Singular Image: Is it Possible for a Photograph to be Thought of as a Singular Image - Research Paper Example

Singular Image: Is it Possible for a Photograph to be Thought of as a Singular Image? INTRODUCTION Photography is a wonderful and beautiful art, one which takes on many different views and forums. Photography is basically the process of making pictures by capturing light on film, and it is a hobby, art form, and beautiful pastime, one that has been around for ages; in fact, modern photography can be traced as far back as to the 1820s. There are so many different forms of photography, and as well matters that are put into question, such as the fact of whether or not photographs can be thought of as singular images. Singular Image is a collection of thought provoking and influential essays on individual photographs, and each essay focuses on several issues in particular. One of the most primary issues that each essay focuses on is that of the individuality and uniqueness of one particular image – “a uniqueness illuminated in highly personal ways by each of the essayists, whether in terms of the artist’s intention, the writer’s response, the work’s technical complexities, its historical context, or a purely formal analysis” (Aperture, 2006). This work is one of the most popular and well known in regards to all the works that have been completed within this subject field, and one of the most significant facts about it is that of how each essay in the book is able to capture a sense of how challenging it really is to create a perfect single image, and as well, it should be known that although art photography has clearly been well surveyed in the past, especially over more recent years in particular, the fact still remains that individual works have rarely been written about at length; Singular Images, however, is a book which was able to do this. This study intends to identify the question which is raised with this book – whether or not it is possible for a photograph to be thought of as a singular image, and as well fully and thoroughly examine and discuss any and all other key and related issues. This is what will be dissertated in the following. SINGULAR IMAGES This book, to which the authors are Darsie Alexander and Geoffrey Batchen, is one which has been of much controversy and criticism, one which has been applauded but also put into question, as it is wondered whether or not it is actually possible for a photograph to be thought of as a singular image. This question can really only be answered by not only studying the book Singular Images, but as well by comparing and contrasting it to other photography books. This is because Singular Images is a book that has been able to properly and appropriately allow for photographs to be thought of as singular images, however there are many other photography books which have attempted to have not been able to. Although a lot of photography theory has rested on the basis that photographs cannot be thought of as singular images, it is possible to do so, as this book in particular has done, and incredibly well at that. Each image most often contains symbols of personal reference, and often as well will have other parts to it which allow the viewers to be able to recognize and employ subconscious references. When we use a reference such as Terry Barrett in order to prove this point, we must first take into consideration his main ideals; he believes that there are four critical activities which are a must in order to be able to properly criticize any photograph, and they are: describing, interpreting, evaluating, and theorizing. Barrett has an incredibly theoretic and analytical method of categorizing photographs into ideal types, and this has provided his general audience with a highly original and incredibly useful way to think about how and why photographs are made to actually function in the world. The selected images that were used in the book Singular Images were drawn from both that of documentary and fine art practice, and they date from as far back as 1835 to the present day. From this, the authors then contribute their own personal responses in regards to their photography work, and by doing this they are able to explain why and how they are fascinated by the photograph, as well as telling about each separate part of the photograph, about its meaning, and its purpose. This book is an incredibly lively inquiry into the actual value of analyzing individual photographs, and as we can see from looking at the book, each and every photograph can absolutely be thought of as a singular image. Each and every photo in the book, even though each only contains one singular image, is really able to tell a story of its own. This is not only due to the beauty and the work that is put into each photograph, but as well to the essay that is written for each one. This truly allows the readers to be able to better understand about each photograph, and it is as though they are reading a storybook while they are looking at each photograph. This book is truly a wonder of its kind, and it is truly like no other photography book out there. The main reason why a lot of people believe that photographs cannot be thought of as singular images is because a large majority of people believe – and have always believed – that photographs are supposed to “capture an essence” (Wells, 2003), and that this can only be done by exposing the viewer to at least several different objects. However photography has come a long way over its time and you are really able to do basically anything you want in regards to photography these days, as long as you have the skill, the knowledge and the passion. Singular image photographs are now in fact one of the most applauded, primarily due to the fact that they are so intriguing and so compelling, as they are simple and yet are truly able to tell a fascinating story of their own. Singular image photography is used all over the world nowadays, and it is no wonder. One of the best factors about singular image photographs is that it encourages and almost in a way forces viewers to engage at length more and more deeply take in the photograph, rather than just passing it by with a one time glance. The idea that the more that is in a photograph the more interesting it will be is certainly not true, and in fact when there is only a single object – singular image – to look at, it is much easier to take in and evaluate. The value of analyzing individual photographs is truly remarkable, and Singular Images is one book in particular which has made a serious inquiry into this, and which has also brought the matter more to the table, thus getting more people thoroughly involved in it. Although it is certainly often incredibly challenging to create a single perfect piece – especially when compared to a ‘regular’ photograph – it is absolutely worth it all in the end, and particularly with the essayists work, as they were able to consider, and more often than not in highly personal ways, as to the actual meaning and the point in each photograph, as well as what they believed the author’s intention was and then their own personal response as well. They also consider more technical factors in their essays, including the technical complexities that are involved, the historical context and the formal properties. With all of this, each and every viewer, even regardless of their photography history and experience, is able to get a very serious grasp on the photographs in general, and is able to understand just what a singular image is. There are many different issues that are taken into consideration – for instance by these essayists – when judging or criticizing a photograph. When it comes to the matter of what it is that makes for a good image, of course with different people the answer is going to change as well however there are certain basic values which allow us to be able to properly and efficiently assess the quality of a photograph. Craft or execution is one of the most primary, and this is usually the first part to any photograph value assessment. Looking at the detail and the sharpness or tonality for instance is all very important here, and basically the craft of the photography is what is looked at here – the first and most natural emotion that you have after immediately viewing the photograph. The next part in the assessment of a photograph has to do with production values. It is most difficult for those who are not as experienced in the photography and photography assessment areas, and for those who have an untrained eye, however the production values are what really make the best photographs of all. When the production values of execution are incredibly high, then really, regardless of what the photograph actually consists of, it will still be impressive. “The shot of an underbelly of a shark revealing its deathly grin, no matter how otherwise poorly crafted, will certainly get our attention because the production values of execution are so high. Few of us could ever hope to get under the sea and so well equipped as to successfully generate that shot. In this case, the production values are obvious, but other times, production values may be just as gut-wrenching or just as difficult to assemble, but not so obviously dramatic as the full submersion aqueous environment of denizens of the deep. We appreciate that and value the photo for it” (Howarth, 2005). The next part of the assessment has to do with the subject matter or content, and this is considered as being the most basic and most historical of all of the elements that are involved in this assessment overall. However this is also the most judgmental part in a way at the same time, because a lot of the time primal urges will take over, and so for instance, depending on the viewer’s sexual preferences, such as a straight man for instance: “A documentary-style photograph of a beautiful woman, reasonably rendered, will win out over other just as exquisitely executed photographs 9 times out of 10” (Wells, 2003). Then there is also the matter of the composition which also has to be assessed, and this is arguably considered as being the simplest part of the overall photograph assessment. The composition is what basically tells the story of the photograph, and so in regards to a singular image, the composition will be even simpler, however it tells a profound and interesting story just the same, so long as the photograph itself is well done of course. “Composition both leads us in and escorts the eye to its divine conclusion, or, it leaves us waiting for a punch line, standing in blinded befuddlement – hoping somehow to understand the joke. It’s no laughing matter when the composition fails” (Wells, 2003). Composition is the part of the assessment which is most quickly noticed in regards to photographs that are considered as being singular images, and actually is what most proves that yes, photographs can be thought of as singular images. The composition tells how the photograph ‘speaks to you’, and whether it is a singular image photograph or other type, the value can really be instantly told by this, although it must also be decided through the other parts of the overall assessment as well. There are many values which need to be taken into consideration in order for a photograph to be able to be truly considered as being a singular image, as not all photographs that are classified as being a ‘singular image’ actually are, and for the most part this is simply due to the fact that the photograph itself overall is simply not well done. Some of the factors that must be valid in order for a photograph to be considered as a singular image are: a range of subject matter, symbols, and potential ideas; visual, spatial, temporal, and functional values apparent; implications of intention and purpose; and interpretive. If all of these values are evident in the photograph, then it can be considered as being a singular image, if, of course, that is the point to the photograph. Although most singular image photographs are obviously put out as being just that, sometimes they are more subtle in their delivery, and so by using the previously discussed assessment criteria, we are thus able to appropriately decide whether or not a particular photo can actually be considered as being a singular image. Art is an incredibly large reflection of our culture overall, and this is not only in regards to one location or another, but rather it is universal. Photography is – or can be, at least – an incredibly intimate and personal form of storytelling, and particularly in regards to photographs which are considered as being singular images, this fact is even truer. Singular image photographs enable us to look and focus even deeper into the piece of work itself, and allow us a purpose to take even more time to actually study the photograph, as when it is a singular image rather than a portrait or landscape photograph for instance, there is somehow more purpose and more detail to the photo, more for us to look into and wonder about. Singular images, although certainly one of the most criticized of all photographs, are also the most respected in many senses, as they serve a different purpose than any other type of photograph. CONCLUSION From this review we can conclude many different things, namely that yes, a photograph can be considered as being a singular image however we have also seen that there are many issues and factors that need to be taken into consideration in order for this to happen properly. We have been able to see what all of these issues and factors are through this paper, and, by using the views and opinions of intelligent and experienced photography experts, we have been able to back up our theory that photographs can in fact be thought of as singular images. We have been able to understand the significance, perspective, and overall beauty of such singular images, and as well how they often times have much more context and personality than other photographs. Singular Images in particular is a book which displays wondrous and fascinating singular image photographs, and although there are many other photographic works such as this, this one above all the rest is absolutely one of the most profound and depictive, largely in part due to the essays that are written for each picture. Through this book and others like it, we are able to see just how true it is that photographs can be considered as singular images. References Barrett, T (1999). Criticizing Photographs: An Introduction to Understanding Images. Ohio: McGraw-Hill. Berger, J (1972). Ways of Seeing. London: Penguin Books. Berger, J (1991). About Looking. New York: Vintage Books. Barthes, R (1993). Camera Lucida. London: Vintage Books. Burgin, V (1982). Thinking Photography. London: Macmillan Education. Howarth, S (2005). Singular Images: Essays on Remarkable Photographs. London: Tate Publishing. Sturken, M., & Cartwright, L (2001). Practices of Looking: An Introduction to Visual Culture. UK: Oxford University Press. Wells, L (2003). The Photography Reader. London: Routledge. Read More