect and surprise awaits you at every turn.
The scale and the ephemeral nature of the event must be hard to communicate to people who haven’t been there.
Yes, there is no way to convey the sheer immensity of Burning Man to someone who has never been there. There is also something rather dreamlike and enchanting about the way it rises out of the open desert for a few brief days only to vanish again after the event is over. Toward the end of the week, much of the infrastructure — including the 40-foot effigy from which Burning Man takes its name — goes up in flames.
Have you noticed it changing and evolving over the years?
When the event got its start 25 years ago, it was little more than a bonfire on a beach in San Francisco. It moved to the Black Rock Desert in northern Nevada some years later but was still relatively small and unstructured. For many participants, the appeal of the desert was that there were no rules. If you wanted to shoot guns, play with fire, or blow up cars, there was no one to stop you. But as the event grew, so did the need for order and safety. Today the event attracts over 50,000 people from all over the world. It’s highly organized and tightly run, and perhaps a little less fun. Old-timers complain that the anarchy and lawlessness of the early days has been lost.
Do you recognise people when you go back each year?
Yes, a lot of people return to Burning Man year after year. I’ve developed some quite special and enduring friendships there. It’s also allowed me to explore the anthropology of the event — the way people’s perspectives change over time. This is reflected in some of my photographs of artists and their installations, for example, which show how their creative vision has evolved and transformed.
Would you describe yourself foremost as a photographer or a journalist/writer?
I would say that my journalism takes different forms depending on the nature of the project. I started my career in radio and still think that’s the best medium for conversation and storytelling. Over time I shifted to print and devoted myself more to writing articles and books. Print excels as a medium for presenting facts, analysis, and ideas. In recent years I’ve been exploring the possibilities of photojournalism. Though I learned photography as a kid and studied it in college, it’s only recently that I’ve discovered how powerful it can be.
Burning Man has helped me in that process. When I first attended the event, I was struck by the sheer inadequacy of words. Photography seemed like a more powerful medium for documenting the experience. Photographs convey but don’t interpret. At their best, they are very intimate. They capture the imagination and speak to the heart, but without saying a word.
The news just broke that Steve Jobs has died. It comes as a bit of a shock. I never met him, but like millions of people the world over I was the beneficiary of his brilliant mind and unique vision.
I’ve been using Apple computers for most of my professional life and rarely has a day gone by that I haven’t felt a sense of gratitude for the technologies he brought into being. I’ve produced radio programs, written books, edited films, retouched photos, and created graphic designs on the Mac. And that’s just the beginning. My story is hardly unique. Countless people will tell you the same thing.
Though I never met Jobs, I photographed him some years ago in Oslo. He was there to attend the Nobel Peace Prize ceremony for his friend Al Gore. My photo made the rounds. Apparently people were shocked to see Jobs in a suit and tie. They imagined that his closets were full of nothing but black turtlenecks and blue jeans, and I had proved them wrong.
People will be discussing his legacy for years to come. But right now, all I can say is that feels like the sudden end of an era.
“Remembering that I’ll be dead soon is the most important tool I’ve ever encountered to help me make the big choices in life. Almost everything — all external expectations, all pride, all fear of embarrassment or failure — fall away in the face of death, leaving only what is truly important. Remembering that you’re going to die is the best way I know to avoid the trap of thinking you have something to lose. You’re already naked. There’s no reason not to follow your heart…. Stay hungry. Stay foolish.” — Steve Jobs, Stanford University commencement address, June 2005.
I’m back from an enchanting week at Burning Man 2011. It was my eighth consecutive year at the event. The gathering felt massive this year, from the huge crowds (nearly 54,000, according to reports) to the sheer size of the “city,” which was scaled up in 2011 and was in fact so big that there were large parts of it I never got to see. There were many impressive art installations, wacky art cars, and mindblowing performances in 2011, but I found myself mostly drawn to the beautiful and creative people of Burning Man. This is reflected in the sizable number of portraits in this year’s batch of images. My 2011 set can be found here. In addition to my usual collection of 100 images, my plan is to launch a new photoblog devoted to the people of Burning Man. Please stay tuned.
- Visual News – Scott London Captures the Magic of Burning Man
- Joe’s Daily – Burning Man 2011 by Scott London
- WeWantToLearn.net – Stunning Photographs of Burning Man 2011
- Business Punk – Burning Man 2011
- L’Arbre Monde – Burning Man Par Scott London
- brekend.nl – In beeld: Burning Man 2011
One of my most rewarding creative projects has been photographing the Burning Man festival each year, something I’ve been doing since 2004. Over the years, I’ve built up a rather extensive portfolio of images from the event. Some of them appear in a new book, in several recent magazine spreads, and as part of an upcoming exhibit at Denmark’s Louisiana Museum of Modern Art.
Rachel Bowditch’s book On the Edge of Utopia: Performance and Ritual at Burning Man, recently published by the University of Chicago Press/Seagull Books, includes several of my photos from the festival. Bowditch is a theater director, performer, and longtime Burning Man participant who teaches at Arizona State University.
In the book, she makes the case that Burning Man can be seen as a contemporary galaxy of happenings, a revival of the ancient Roman Saturnalia, a site for rehearsals of utopia, and a secular pilgrimage. As the festival continues to grow, she says, it’s likely to create new paradigms for performance, installation art, community, and invented rituals that bridge ancient traditions to the twenty-first century.
A recent issue of the French magazine Folie Douce (published in both French and English) features ten of my photographs, along with an essay, on Burning Man. The festival is described as “an artistic utopia that is more than a little out there.” The text is a bit goofy, and not entirely accurate, but I was very happy with the selection and layout of the photos.
I also have two images from Burning Man in a recent issue of Vanity Fair and a double-spread in a forthcoming issue of Marie Claire. Other magazines featuring photos from the event include Elle Décor and Aïshti. In addition, my photos are included in a new 2011 calendar and commemorative photo book, recently published by the Burning Man organization. For more information, visit the Burning Man Marketplace.
You’ll find my image “Lovers” on the cover of the Summer 2010 issue of Common Ground. It’s not the first time I’ve worked with the magazine. The editors featured about a dozen of my photos in a retrospective from Burning Man 2009 last fall, as well as a portrait of Burning Man founder Larry Harvey in the Summer 2009 issue.
I’m excited to have a number of my photographs included in a special exhibition called “Living” opening next month at the Louisiana Museum of Modern Art outside Copenhagen. More details on the museum’s website: www.louisiana.dk
Finally, if you haven’t seen Creative Holly’s wonderful color blog, you’re in for a treat. Holly is a graphic designer with a great eye for color. For a recent post, she asked me to pick out five of my favorite shades of Burning Man and to say a few words about each one. I sampled the colors from some of my more popular Burning Man images. It was an honor and a kick to be a part of her project.
Update, July 5, 2011:
My photo of the fabulous Jesster Canucklehead appears on the cover of Common Ground magazine this month. The summer issue features a preview of Burning Man 2011, along with a lovely photoessay from Ales Prikryl.
You can view the complete issue online at: http://www.sopdigitaledition.com/commonground/
More than a dozen of my photos also appear in the current issue of The Outlook Magazine, China’s leading culture and lifestyle publication. You won’t be able to glean much from the article unless you happen to read Chinese, but you can always enjoy the photos. Go to: http://www.theoutlookmagazine.com/3202/