2 responses to “PODCAST: A Photographic Conversation, Episode 321 with Bill Shapiro ‘Teaching Photography’”

1. 

   Rob Campbell

   October 4, 2025 at 5:58 pm

   Well, that’s quite a conversation.

   There is a small difficulty that underlies it though, which is that in one way or another, both you and Bill have skin in the teaching business. That can make it difficult to respond without too much attention being paid to the art of applied diplomacy.

   My mindset (memory?) prevents me from responding in sequence with the various parts of the podcast, but I am able to respond to several parts, in no particular order.

   First of all, I have absolutely no problem with you – or Bill, for that matter – in speaking from a totally subjective point of view: I tend to believe that, in general, it’s the best way to get to know a person’s real beliefs, rather than the curated ones they might feel obliged to publish.

   From that perspective, it seems only fair that I do the same. For a start, I think that before one can discuss teaching, its relevance has to be outlined in more strict terms. There’s little doubt in my mind that the world of photography comes down into two broad camps: earning your living through it; finding out more about it because it permits a better level of conversational ability when various forms of visual art become topics of conversation. In other words, depending on where you are at the time, the kind of crowd present, you might appear to have some worthwhile ideas to contribute if you know your history.

   I find it pretty unbelievable that anyone, other than the wealthy, will even consider spending their hard-earned – and time – on photographic courses unless they already have the compulsion to be photographers, to the extent that they refuse to consider alternative lifestyles. With the latter comes the belief that there exists a part of photography that won’t let go, that has you so wrapped up in it that it’s all you can think about. Entering photographic “education” without that priority is something that escapes me completely. This, of course, leads immediately to the arid ground of those who do exactly that, then want a third party to tell them what to photograph. Surely to God, the desire to follow a path you recognise is fundamental?

   I know that you basically disagree with the art of learning analogue photographic skills. I had to do that simply because back in 1960 there existed no alternative. I have two things to say about that: learning how to process and then print teaches you, very quickly, about the combined effects of exposure, development and subsequent print quality possible. A form of that carries over into digital capture. The other thing to point out is that when people talk about analogue teaching you, today, to slow down, to consider what you are doing, that’s not necessarily a reference to digital not allowing you that possibility, it’s a direct reference to early-acquired habit: in analogue times, if and when the bills were on you, you damned well had to be frugal and considered in your ways. Today, devoted for the past couple of years to my iPhone, without that earlier education in basic self-control, determining, before shooting, whether a picture would be worth its subsequent Photoshop time, the lack of expense associated with digital could overwhelm a person and lead to that dreadful situation called weeding out. No thanks; analogue taught me it was best to edit before pressing the button.

   I’ve mentioned this before, but I walked out of what was an obligatory night school course in photography when the lecturer told me that if his fashion work looked like Bailey’s he’d change job. To me, that was blasphemy: I walked out and never went back, but didn’t lose my job because I was just too darn good at what I had to do to dump out in the snow.

   I learned nothing worthwhile in college; I learned everything worth learning on the job. For anyone wanting to be a pro today, college should teach them all there is to know about Photoshop and how it applies to photography and design. I believe that, and a grounding in motion, are the worthwhile – and teachable – skills every young wannabe should have at their fingertips. Psychology is part of the package and comes with birth. Most of us will never make good salesmen; accept it and find ways around it, such as marrying a rich woman. (Season that to suit.) 😉

   Either way, I think the future for professionals is to become your own design group: generate direct-to-client ideas and don’t wait for agencies to ring you.

   To conclude: Walker Evans had the most important statement to make.

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   1. 

      gscott2012

      October 5, 2025 at 9:09 am

      Thanks for the feedback. I think that we of a certain age have to accept that learning photography today has different expectations that have little connection with the past. This is the challenge with teaching the medium based on the future informed by the past but not dictated by it. Learning through workshops as a mature student is different from learning within a university. My students at both under and post graduate all tell me that the area of maximum growth for them has been confidence. That is the confidence as a person and as a photographer. Neither are dictated by process.

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