Knowing you, knowing LIP
Roger Estop
Who belongs to LIP, what is their photographic background and why did they join? What kind of activities do members want from LIP? A year and a half ago, when the LIP committee was thinking about the future direction of the group and the need to attract and keep members, a questionnaire survey seemed to be a good way of finding out what members motivations and aspirations were and how well LIP was serving them. Although it was a fairly long and onerous questionnaire, there was a good and interested response from about 30% of members.
Education and Experience
The majority of members are in professional or specialist technical occupations. Just under half of the respondents are professional photographers, photography teachers or writers. Including photography students, well over half devote their working time to photography. The wealth of photographic expertise within the group is demonstrated in two other ways: firstly, 70% of respondents have undertaken courses in photography, 50% at further or higher education level. Secondly 66% have exhibition experience, many at prestigious venues.
There is a willingness to share this knowledge, interest and experience with 49% saying they are prepared to arrange or lead events. This is the first thing that the LIP committee can take up in future events programming.
The value of sharing and exchanging experience cannot be underestimated. The majority of people joined LIP to be able to meet, discuss with and learn from like-minded people, and as well as the people with experience and expertise, LI P has members who are hungry for discovery, guidance, inspiration and interaction; and people new to or reviving their interest in photography.
Cash and commitment
The larger proportion of respondents are recent members of 1 or 2 years, with a predictable steadily decreasing number of members for 3-4, 5-6 and 7-8 years, but then a surprisingly large proportion who joined at the start 9-10 years ago; LIP is still supported by an important rump of loyal original members. When people join they seem to do so deliberately and with some commitment as is shown in the responses to questions of fees and charges. The vast majority consider the £12 subscription 'just right'; no one thought it was too high. In addition 83% would stay as members if the subscription was raised by £5 to enable LIP to do more and all but one was prepared to pay small separate charges for individual events. This level of financial commitment gives a certain responsibility to the committee: although it can contemplate an increase in subscriptions with some equanimity, there is the keen importance of providing the events to satisfy and retain members in the long term.
Interests and affiliations
There are other ways to obtain clues about the kind of photographers LIP serves. Members summarised their main interests. The more commonly used words were ''landscape'' and ''people''(just under a quarter each). If these interests occupy about half of LIP members, the rest are evenly divided between the following rough categorisations: documenting the real world; exploring the poetic and conceptual potential of the medium; constructing and manipulating images; the relationship of photography to fine art; reading about and viewing and studying photography.
Members' photographic standpoints are also reflected by the fact that two thirds of us belong to another photographic organisation and read other photographic magazines apart from LipService. LIP members are most likely to have some association with the Royal Photographic Society(23%), the Photographers' Gallery(15%) or amateur camera clubs(15%). Roughly 15% belong to other independent or informal groups (for example IPSE, TIPP). At their breakfast tables, LI P members will be found browsing either BJP, Inscape or Creative Camera.
Reading these responses between the lines, there is a sense that there is a dominant core of members who are in the pure photography mainstream. There is an important, less well defined body whose interests are motivated by art and for whom photography is a means to a visual or conceptual end. There is an absence of stated interest in political or campaigning photography; only one respondent belongs to Camerawork, only one goes to Photofusion.
Doing and talking
What do members expect from LIP? The answer from the questionnaire is basically: what LIP is already providing. The loose make up of discussions, print viewing, talks and advice which characterises LIP is what members want. The only thing we haven't' really taken on is promoting contemporary photography to a wider audience which most respondents believe LIP should be doing, but leads the 'how' question unanswered. People did suggest interesting possible additional functions for LIP to consider, for example providing help for photography students, acting as a national focus for independent photography, providing information about open exhibitions, acting as a campaigning force for change by harassing the Arts Council, running its own darkroom, studio and gallery. The questionnaire has also provided a range of good ideas of specific events topics and speakers which the committee can work with. Some ideas plucked form the returns: guidance on applying for grants and commissions; how to sell work; digital imaging; organisation of a print selling fair; visits and critical discussions about exhibitions; provision of contracts for services and sources; feminist approaches to photography; ways of tackling difficult or challenging subjects. There was only limited enthusiasm for events related to the Millennium, together with some very negative comments.
Sharing and communicating
74% of respondents had submitted work for an LIP exhibition and felt it had given a sense of participation and increased confidence. There were criticisms about the venues, about the unfocussed variety and predictability of work and that too little of each individual's work was visible. An equal number of respondents wished to see annual group shows and exhibitions of larger bodies of work by a smaller number of people, and there were some useful exhibition ideas.
LipService was recognised as being important for communicating with and stimulating members, providing information about events, a platform for debate and a place to show original work - in short what LipService is doing, though improved picture quality would of course be nice. Respondents felt that a LIP world wide web site would also be a source of information but also attract new members, show work and provide links to other organisations.
Fix and rinse
The questionnaire revealed that LIP has a well-informed and experienced membership wishing to share, exchange and grow in their work. There is support for LIP's general purpose and approach but lots of ideas for activities and a willingness to be more directly involved. There is significant interest amongst members in an art orientated photography and technological change as well as the fundamental love of picture making and debate that lies at the heart of LIP
In the next issue I will report on the results of members' favourite photographers, writers and reading.
© Roger Estop, 1997
LIPSERVICE NOV97 contents