Teachings

In teaching college photography, I noted that building my student's art vocabulary proved to be important in getting them to actively participate in the critique of photographs. (My learning their names quickly was an important key to my success in getting them to interact in the class). They needed descriptive words to describe the design elements in a photo, as well as classifying any traditions (a.k.a., themes, genres) which it represented to them.

Below are the lecture slides which I used to kick start the art literacy that I felt would help students succeed as photographers.... Gary

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Highlights in the Development
of Traditions in Photography

There are many ways to categorize the different types of disciplines, traditions, approaches, genres, etc. of photography. Of all the possible terms, I picked "traditions" to express what I saw as the most useful term for teaching. After reviewing history of photography texts, I settled on eight different traditions that worked for me in identifying what I considered a photographer's intent in creating a photograph (or series of photographs). Some of the most iconic photos have shown more that one tradition. It suggests to me that a photographer can make a photo more memorable and impactful (i.e., mindful) if they broaden the appeal of their subject by simultaneously encompassing additional traditions beyond the ordinary or conventional.

The following are explanations of eight diametrically opposing traditions, with exemplary examples of each from different periods in photographic history.

Allegorical

When the literal content of a work stands for abstract ideas, suggesting a parallel, deeper, symbolic sense.

Commercial

Photography which has an externally driven motivation originating from a contract or assignment, with the over-riding purpose of making money for the photographer.

This assumes that internally driven photography has more opportunity to reflect the emotions of an artist.

Outstanding commercial work can have elements of any of the other types of photography listed here, occasionally resulting in it standing out from the mass of imagery the populace sees on a daily basis.

Didactic

Photography which is intended to instruct. Sometimes, to be morally instructive.

Didactic now often has negative connotations, because something didactic can be overburdened with instruction to the point of being dull. Or it might be pompously instructive or moralistic.

Didactic implied a neutral stance on an issue when it was first borrowed in the 17th century. It still does; a didactic piece of work is one that is meant to be instructive as well as artistic.

Documentary

Photography with the purpose of presenting facts objectively, without inserting fictional matter.

Recording and/or commenting on some content, often political or social, by accumulating factual detail.

Differs from didactic in that it purposely shows one or more sides to an issue.

Humanitarian

Photography used for social reform, making others aware of cultural problems and creating compassion for other people.

May be altruistic, arising out of internally driven motivations, such as empathy.

Illustrative / Narrative

Illustrative = 1 picture. Narrative = multiple pictures (a series).

To create informative designs and pictures for books, magazines, or other print or electronic media. Serves to make clear or explain the text or show what happens in a story.

Photography which represents elements of a story. Akin to genre and history painting, which are each types of narrative art. Genre paintings depict events of an everyday sort, history paintings depict famous events.

Narrative photography may include a textual element, for instance, adding written text to a cohesive series of photographs – or vice-versa.

Scientific / Interpretative

Photography where the intent is a true record and/or significance of an object.

Scientist/photographers distinguish themselves by mastery of specialized techniques like photomicrography, as well as a mastery of their subject knowledge, which potentially yields a picture more revealing of their subject than the non-scientist could achieve. It includes photography in the social sciences, such as ethnology and criminology.

To apply photographically ones learned knowledge of a subject into a straightforward, revealing depiction.

Pictorial

Amateur photography is often treated with dismay by art photographers who see their medium as a form of art. Beginning in the 1880s, groups who became known as pictorialists sought to distinguish their artistic efforts from the snapshots taken by masses of so-called Kodakers.

In contrast to their early snapshots photographs, pictorialist compositions favored simplicity, with broad areas of extreme darks and lights. Most of the pictorialists favored subject matter made popular by impressionist painters: hazy landscapes, nudes, and groups of children gamboling in nature.

Contemporary pictorialists favor specialized and difficult darkroom techniques which give their prints the look of the classical processes they seek to master, as opposed to modern processes which are favored by the masses.

Example of placing a photograph within a diagram of traditions

Dorothea Lang’s

Migrant Mother

Question: "Is it Fine Art?"

Answer: Yes. First, place dots which show which traditions the photo represents. Second, place a square in the center of the dots. Does the square enter into a "fine art sphere?" If so, the photo maybe fine art, as opposed to vernacular photography or graphic art.

Types of Traditions

Representative images by dominant tradition: 1839 to circa 1879

Allegorical

Commercial

Didactic

Documentary

Humanitarian

Illustrative / Narrative

Scientific / Interpretative

Pictorial