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Expressive Photography EXPRESSIVE PHOTOGRAPHY: ON THE NEED FOR A CROSS-DISCIPLINARY APPROACH TO THE STUDY OF PHOTOGRAPHICS by MICHAEL JOHN EMME B.A. The University of Victoria, 1976 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES Department of Visual and Performing Arts in Education Faculty of Education We accept this thesis as conforming to the required standard The University of British/Columbia 1985 © Michael John Emme, 1985 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Date cf T^M)bur WV\ >E-6 (3/81) ii ABSTRACT The thesis is proposed that an orderly understanding of the expressive capacities of Photography can be drawn from a survey of the disciplines of art history, art criticism, psychology, sociology, and anthropology as well as the field of photo-technology. Photography is defined as including five elements: the camera, the photographer, the subject, the image and the viewer. Topics considered are: the camera's mechanical limitations and qualities; the various behaviours and attitudes involved in picture-taking; the considerations involved in subject choice; the limitations and qualities of expression of the photographic print; and role of the viewer. It is posited that the disciplines and fields listed above have a valuable addition to make toward our understanding of expressive photography. It is proposed that future courses in photography, whether they be intended for elementary school, high school, art school, or teacher training, include a cross-disciplinary approach. Such an approach can be incorporated into the curriculum through the use of the behavioural-attitudinal model introduced in Chapter III. Whether a course is weighted toward studio experience, history and criticism, or cultural education, using a cross-disciplinary approach will enrich the learning experience. iii TABLE OF CONTENTS i Title Page Authorization ii Abstract iii Table of Contents iv List of Plates vii List of Figures viii Acknowledgements CHAPTER PAGE I. INTRODUCTION 1 II. THE CAMERA 16 III. THE PHOTOGRAPHER 27 IV. THE SUBJECT 50 V. THE IMAGE 60 VI. THE VIEWER 71 VII. SUMMARY AND IMPLICATIONS FOR EDUCATION 82 FOOTNOTES 93 PLATES 95 FIGURES 140 REFERENCES 146 iiia Plates 8,12,13,23,26,29,30,3^,35,37 & ^3 listed on the following leaves iv-vi were not filmed. Permission to do so was not obtained. For further information, contact Special Collections Division, Library, 1956 Main Mall, University of British Columbia, Vancouver, B.C., Canada V6T 1Y3. iv List of Plates Plate 1 President Cleveland and Family. Photographer unknown. page 95 Plate 2 Mardi Gras. J. Lartigue. page 96 Plate 3 Photographs made by a 1 Kodak1 camera. page 97 Photographers unknown. Plate 4 Chicago, 1955-7. By: R. Frank. page 98 Plate 5 Untitled, 1963- By: D. Lyons. page 99 Plate 6 The Horse in Motion. By: E. Muybridge. page 100 Plate 7 Untitled. By: E.Muybridge. page 101 Plate 8 Nude, East Sussex Coast. By: B. Brandt, page 102 Plate 9 In the Vetrinary Clinic. By: A. Macijauskas. page 103 Plate 10 El Paso and Cuidad Juarez. By: D. Lehman. page 104 Plate 11 Untitled. By: T. Gibson. page 105 Plate 12 An Apple Shot with a Bullet Travelling at 900 Meters per Second. By: H. Edgerton. page 106 Plate 13 Martha Graham, Letter to the World (Kick). By: B. Morgan. page 107 Plate 14 I.R.T. 2. By: D. Lyons. page 108 Plate 15 Desde La Azotea. By: E. Weston. page 109 Plate 16 Wounded Soldier Receiving Water in a Deserted Camp. By: M. Brady. page 110 Plate 17 Portrait of a Spanish Girl By: M. Somoroff. page 111 Plate 18 A Wounded Marine Awaits Medical Evacuation. By: Time Inc. page 112 Plate 19 Briceberg Grade, Sierra Nevada Foothills. By: A. Adams. page 113 Plate 20 Untitled. By: A. Le Coz. page 114 Plate 21 Corpse. Photographer unknown. page 115 Plate 22 Clearing Winter Storm. By: A. Adams. page 116 Plate 23 Fabric, Harper's Bazaar. By: Hiro. page 117 Plate 24 Beauty of the Beast. By: B. Wright. page 118 Plate 25 Wild Mushrooms. By: M. Kezar. page 119 Plate 26 Compound Eye of the Fruit Fly By: M. Kage. page 120 Plate 27 Andre Tardieu, Dr. Curtius, and Henri Cheron, The Hague. By: E. Solomon. page 121 Plate 28 Seville, Spain, 1933. By: H. Bresson. page 122 Plate 29 Five Cents Lodging, Bayard Street. By: J. Riis. page 123 Plate 30 Making Human Junk. By: L. Hine. page 124 Plate 31 Crossing the Ohio River, Louisville. By: D. Lyons. page 125 Plate 32 Tatooed Man at Carnival, Md. 1970. By: Diane Arbus. page 126 Plate 33 Massacre of East Pakistani Guerillas, Dacca, 1971. By: H. Faas. page 127 vi Plate 34 The Sun. By: N.A.S.A. page 128 Plate 35 Two Ways of Life, By: 0. Rejlander. page 129 Plate 36 Ms. Mona. By: T. Fasoling. page 130 Plate 37 Portrait of Samuel F.B.Morse. Photographer unknown. page 131 Plate 38 My Father at Ninety. By: I. Cunningham, page 132 Plate 39 Witnesses to Nuolear Test (cropped). By: F. Goro. page 133 Plate 40 Witnesses to Nuclear Test. By: F. Goro. page 134 Plate 41 Trang Beng, June, 1972. By: N. Ut. page 135 Plate 42 The Effect of Two Solution Development. By: A. Adams. page 136 Plate 43 Miss Thompson. By: C. White. page 137 Plate 44 Untitled. By: J. Uelsmann. page 138 Plate 45 Play to Win. By: G. Hayes. page 139 Vll List of Figures Figure 1 The Camera. page 140 Figure 2 The Diaphragm of a Camera. page 141 Figure 3 The View Camera. page 142 Figure 4 The Attitude-Behaviour Classification (A.B.C.) Model for Picture-Taking. page 143 Figure 5 The Aesthetic-Technical Axes page 144 Figure 6 The Photographic Enlarger. page 145 viii ACKNOWLEDGEMENTS I would like to thank the many people who have supported me in this work. Dr. Graeme Chalmers, my committee chairperson , provided thoughtful criticism and enthusiasm; Bob Steele brought his artist's eye and love of teaching to this task and contributed much; and Fred Herzog added his expertise in the area of photography combined with a willingness to wrestle with the 'tough questions'. In addition, I would like to thank all those fellow travellers in the master's program who listened and responded as I discussed the ideas that grew into this thesis. Finally, I want to thank Mary-Jane, my wife, who both encouraged me to pursue this study and supported both of us during the year in which it was written. 1 CHAPTER I INTRODUCTION Does an orderly understanding of the expressive capacities of Photography exist? If we limit ourselves to studies in the field of Art photography the answer must be no. The debate over photography in the world of art is many things, but it is neither comprehensive nor orderly. Such being the case, can an understanding be synthesized from writings extant in the fields of art history, art criticism, psychology, sociology, and photo-technology? Certainly the scope of these fields in combination is sufficient to offer a much broader perspective on Photography than already exists. In addition, the fact that each field has, to a greater or lesser extent, considered the problem of Photography is an encouragement to further study. This thesis posits that a cross-disciplinary study of Photography is the only approach that can hope to offer a complete understanding of the expressive capacities of the medium, and as such, has considerable implications for art education. One of the most pervasive sources of two-dimensional imagery today is photography. From newspapers and magazines, through textbooks and television to advertising billboards and art galleries, if a statistical study were to be done it would probably be found that an average North 2 American confronts dozens of photographic images every day and contacts, without consciously viewing, hundreds more. Since the 1830's when Louis Jacques Mande Daguerre claimed to have invented "a chemical and physical process which gives Nature the ability to reproduce herself" (Newhall, 1964, p. 17), a revolution has taken place that has altered our perception of the world. Our self concepts are defined, in part, by the images we see of ourselves in photographs (Pazer & Beilin, 1981). Our sense of what is happening around the world and the perception of its immediacy and import is informed by photojournalism. The popularistic notion that the peoples of the world, workers and royalty alike, are basically the same is, in part, a result of photography's leveling influence (Newhall, 1964, p. 22). "Photography opens a window, as it were. The faces of public personalities become familiar and things that happen all over the globe [are ours] to share. As the [viewer's] outlook expands, the world begins to shrink" (Freund, 1980, p. 108). Presumably a tool with the capacity to generate such broadly felt change is both simple (Being accessible to many), and complex (Being capable of satisfying diverse impulses). It is the purpose of this chapter to offer reasons for the careful study of photography as a part of art education.
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