From the start of this article I would like to define what I mean by the term ‘Dead Zone’. You may think of dead zones that are low-oxygen areas in the world’s oceans and large lakes. You may be reminded of the science fiction thriller novel by Stephen King published in 1979. Or the subsequent film directed by David Cronenberg in 1984, but I am not referring to any of these.

The ‘Dead Zone’ I am referring to is a creative one. One that could be described as a creative block. However, I think that my interpretation of a Dead Zone is more than just a block. It is an extended period of time, not just a passing moment, during which a photographer’s love for the medium dies. At worst never to return. That is the result, but why does it happen?

There are many reasons, but there are themes, which we can identify. The first is a sense of frustration. A feeling that expectaions are not being met. These are the photographer’s expectations, and cannot be blamed on anyone else, as they are often unrealistic or misinformed. Photographic expectations can take many forms, you may want to get commissioned, win competitions or gain social media likes. Whatever they may be, they will always lead to dissapointment if they are not met. That dissapointment creates a Dead Zone, a period of dissatisfaction either with yourself or with others. A feeling that others cannot see your worth or that you are not good enough, or at least as good as you perceive others to be.

Another theme is a loss of direction. I have spoken about this in any articles, but let me readdress this within the Dead Zone context. Put simply, if you do not know why you are maiking images you are in danger of entering the zone. Without a sense of direction based upon a solid premise of intention, it is easy to get lost. Confusion takes hold and inevitably you lose your way. It is at this point that early enthusiasm and energy can wane and the camera is put in a cupboard never to be picked up again.

Something else to be wary of, is the on coming of age. Something none of us can prevent, but all of us can be aware of. Photography is not solely a young person’s game and yet many of us start with it when we are young in age, body and mind. Therefore, it seems exciting, new and physically attainable. As the years pass those aspects fade and we have to find new ways of remaining engaged with the medium. It is only natural that our work will evolve through our lives, but it does not have to lose its initial sense of excitement. You only have to look at a photographer such as Joel Meyerowitz, to see what is possible.

The photographic Dead Zone is that point at which you give-up forever. A moment photographers often explain by saying that they have lost their love for photography. In effect they want a divorce. Those early feelings of mutual love have gone. Photography is no longer giving them what they want and they are unable to give anything either. This is understandable if photography is replaced by a new companion, a new creative outlet. Many, take up painting or writing. A photographer friend of mine began word carving and famously the photographer Brian Duffy became an expert furniture restorer. After supposedly burning his archive, something he didn’t actually do. However, to enter the Dead Zone and leave all creative expression behind is I feel a shame and a mistake. As humans we benefit from creative expression. It keeps us alive mentally and promotes a sense of inquisitivity, even when we feel that we have seen everything.

If you are reading this article and feel that you may be entering the Dead Zone, I hope that these words may prevent you from following that path. Similarly, if you have passed into the dark side, maybe they will help you return to the world of the living. If you are unaware of the possibility of a Dead Zone then I hope that you are now aware of the potential dangers ahead. Whatever position you find yourself in, I think we can agree that we all have stories to tell, untill that very moment that we can’t. Therefore, in my opinion, there is no reason not to tell them with a camera.

Dr.Grant Scott
After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work as a photographer for a number of advertising and editorial clients in 2000. Alongside his photographic career Scott has art directed numerous advertising campaigns, worked as a creative director at Sotheby’s, art directed foto8 magazine, founded his own photographic gallery, edited Professional Photographer magazine and launched his own title for photographers and filmmakers Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, and a BBC Radio contributor. Scott is the author of Professional Photography: The New Global Landscape Explained(Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019), What Does Photography Mean To You? (Bluecoat Press 2020) and Inside Vogue House: One building, seven magazines, sixty years of stories, (Orphans Publishing 2024). His photography has been published in At Home With The Makers of Style (Thames & Hudson 2006) and Crash Happy: A Night at The Bangers (Cafe Royal Books 2012). His film Do Not Bend: The Photographic Life of Bill Jay was premiered in 2018.

© Grant Scott 2026