Wadja Wanadu

Not the name of a new district in the bush - it's the thing you need to say to yourself when you approach a photographic occasion. The decision as to what it's going to be can come from many sources - from clients, if you're a working photographer. From judges, if you're a club shooter. From family members if you're the Photographic Bunny at the party. From you, if you are an artist. How to decide... a. If you are working, and I mean working for money that they let you keep, you are largely going to be doing what someone else wants you to do. Clients, customers, corporations, designers, editors, all get a say in what you do. The ones who actually pay an invoice should have the loudest voice, but sometimes that is delegated to another part of an organisation. In any case, heed it as far as you can do so without getting to the point where you start to lose money or your temper. People who pay you for images want them for some reason - find out what that reason actually is, and if you can provide the shots that satisfy it, the invoice business should go very smoothly. If the client you are working for is actually in the plural - a corporation or design bureau - and everyone in the place has an opinion about what you should do and how you should do it, take the time to get them to clarify who's in charge. And then get that person to give you the order for the image the way they want it. With a bit of luck, you might be able to steer them into doing it the way you want to do it. b. If you are about to make images to satisfy a judge or critic - or a panel of them - you need to be more circumspect. Not every critic or judge will tell you beforehand what it is they want. To be fair, they may not know themselves. In any case you may get nothing but criticism and correction after the fact. This is costly if you're working for money and annoying if you're working for praise. And be aware that some judges do not have any of it to offer. See if you can find out what has garnered their approval before - if anything has. Ask yourself whether the prize they offer is worth toeing this invisible line - sometimes it is and sometimes it isn't. Make up your own mind what your integrity is worth before you fill out your own price tag. If you are praised inordinately and become an idol, but cannot understand why, do not tell anyone of your puzzlement. Be modest and allow them to think you a genius,...and then go find out what you did right. c. If you are the Family Photographer and it is your own family, resign yourself to the fact that someone will continuously tell you that they look awful and none of the photos you took of them before are any good. You can be sure that none of the ones that you take in the future will be viewed in any better light. Every family has one and this one's yours... Also remember that the best photo of one person will not be flattering to two others in the group. The good-looker will not notice but the two uglies will. In the end, work all your wiles to get good groups, interesting couples, flattering portraits, etc. Work quickly, work patiently, work without growling. Work to give the older members of the groups something they can enlarge and stand on the mantelpiece. In the other end, console yourself with the thought that one of the photos you take - even of the family grumbler - will eventually be shown at their funeral. With a bit of luck you'll get to watch. d. How do you decide what to do and what to see when you are the one who gets sole say in the matter? You're the artist, and the critic, and the client, and the family. What DO you want to do? Find a subject that - aside from photography - interests you. Don't force yourself to think you love something if you don't care about it. If you find something so hateful that you can hardly bear it...well, you might be able to make some of the greatest photos of your life of it. Hate and love both work - disinterest never does. For once - and be careful - let your passion for something pester you enough to get out and start photographing it.