Reading: The Nature of Photographs

Shore, Stephen (2007) The Nature of Photographs, Phaidon, London & New York. 

 In The Nature of Photographs, renown photographer and teacher, Stephen Shore (2007), explores three different levels of understanding relating to the nature of photographs – the physical, depictive and mental levels. Shore argues that these three levels ‘determine how the world in front of the camera is transformed into a photograph’ and shape ‘visual grammar’. Written as a primer it is an invaluable reference for shaping my analysis and understanding of photographs. The arguments in the text are illustrated using examples of both Shore’s own photographs and the work or many other photographers. I paid particular attention to discussions about edge.

Focusing on the physical level, Shore describes how a ‘photograph is flat, it has edges, and it is static…(yet) it is not a true plane. The print has a physical dimension’ (p15), it is an object. He argues that the edge of a photograph demands ‘the boundedness of the image’ (p16). At this level he also talks about colour, tonal range and visual style.

At the depictive level, Shore argues that choosing a frame transforms the world; it ‘corrals the content…and draws the viewer’s attention to ‘objects, people’ events and forms’ (p56).

Just as monocular vision creates juxtapositions of lines and shapes within the image, edges create relationships between these lines and shapes and the frame. The relationships that the edges create are both visual and “contentual”.’ (Shore, 2007, p56)

Shore also argues that the framing can be passive, ‘where the picture ends’ (p60), or active where the ‘structure of the picture begins with the frame and works inwards’ (p62). At the depictive level, Shore also explores the attributes of vantage point (focus), the moment of exposure (time) and the plane of focus (flatness).

Finally, Shore explores the mental level arguing that this level ‘provides a framework for the mental image we construct of (and for) the picture’ (p97). He expands this by arguing that all photographers hold ‘mental models in their minds’ which are a ‘complex, ongoing, spontaneous interaction of observation, understanding, imagination and intention’ (p132). He urges photographers to become more conscious of the mental level to bring it under control. 

I have found this book extremely useful because it provides me with a framework for describing and analysing photographs (both mine and other people's). In particular I have learned about edge and its relationship to the physical edge of photographs and framing at the depictive level. While the section on the mental level is very useful for encouraging me to consider the mental model I use when making photographs I will need to read other sources to help shape my analysis of the locational and emotional/affective analysis of edge.