John Szarkowski & the Characteristics of the Photograph adapt into 1 post
‘This book is an investigation of what photographs look like, and why they look that way’ (Szarkowski, 1966, p.6).
John Szarkowski (1966) The Photographers Eye, New York: Museum of Modern Art
John Szarkowski was the Director of Photography at the Museum of Modern Art (MOMA) in New York from 1962 – 1991. In 1966 he produced a book called The Photographers Eye in which he attempted to identify and specifically define the characteristics by which the photograph transforms the world in front of the lens. It was based on the 1964 MOMA exhibition of the same name, and placed great emphasis on the photographer’s process of selection from the real world. The Introduction to The Photographers Eye (1966) can be accessed here
John Szarkowski (1966) identified 5 characteristics of the Photograph. These were: The Thing Itself / The Detail / The frame / Time / Vantage Point
John Szarkowski (1966) The Photographers Eye, New York: Museum of Modern Art
Unknown (c.1850) Couple with Daguerrotype in Szarkowski (1966) The Photographer’s Eye
For participants to discuss and visually explore Szarkowski’s 5 characteristics of the photograph
For participants to produce 5 (edited) images which explore these 5 characteristics visually
For participants to conduct in depth research on the writing of John Szarkowski and apply these ideas to thier practice.
For participants to conduct in depth research on at least 2 of the artists in the ICP (2014) What is a Photograph? exhibition and apply these ideas to thier practice.
Participant Take Away Outcome; At least 5 6×4 digital prints (1 per characteristic)
Research: the ‘What is a photograph?’ (2014) Exhibition at the ICP, New York
You will need:
Digital cameras for all participants (and appropriate memory cards) *This session can also be run using camera phones
Card readers
Access to computers (or laptops)
An introductory brief & Presentation (below) for participants to outline the ideas and provide examples
A booked room to critique participants work (either via a projector or via print)
Blue tack to pin the work
Costings and Risk Assessments
Presentation ideas: What is a photograph?
The Thing Itself: ‘The first thing that the photographer learned was that photography dealt with the actual; he had not only to accept this fact, but to treasure it; unless he did, photography would defeat him’ (Szarkowski, 1966, p.8)
Robert Doisneau (1956) Man in front of Notre Dame
Lee Freidlander (1962) Galex, Virginia
Uta Barth (2012) Untitled from To Draw a Bright White Line with Light
Valerie Belin (2004) Chips
Vera Lutter (2014) Cold Spring, IX: February 17, 2014
Stephen Shore (1972) from American Surfaces
The Detail: ‘The photographer was tied to the facts of things, and it was his problem to force the facts to tell the truth’ (Szarkowski, 1966, p.8)
Justin Quinnell (2014) from pinholephotography.org
William Eggleston (1989) from The Democratic Forest
Marjolaine Ryley (2005) from Villa Mona
Garry Winogrand (1932) Untitled from The Animals
Rinko Kawauchi (2007) from Semear
Peter Fraser (2002) from Material
The Frame: ‘Since the photographer’s picture was not conceived but selected, his subject was never truly discrete, never wholly self-contained. The edges of his film demarcated what he thought most important, but the subject he shot was something else, it had extended in 4 directions’ (Szarkowski, 1966, p.9)
Barbara Probst (2007) Exposure #49: N.Y.C., 555 8th Avenue, 05.21.07
Elliott Erwiit (1966) London, England, from Dogs
Chompoo Baritone (2015) from Instagram
Lee Friedlander(1968) New Orleans, Louisiana
Lynne Cohen (2001) from No Man’s Land
Brno del Zou (2014) from Photosculptures
Time: ‘There is in fact no such thing as an instantaneous photograph. All photographs are time exposures of shorter or longer duration, and each describes a discrete parcel of time. This time is always the present’ (Szarkowski, 1966, p.10)
Unknown (1932) Untitled in Szarkowski (1966) The Photographer’s Eye
Eadweard Muybridge (c.1885) Gull Flying in Szarkowski (1966) The Photographer’s Eye
Viviane Sassen (2011) for Adidas/Stella McCartney
Chris Hondros (2003) Liberian Fighter
William Klein (1955) Theatre Tickets, New York
Hiroshi Sugimto (1980) Akron Civic, Ohio from Movie Theatres
Vantage Point: ‘Much has been said about the clarity of photography, but little has been said about its obscurity. And yet it is photography that has taught us to see from the unexpected vantage point’ (Szarkowski, 1966, p.10)
Bill Brandt (1950) Child Resting
Cedric Buchet (2001) for Prada
socalitybarbie (2014+)
Justin Quinnell (2014) from pinholephotography.org
Mishka Henner (2011) from Dutch Landscapes
William Eggleston (1976) from William Eggelston’s Guide
Preparation Work:
Ask participants to read The Introduction to The Photographers Eye (1966) which can be accessed here
Ask participants to watch Carol Squires introduction to the What is a Photograph? (2014) exhibition at the ICP which can be accessed here
Ask participants if they have thier own digital cameras and cards
Make sure you have access to computers
Make sure there are enough team members to support participants (never assume thier prior knowledge)
Decide whether you will project the work or print it.
If you are printing it (6×4) make sure the Photo Lab are aware and be aware of timekeeping so they have space to print the work.
*If you are running this session off campus, make sure there is access to printers or projectors
Martina Lopez (1998) from Questioning Nature’s Way
Suggested Session Outline:
Ask participants what they think the characteristics of photography are. (e.g. light, time, fixed, reproduction) Are these specific to certain ‘types’ of photograph? Is the word ‘photographies’ more appropriate?
Deliver presentation / brief and encourage discussion and debate
In small groups investigate the local area and encourage visual exploration of each of Szarkowski’s 5 characteristics
Download and edit final images (5 per participant) *have a break here to give good time to print these physically or organise a slideshow