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Exhibition
Evaluating an Image
Herbert Ascherman Jr.
Years ago, when I opened my first studio and gallery in Coventry Village in Cleveland Heights, I was faced with the self assumed responsibility of evaluating the work of those who sought to display their photographs on my wall. Taking a cue from Alfred Stieglitz who postulated that there should be absolutely NO rules for evaluating art of any kind, let alone giving the general populace any criteria with which to evaluate art, I did exactly the opposite: I formulated 5 basic Principles of Quality which have allowed me to evaluate the work of any artists, given my intellectual level of comprehension of his or her artwork, in terms of gaining a better understanding of the inherent message that the artist is trying to convey. I also use this standard as an indicator of the success or failure of my own work as it stands next to that of other quality-minded professionals.
-------------------The first of these 5 criteria is subjective and measurable. In photography, unlike any other art form, the artist is solely dependent on a mechanical device to produce his art. You can’t make a photograph without some sort of light source, a methodology for containing that light, and a form of preserving the image that is seen and created. The ability to handle a camera, choose and process the film, develop and make the prints is the craft of the art. Even an untrained eye can easily distinguish between those photographers who understand and can perform the necessary physical functions of photography to a level of quality and those who cannot. Case in point would be viewing a photo show where there were two photographs of the Rocky Mountains hanging next to each other. One photo was done with a hand held 35mm one shot loaded with a 400 color film and processed by a high school part timer at the local I hour photo store. The other image was created on an tripod supported 8 x 10 view camera with a very slow black and white film processed in the luxury of a custom built darkroom in the artist’s basement. Same image, different methodology, different style of image production, different level of Quality; each fulfilling a specific purpose for the photographer, yet having a diametrically opposite effect on the viewer’s emotions. This I call Technical Performance: the ability to control the medium to produce the desired effect and impact of the image as conceived by the photographer based upon his previsualization of the subject.
---------------------------------------------------The second criteria that I use to evaluate an image, either photographed, painted or otherwise constructed, is the level of rapport established between the photographer and the subject. This doesn’t mean that a subject has to be staring into the camera by any means. It doesn’t mean that a rock or leaf doesn’t have presence. It doesn’t mean that a sunset is relegated to the realm of the banal or mundane. What it does mean is that the photographer, in my opinion, has to have a specific reason or intent, has to see or feel something intense, and has to be intuitively moved to snap the shutter at the decisive moment he chooses. Of course I believe in happy accidents. Much of my work depends on happy accidents. In the words of the immortal Vince Lombardi: Luck occurs when preparation meets opportunity. That’s so good I’m going to say it again… Ansel Adams paraphrased Louis Pasteur when he said: Chance favors the prepared mind. When the eyes are open and the mind is clear and the sun is shining and the Quality is there to be seen, it’s a simple matter to snap the shutter and capture for both photographer, and viewer, the essence of what is visualized and felt…which segues nicely into the corollary of this criteria which is The visibility of that rapport to the viewer.
------------------------------------I could rail about the immature perceptions of artists and photographers who state that their work is produced solely for themselves, for their own private enjoyment and not meant for viewer-ship outside of their basements…then look for any opportunity to sell or thrust it upon an unsympathetic public who in turn, is blatant in its rejections.
---------------------------------The necessity of clear communication through specific and intended imagery is very important. I could list the dozens of photographers I have met over the years at my gallery who don’t understand that photography is meant to be enjoyed and understood by a viewer who expects, with the proper legitimate preparation, to understand the specific intent of the image as it is presented to him. Photography is neither an abstract nor non-representational form of art. Photography, as I understand and practice it, is grounded in the specific and intentional, is designed to convey an image with an emotional sub text, and must actively involve the viewer as a participant in the experience.
------------------The fourth criteria is unique vision. How many times have I seen that image? How many times have I seen it for the first time? I find it fascinating that almost all photographers see the same things at different parts of their careers. Beginners are usually most curious about their friends, about the shape of ‘things’ and about strong geometrics usually found in architectural perspectives. The more mature the photographer the more sophisticated his choice of subject matter becomes: the study of motion, the study of positive and negative space, the study of line and expression. Those who are well advanced in their creative journeys leave the realm of subject matter entirely and progress into the abstractions of pure light. The point is, we each have the ability to create uniquely, in recognition of our own definitive uniqueness…and it is through the control of our medium and materials that allows us to do so.
-------------Lastly, I ask you: what is the greatest compliment you can pay to an artist?
--------The answer? Simple. Here: here is some money. I can’t live without your photograph, painting, sculpture or whatever. Why? Because you have taken your unique vision and fused it with a remarkable emotional impact that speaks to me and me alone. I have to have this photograph on my wall because it reminds me of something I think or have experienced, because the image it conveys resonates within me, because I feel a deep emotional response when I look at this picture. I have to own your work because of the way it makes me feel.
-------------------The first of these 5 criteria is subjective and measurable. In photography, unlike any other art form, the artist is solely dependent on a mechanical device to produce his art. You can’t make a photograph without some sort of light source, a methodology for containing that light, and a form of preserving the image that is seen and created. The ability to handle a camera, choose and process the film, develop and make the prints is the craft of the art. Even an untrained eye can easily distinguish between those photographers who understand and can perform the necessary physical functions of photography to a level of quality and those who cannot. Case in point would be viewing a photo show where there were two photographs of the Rocky Mountains hanging next to each other. One photo was done with a hand held 35mm one shot loaded with a 400 color film and processed by a high school part timer at the local I hour photo store. The other image was created on an tripod supported 8 x 10 view camera with a very slow black and white film processed in the luxury of a custom built darkroom in the artist’s basement. Same image, different methodology, different style of image production, different level of Quality; each fulfilling a specific purpose for the photographer, yet having a diametrically opposite effect on the viewer’s emotions. This I call Technical Performance: the ability to control the medium to produce the desired effect and impact of the image as conceived by the photographer based upon his previsualization of the subject.
---------------------------------------------------The second criteria that I use to evaluate an image, either photographed, painted or otherwise constructed, is the level of rapport established between the photographer and the subject. This doesn’t mean that a subject has to be staring into the camera by any means. It doesn’t mean that a rock or leaf doesn’t have presence. It doesn’t mean that a sunset is relegated to the realm of the banal or mundane. What it does mean is that the photographer, in my opinion, has to have a specific reason or intent, has to see or feel something intense, and has to be intuitively moved to snap the shutter at the decisive moment he chooses. Of course I believe in happy accidents. Much of my work depends on happy accidents. In the words of the immortal Vince Lombardi: Luck occurs when preparation meets opportunity. That’s so good I’m going to say it again… Ansel Adams paraphrased Louis Pasteur when he said: Chance favors the prepared mind. When the eyes are open and the mind is clear and the sun is shining and the Quality is there to be seen, it’s a simple matter to snap the shutter and capture for both photographer, and viewer, the essence of what is visualized and felt…which segues nicely into the corollary of this criteria which is The visibility of that rapport to the viewer.
------------------------------------I could rail about the immature perceptions of artists and photographers who state that their work is produced solely for themselves, for their own private enjoyment and not meant for viewer-ship outside of their basements…then look for any opportunity to sell or thrust it upon an unsympathetic public who in turn, is blatant in its rejections.
---------------------------------The necessity of clear communication through specific and intended imagery is very important. I could list the dozens of photographers I have met over the years at my gallery who don’t understand that photography is meant to be enjoyed and understood by a viewer who expects, with the proper legitimate preparation, to understand the specific intent of the image as it is presented to him. Photography is neither an abstract nor non-representational form of art. Photography, as I understand and practice it, is grounded in the specific and intentional, is designed to convey an image with an emotional sub text, and must actively involve the viewer as a participant in the experience.
------------------The fourth criteria is unique vision. How many times have I seen that image? How many times have I seen it for the first time? I find it fascinating that almost all photographers see the same things at different parts of their careers. Beginners are usually most curious about their friends, about the shape of ‘things’ and about strong geometrics usually found in architectural perspectives. The more mature the photographer the more sophisticated his choice of subject matter becomes: the study of motion, the study of positive and negative space, the study of line and expression. Those who are well advanced in their creative journeys leave the realm of subject matter entirely and progress into the abstractions of pure light. The point is, we each have the ability to create uniquely, in recognition of our own definitive uniqueness…and it is through the control of our medium and materials that allows us to do so.
-------------Lastly, I ask you: what is the greatest compliment you can pay to an artist?
--------The answer? Simple. Here: here is some money. I can’t live without your photograph, painting, sculpture or whatever. Why? Because you have taken your unique vision and fused it with a remarkable emotional impact that speaks to me and me alone. I have to have this photograph on my wall because it reminds me of something I think or have experienced, because the image it conveys resonates within me, because I feel a deep emotional response when I look at this picture. I have to own your work because of the way it makes me feel.
Copyright © 2006 The Butterfly Art Foundation.