I. Halo.. what now?
The halo effect is a cognitive bias in which the overall impression of a person influences how we perceive their individual qualities. First identified in 1920 by a psychologist named Edward Thorndike, the term was defined after the author noticed that when a person was considered attractive and well-behaved, they were also more likely to be rated as intelligent or capable, even when there was no direct evidence for those traits.
Source: https://en.wikipedia.org/wiki/Halo_effect
The halo effect occurs when one positive trait casts a “halo” over other characteristics, and, in doing so, it distorts judgement. While it operates unconsciously in humans, its impact can be powerful – especially in fields that rely on perception, like photography.
A photograph or a photobook may be judged as more important or deep not because of its visual or conceptual merit, but because of who made it, where it was shown, or who commented on it. The opposite is also true. If a photographer is unknown, or if their work is presented in an unglamorous setting, even a powerful image may be overlooked.
This article explores how the halo effect operates in photography and photobooks, showing both positive and negative examples. From name-dropping to curatorial decisions, we’ll take a look at how reputation can overshadow reality.
II. What is the halo effect in photography
Photography is a visual language, but lately it’s rarely judged by visuals alone. The way we perceive a photograph is often filtered through a complex network of associations: who is the photographer who shot the photographs, where the body of work was exhibited, who liked it on social media and in the press, and so on. Some photographers position themselves (consciously or unconsciously) to benefit from the halo effect by associating themselves with established names, institutions, or events. Seen as a strategy, it can help build credibility and visibility, sometimes independent of the photographic work itself.
Attending prestigious workshops or photography classes. By participating in renowned workshops, photographers aim to gain skills or mentorship but also a certain association with respected institutions. The simple listing of these experiences in a bio or on their website can suggest quality and seriousness to curators, editors, and to the public.
Example: A photographer prominently mentions their participation in a famous workshop in their bio, encouraging viewers to trust their work based on this association.
Networking with established photographers. Meeting, collaborating, or even being photographed alongside recognised photographers at festivals, openings, or exhibitions can be leveraged as a form of prestige. By sharing these images or stories about these encounters on social media or in portfolios can subtly signal belonging to a respected circle or a network.
Example: A photographer posts photos from an exhibition of a celebrated photographer, standing alongside the author, public and the printed photos on the walls of the venue
Name-Dropping in descriptions, proposals, portfolio websites. When publishing projects or pitching to publishers or contests, photographers reference famous figures from the photography world they’ve interacted with. This tactic, known as name-dropping, is intended to add credibility by association, suggesting the photographer’s work is part of an established elitist circle.
Example: A project proposal repeatedly mentions workshops or mentorship by a well-known photographer, emphasising these ties over the work’s value.
Name-dropping is very easy to do on social media:
– posting images with background music: classic or some music that is trending
– posting images referencing famous classic photos or photographers as inspiration
– mixing personal photographs with classic photographs
– referencing famous movies and their directors as inspiration
Submitting to magazines, publications and “calls for …”
Targeting prestigious magazines, galleries, or festivals is often a deliberate strategy to benefit from the halo effect. While working for various online Romanian photography magazines, I received submissions for projects that were outside the publication’s scope or target audience. In many cases, the photographer’s goal was simply to have the project featured, thereby expanding their list of references and artificially inflating the perceived value of the work. Even when initial submissions were rejected, repeated attempts to associate with publications or institutions often reflected a desire to gain recognition within established hierarchies.
Example: A photographer sends portfolios and projects for high-profile magazines, hoping that inclusion will confer immediate exposure and fame
III. Negative halos and side effects
While the halo effect can provide “advantages”, it has significant downsides that can distort judgement and smother creativity. In photography, these negative effects undermine the core values of artistic merit.
One of the most common issues is that the halo effect can cause audiences, critics, and institutions to overvalue work simply because of the creator’s reputation. This can result in weak and derivative photography being praised and promoted while more innovative or challenging work goes unnoticed. This creates a damaging inescapable feedback loop. Other negative effects of the halo effect can arise from associations with photographers or organizations that later prove to be problematic.
Many photographic organizations or NGOs struggle to secure independent financing and cannot rely solely on donations or print sales. As in other industries, financial pressures sometimes lead to compromises, which can negatively impact both the projects and the photographers involved.
Similarly, associations with other photographers through the halo effect can harm one’s professional image and portfolio. While occasional mistakes are understandable – after all, we are all human – repeated connections with problematic figures are a risk to be avoided.
Example: I recently purchased a street photography photobook by a Romanian photographer who was inspired by a known photographer’s work in Cuba. Cuba, as we all know, is often seen as a photographic tourist destination – almost like a “safari” for photographers. I won’t go into details about freedom, cost of living, or other contextual information, as these are readily available through basic research.
Unfortunately, the “mentor” in question was accused of taking sexually explicit photographs in Thailand, which ultimately prompted a revision of the code of conduct at the photographic agency he was affiliated with.
Further allegations later emerged, with eleven women describing inappropriate behavior over a span of thirteen years, ranging from “suggestive comments to unwanted sexual advances to masturbating without their consent on video calls”.
While the online magazine that helped launch the careers of many photographers has moved on from its founder, the shadow of these incidents persists – particularly for female photographers who continue to use the platform to promote their work.
Regardless of whether the accusations have been legally resolved, any association with such problematic situations should be avoided. Attempting to benefit from the halo effect in this context can easily backfire, undermining credibility and trust.
Sources:
https://fstoppers.com/news/magnum-photos-selling-images-alleged-child-sexual-abuse-its-website-504855
https://www.theguardian.com/artanddesign/2020/aug/20/magnum-suspends-photographer-david-alan-harvey-over-harassment-claim
https://www.magnumphotos.com/magnum-code-of-conduct
https://www.cjr.org/special_report/magnum-photos-david-alan-harvey.php
https://www.burnmagazine.org/about/
As a sidenote, you might want to check out Ernesto Bazan and his Cuban stories, from the photobook trilogy to more recent events: how the impossibility of having workshops made him leave Cuba.
Source: https://bazanphotos.com/
Example: I was reading articles by another Romanian photographer and journalist, in which he discussed ethics, inspirational documentary photography, and related topics. Finding good images to accompany articles can be challenging, but it is crucial to be careful of what you post. If you address ethics yet pair your text with photographs by someone who has been accused of “violating basic journalistic ethics”, you risk undermining your entire argument. As noted earlier, certain associations can inadvertently weaken the credibility of your written materials and projects.
Sources:
https://www.dpreview.com/articles/4884394315/ethics-prize-wining-photo
https://www.aphotoeditor.com/2013/02/25/paolo-pellegrins-sloppy-journalism-ignites-controversy-online/
IV. How to recognize (and resist) the halo effect
Awareness is the first step toward mitigating the influence of the halo effect in photography whether you are a viewer, curator, editor, or photographer.
You can find a few tips listed below, to help you overcome the halo effect:
– search for independent evaluation
– accept criticism
– do blind comprehensive reviews
– don’t fall for the first impression, document yourself looking at the whole project, context, documentation
– try to uncover your own hidden biases
– look at independent critics or bodies of work
– establish a connection with peers who may have different viewpoints or backgrounds
– have critical conversations that can balance subjective impressions
V. Conclusion: navigating with awareness
The halo effect is an inherent part of how we perceive photography. While it can help open doors, amplify work and foster creative risk-taking, it can also cloud judgement, reinforce inequalities, and obscure genuine merit. Understanding the halo effect lets the public engage more deeply with the photographic work – as viewers, creators, and curators alike.
In the world of photography and photobooks balancing the power of the halo with honest critique is essential. By being mindful of the halo effect, we can support a photographic culture that values both context and content, reputation and risk, heritage and innovation.