The significance of the photographic message Item Type text; Thesis-Reproduction (electronic) Authors Fuller, David, 1960- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 03:33:26 Link to Item http://hdl.handle.net/10150/277233 INFORMATION TO USERS The most advanced technology has been used to photo­ graph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. 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Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 1339269 The significance of the photographic message Fuller, David Wayne, M.A. The University of Arizona, 1989 UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 THE SIGNIFICANCE OF THE PHOTOGRAPHIC MESSAGE by David Fuller A Thesis Submitted to the Faculty of the DEPARTMENT OF ART In Partial Fulfillment of the Requirements For the Degree of MASTERS OF ARTS WITH A MAJOR IN ART EDUCATION In the Graduate College THE UNIVERSITY OF ARIZONA 19 8 9 2 STATEMENT BY AUTHOR V This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the ma.jor department or the Dean of the Graduate College when in his or her .judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED* OL APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: /«•///A f W. D. Greer 'Date'Data Professor of Art 3 ACKNOWLEDGMENTS I would like to send my most sincere gratitude to the following professorsi Owaine Greer, Jeanne Carrigan, and Jean Rush. Their help, criticism and understanding smoothed out many rough edges. In addition, I would like to thank Dr. Vincient Lanier. His classes and encouragement influenced this paper's initial direction. Lastly, to my brother, Larry, who assisted as an editor. 4 TABLE OF CONTENTS Page LIST OF FIGURES 5 ABSTRACT 6 CHAPTER 1. INTRODUCTION 7 2. LEVELS OF REALISM 11 3. PHOTOGRAPHY AND LANGUAGE 23 4. DEVICES THAT ALTER CONTENT 39 5. CONCEPTS IN EDUCATION 59 Unit Overview 61 4-Weelc Matrix 65 Handout Example 67 Photographic Codes Worksheet 70 APPENDIX Broudy's Aesthetic Scanning 74 SELECTED BIBLIOGRAPHY 75 s FIGURES Figure Page 2-1. Untitled. Photo by Craig Spooner............ 13 2-2. "George Takei." Photo by Craig Spooner 14 2-3. Untitled. Photo by Craig Spooner 16 2-4. Masking Example. Photo by the Author 21 3-1. "Syntax. " Photo by the Author..... 34 3-2. "Untitled." Photo by Mike Davidson 37 4-1. "Randy's Donuts." Photo by Craig Spooner.... 43 4-2. Example of Cropping. Photo by the Author....44 4-3. "Object Arrangement" Photo by the Author....45 4-4. "Twins/Twins=Eins." Photo by the Author 46 4-5. "Plague." Photo by the Author 47 4-6. "Self-Portrait #2." by Jannelle Weakly 49 4-7. "Lanier Grid." Photo by the Author 50 4-8. "Untitled Light Shapes" by Stan Willis 54 4-9. "Korean Movie-Goer" by Stan Willis 55 4-10."Snow Ducks." Photo by Mike Davidson........57 5-1. "Untitled." Photo by the Author 71 5-2. "Kathi. " Photo by the Author 72 5-3. "Self-Portrait." Photo by the Author........ 72 5-4. "3 States + One." Photo by the Author 73 5-5. "Anima/Animas. " Photo by the Author 73 6 ABSTRACT Photographic realism is an effective framework for communicating meaning. In other words, the purpose is to convey an idea — not, for example, to depict a landscape. Misuse of photographic images may arise from a photographer's deliberate attempt to imbue an image with the meaning he or she desires. Thus, we might question photography's objective nature, although this should not be confused with realism. The latter refers to the imitative or representational quality of the subject, the former refers to scientific validity or truth. The issue of objectivity suggests useful concepts for art education. First, this paper considers photographic realism — technique is not a primary concern. Second, procedures that can alter realism are made evident. By understanding and using these methods, a student can more successfully comprehend and alter the photographic message. 7 CHAPTER ONE INTRODUCTION Photographic realism is an effective framework in which to communicate meaning. The imagery is so believable that other media do not compare. Photographic images lack hand painted lines or roughly handled chisel marks. Instead, the picture is elaborate with details — containing a rich variety of shadings, appearing more mechanical than if done by hand (Radar 20S). The problem arises in the broad acceptance of photography as an imitation of reality. As Edmund Feldman states, "...we are lest> conscious of the fact that the camera also changes reality" (Feldman 421). Photography offers many benefits in understanding the visual arts. One advantage is that a photograph stops time and movement. Unlike motion pictures and television, a still image can be studied at great length, its frozen relationships yielding further complexity upon examination. In contrast, movie film must be kept simple, becoming more intricate through time and sequence (Craven 133). In photography, the film's emulsion is receptive to delicate details within the scene. The whole technical process should eliminate any discrepancy to hinder the photographic message — or so it would seem. The slightest shift in the camera's viewfinder can 8 also shift the meaning of an image. Experience in composing or framing the environment is most valuable in understanding how the context in which an object is viewed can change meaning -— objects can be prearranged and previsualized before photographing to heighten an effect. In addition, an analysis of a photograph's realism teaches much about how a photograph can be used to convey information. Photographs are unique in their power to persuade. The fact that photographs can be both believable and distort truth brings up a vital issue> Any photograph's scene or meaning can change according to the photographer's intent. Skillful manipulations by social vehicles — such as propaganda and tabloids — can make such distortions more difficult to identify (Berger 153). Consider, for example, a scandalous photograph of President Bush and Mia Farrow holding hands at a party. However, the photographer may have cropped out Mrs. Bush at the President's right. Such a situation illustrates the shifting principle — the way a scene can be cropped inside the camera can imply something that is not occurring (Feldman 428). Many photo- journalists justify visual lies in order to portray what they perceive to be true. By some universal law, facts do not matter as much as the 'Truth' (Craven 145-146). The ability to manipulate meaning in imagery is not a limited to questionable purposes. The power of altered meaning may be likened to two sides of a leaft On the lower (or shady) side is the power to change vital information for a person's or group's benefit — i.e. propaganda, company newsletters, political affairs, etc. On the top side of the leaf, we find that the same power gives us versatility in making more interesting statements. Examples can be seen in advertising, magazine covers, fine arts, and so forth. This side tries to refine or change what nature or present situations fail to accomplish. Floating trees, blue horses, and eight armed bandits are all subjects of this domain. This side of the leaf is more playful, and often lighter in intent. "The Photographic Message," by Roland Barthes, may be a short paper with a short title, but it is a work of incredible explorations. From Barthes' work stems the direction — as well as the title — of this thesis.