I am rather particular about semantics and the manner in which I speak about my own art. You will never hear me define my photographs as “shots”, nor will you will ever hear me proudly declare how “I got the shot” while expressing the ideas or mechanics behind a photograph. Quite contrarily, a professional photographer known for his bold (and refuted) sales claims seems to really enjoy using both. A new generation of landscape/nature photographers has fallen under his influence and they also seem to love using these terms of conquest. The contemplative, perceptual, passive act of moving deliberately and slowly through a landscape in search of creation seems to have been superseded by epic-everything, moving quickly and far (extra points for defying death), and getting “the shot”. I have heard a number of stories from workshop students relating how they covered in previous workshops thousands of tiring miles in one week chasing epic weather and light over epic locations. My own workshops and personal photographic style run completely counter: One location, slow movement, connecting with the land, and a big emphasis on perception and vision. In other words, photographs exist everywhere and can be made at any time and under any conditions. You and your ability to see are your only limitations.
The limitations in your photography are in yourself, for what we see is what we are.” — Ernst Haas
A bigger issue with “the shot” is the implication that there is only one photograph to be made from any particular location (I have been asked by students and tour clients “where is the shot?”). By limiting yourself only to your preconceived ideas (or mine) and/or photographing what has already been photographed, you cheat yourself out of a world rife with images.
Make art, photographs, or images. War against the shot.
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