Andy Bruther
Reading Assessment 2

1) Barrett believes that in order to interpret photography, a critic must narrow a photo down to its core function- whatever it was intended to make the viewer think, feel, do, or understand. Once a critic believes they have figured that out, they must ask how the artist accomplished that objective and why they chose to do so in that particular way. Forming a well-informed and strong interpretation is key in critiquing photography.

2) “Visual metaphors also have two levels of meaning: the literal and the implied. A photograph always shows us something as something. In the simple sense, a portrait of a man shows the man as a picture - that is as a flat piece of paper with clusters of tones from a light sensitive emulsion… in a more complex way, however, the portrait of Stravinsky shows him not only as a man sitting at a piano but also as a brilliant man, or a profound man, or a troubled man” (Barrett).

3) Barrett believes that once a critic has broken down a photograph beyond the surface level, they can begin to understand why a photograph was taken. Whether it be representative of the photographer’s life, culture, or beliefs, every photograph has a meaning behind it. To dismiss a photograph without attempting to understand and interpret the meaning of the photograph is to miss the point of the photograph entirely.

4) Barrett believes that in order for people to see the true meaning of a photograph, they need to ask themselves a range of questions before jumping to judgement. He especially believes that photographs that are made in “straightforward, stylistically realistic manner are in special need of interpretation”. Barrett also points out the fact that there is no such thing as a truly “innocent eye” and that personal prejudices and experiences are reflected in any photograph that is taken.

5) Diane Neumaier’s interpretation of Eleanor stood out to me because her interpretation was the farthest from how I initially interpreted the photograph. I initially interpreted the photo similarly to what Jonathan Green had in American Photography. I saw a woman being praised and glorified as the photographer captured her natural beauty (both inside and outside). However, Neumaier interpreted the photograph as being oppressive and thought it was perpetuating the photographer’s “ownership” of Eleanor. These two different interpretations probably come from the fact that Neumaier and I have different life experiences and beliefs. However, I also have not done sufficient research to come to my personal conclusion and respect her response to the photograph.

6) Barrett is making the point that many people hold the belief that all opinions are equal and no one interpretation of a photograph could possibly be “better” than another. Barrett disagrees with this and believes that a well informed and defensible interpretation is better than an interpretation lacking evidence or reason. He also writes that simply saying “that’s your opinion!” or “art is subjective!” to defend a weak interpretation is intellectually incorrect.

7) Intentionalism is the problematic belief that as long as a photographer has achieved their personal intent- the photograph is “successful”. Barrett writes that it’s not up to the photographer themselves to both capture and criticise photographs. He also believes that when an artist does provide information about their intent, it should be taken into equal consideration with any number of other interpretations, rather than be presented as fact.

8) I learned that even though people can have a variety of interpretations of the same photograph, not every interpretation should be regarded as equal. Simply because one critic’s opinion differs from another’s, it is possible that one of the interpretations can be stronger. Additionally, the artist’s intent should not be taken into more than mere consideration when coming to an interpretation of your own.

I also learned that different people can see the same photograph in extremely different ways. Simply because one critic sees a photograph as empowering, moving, or profound, another critic may see it as conceited or outright oppressive. I hadn’t thought about the vast number of ways a single photograph could be interpreted.

9) The author’s main conclusion is that interpreting photographs requires more than a shallow, quick look at a photograph. Anyone can look at a photograph and pick out what’s physically in front of them. However, interpreting the meaning behind the photograph requires a deeper dive into the true meaning of the photograph. Additionally, differing interpretations are not all created equal. However, every reasonable, grounded interpretation should be met with reasonable criticism or praise.