87.        The author concludes that photographers who work in color hold a competitive
advantage over those who work in black-and-white. To support this conclusion, the
author claims that the greater realism of color accounts for its predominant use in
magazines and portraits. The author also points Out that newspapers now use color
photographs, and that there are more types of color film than black-and-white film
available today. This argument is problematic in several important respects.
      First, the argument unfairly assumes that working in color is necessary in order to
gain an advantage. The author identifies only two areas—magazine and portrait
photography—where color predominates. It is possible that the overall demand for
black-and-white photography remains¹ high. Moreover, the author provides no evidence
that the realism of color photography is the reason for its predominance. The
predominant use of color may be due to other factors—such as consumer preferences or
relative costs of film—which might change at any time.
      Second, the argument unfairly assumes that a photographer must make an
either/or choice between the two types of photography. This assumption presents a false
dilemma², since the two media are not necessarily mutually exclusive alternatives.
Common sense tells us that a photographer can succeed by working in both media.
      Third, the fact that more kinds of color film are available than black-and-white
film accomplishes little to support the argument. The difference in number might be
insignificant³, and the distinctions among the types of color film might be negligible. In
fact, by implying that more choices in film type affords a photographer a competitive
advantage, the author actually undermines his larger argument that working solely⁴ in
color is the best way to succeed in the field of photography.
      Finally, the argument ignores other factors—such as initiative, creativity, technical
skills, and business judgment—that may be more important than choice of medium in
determining success in photography. A poorly skilled photographer may actually be
disadvantaged by working in color insofar as color work requires greater skill, and
insofar as color photographers face keener competition for assignments.
      In conclusion, this argument oversimplifies the conditions for gaining an
advantage in the field of photography. To better evaluate the argument, we need more
precise information as to how large a portion of all photography work today is
accounted for by color work. To strengthen the argument, the author must convince us
that a photographer must choose one medium or the other rather than working in both

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