"Photography is not about the thing photographed. It is about how that thing looks photographed." - Garry Winogrand
Understanding that concept, and then executing it, are perhaps the two most difficult things about making a photograph be more than just a record snapshot. Grasp that, and execute it, and you ARE an artist who understands his or her medium. One problem with photography is that there is a wider range of possibilities for people to enter the medium, from people who have no artistic aspirations whatsoever to people who are at heart technicians to people who have only artistic aspirations and no technical qualifications. In no other medium can these options exist. Painting, drawing, sculpture - all have a prerequisite of artistic intent because there is an act of will required to pick up a pencil, paintbrush or chisel and interpret. This is true because of the length of time involved in the making of the work - even if you are drawing a thing to record it, the thing is not static during the time you draw it. You are interpreting the thing in how you render the appearance. Even moreso an event; in capturing the event, you are creating relative interpretations of relationships between objects and subjects which may no longer be true by the time you are done with rendering them.
Because photography allows you to render objects, subjects and their relationships in real time, and in an approximation of absolute proportion to one another, it enables us to eschew or ignore artistic intent. It is possible to make a photograph without conscious interpretive intent. Yes, a camera imposes bounding lines, requires you to aim it selectively, and it alters the perspective and relationship between foreground and background dependent upon the lens utilized. But, using the same lens to photograph the same scene at a different time will not change the framing or the relationships of perspective. If I paint or draw a scene, I can use the same paper or canvas, same pencils or brushes and paints, and I can willfully distort those relationships and perspectives. If I am some kind of obscenely talented technician, I can through an act of will forcibly approximate an exact replica of the scene I previously drew/painted, but I cannot exactly copy it, brushstroke for brushstroke, charcoal mark for charcoal mark, and in all likelihood I will render a very different sketch or painting, because my INTENT will be to interpret it differently.
Nobody makes record sketches, paintings, or sculptures. You don't bring a sketchpad, canvas, or chisel and marble on vacation to document the fact that you and your partner/friends/family went to Notre Dame cathedral. But you do use a camera for that purpose. No painting, drawing or sculpture is composed recklessly, casually. Even if the execution is horrible, there is conscious intent in the composition. Even in children's scribbles in elementary school, there is intent in composition - the green blob next to the blue rectangle is mommy in her dress next to daddy in his suit, with the red house on the right, and the dog, the one thing that really looks like what it is supposed to be, is floating above the house because it is supposed to be in the back yard but the child doesn't understand perspective yet. But the proper relationships by intent are there. There are no telephone poles growing out of daddy's head, the roof of the house is not cut off, and all of mommy, daddy, the house and the dog are complete and whole as they were meant to be, not a collection of legless torsos and excess sky or torsoless feet, knees and a scalped poodle, all running downhill to the left because the camera was aimed low and at an angle.