World of Photography The World of Photography as defined by William A Ewing: (Excerpt from essay for Saatchi Gallery, UK) "And it really is a world, with continents, countries, extremely varied terrain, unsettled lands, over-populated areas, and boundaries that are vigorously contested. The vast, rich continent of Commercia, for example, has little patience for the dour peoples inhabiting the far away continent of Documentaria. The Kingdom of Advertising (the wealthiest country on Commercia, ruled by a powerful clan called the Professionals) is especially intolerant of Documentaria's noble tribe, the Photojournalists, whose deep faith in 'Truth' is anathema to them (though it must be said that strong feelings run both ways). Both realms, however, are united in their disdain of the Amateurs, who inhabit a continent so vast it has never been properly mapped, let alone explored. Anarchy reigns in Amateuria; each native produces streams of pictures of whatever strikes his or her fancy. A savage folk, Amateurs know no history, nor follow any rules. They are, however, deeply superstitious, believing that no rite or ceremony should go unrecorded, though the records are immediately lost or forgotten. And then there is Artistica: a small continent on top of the world, a republic envied for its liberties! Here image-makers are free to do as they choose, and come and go as they please (though Amateurs and Professionals are distinctly unwelcome). There is fierce competition among inhabitants, incessant squabbling and jockeying for power, and even bloody battles over what the nation should be called: 'Fine Art Photography!' claims one; 'No, Art Photography!' argue their rivals. 'Art!' cry the fundamentalists. The well-being of Artistica is under threat as well from an influx of migrants from the land of Artcontemporanea. These well-heeled folks have been buying up property over the last few decades, and generally behaving as if they own the place. Back in their homeland, they were accustomed to treating photographers as decidedly second-class citizens, whose simple job it was to reproduce their paintings and help them publicize their endeavours. Here they rankle their hosts by telling them what to do and how to do it. 'Contemporary artists who use photography', they explain to the natives, are of superior class to the proletarian 'photographers'. This does not go down well with the latter, who understandably resent the privileges accorded to their rivals.