Pdf | F-l p-ss | Angela Faris Belt | Eng | 385 Pages | 2008 | Isbn 978-0-240-80942-7 | 32.44 Mb
“One fact that is not in dispute is that there is a wid-ening gulf opening up between art and commercial photography, between professors and professionals.”
— Bill Jay in Occam’s Razor
It is no new observation that throughout the history of photography its practitioners have been segregated into one of two distinct disciplines, professional or fine art practices.
That this self-conscious distinction creates limitations for practitioners on both sides is evidenced by the large per-centage of fine artists who attempt more or less success-fully to support themselves in the professional fields and an equal percentage of professionals who vie for acceptance of their art work in galleries. Th e separation of photographic practices is perpetuated through a higher education sys-tem in which the overwhelming majority of photography programs emphasize one of the two disciplines: technical
education (the goal of which is to train students to become successful professional photographers) or fine art practices Preface (whose primary structure prepares students for success as fine artists).