Four-eyes model
The four-eyes model is a communication model for photography put forward by Martin Zurmühle. According to the four-eyes model, a photograph affects the viewer on four different levels. These four levels are the form eye, the narrative eye, the feeling eye and the I eye.
Reference[edit]
The four-eyes model describes the multilayered effect of photographs on the viewer. The model is based on the four-sides model by Friedemann Schulz von Thun.[1]Contrary to human communication, however, photography is a one-sided form of communication between the photographer as the sender and the viewer of the images as the receiver. The four aspects of a message according to the communication square (factual information, self-revelation, relationship and appeal) were therefore adapted to communication with photographs.
The four levels of communication with photographs[edit]
Based on insights gained from reciprocal communication in conversations between two people, the Swiss architect, photographer, author and educator Martin Zurmühle developed a model for the one-sided communication between a photographer and a viewer. The four-eyes model describes how photographs affect the viewer in four different ways: the form eye provides visual pleasure, the narrative eye reports about life, the feeling eye perceives emotions and the I eye shows the language of the artist.[2]
The classic design rules of photography apply in the first instance to the form’ eye and the narrative eye. These areas work with rational methods and hard facts (attributed primarily to the left half of the brain). The feeling eye and the I eye are significantly more difficult to grasp, as they are in the realm of soft factors (attributed primarily to the right side of the brain). Even so, general statements can also be made in this area, even if they are not as clear and unequivocal.
All four levels (form, narrative, feeling, I) are involved to a different degree regarding photographs, appealing to both halves of the brain (the rational left and the emotional right). Only the correct interplay between these four levels creates special and very effective images that have an effect on viewers and draw their attention.
The form level[edit]
The form eye describes classical photographic techniques, how content is conveyed by means of graphic forms and elements (points, lines, curves, surfaces, patterns, colours etc.). These elements are the letters and words of the language of photography. The design (or composition) of these elements on the image represents the text of the photographic language that is understood universally and worldwide.
This field is discussed extensively in all significant photographic instruction manuals (e.g. in the classics by Andreas Feininger and Harald Mante, as well as in new works by Michael Freeman, Martin Zurmühle and others). The applicable rules are very clear and comprehensible, can be grasped logically and are based on hard facts. The form eye therefore corresponds to the factual information of the communication square.
The narrative level[edit]
The narrative eye describes the world in the style of travel and documentary photography. The images give us an insight into worlds perhaps unknown to us, show special events and sometimes also want to influence our opinion and attitude. Strong images can change our state of mind, as well as the politics of a nation (for example images of the wars in Vietnam and Iraq).
Whilst photographs on a form level can still be completely neutral, those on a narrative level always somehow take a view on the event and occurrence that they are showing. These photographs are based on easily recognisable connections that are generally understood. Clear forms and a targeted picture composition enhance the power and effect of these images. We can usually still grasp and explain these photographs rationally. Owing to their greater or lesser, conscious or subconscious influencing of the viewer, the narrative level corresponds to the appeal aspect of the communication square.
The feeling level[edit]
With our feeling eye, we sense moods and emotions within the image. The use of a suitable pictorial language can appeal not only to our sense of sight, but also to other senses, by bringing in our memory of powerful moments in life. Space and movement symbols convey a sense of the depth of the space and the speed of movement, while light and colours create special moods within the picture.
Owing to different life experiences, people react much more individually to such images. Feelings on pictures can only be perceived if we recognise the mood it depicts and have already experienced it. In this case, we are therefore in the realm of soft factors. In the field of people photography, many feelings can be expressed well by means of body language. As feelings can only be described subjectively, these effects are usually only discussed generally and unspecifically in instruction manuals. The feeling level corresponds to the relational level of the communication square.
The I level[edit]
Strong images not only have a clear message and appeal to our feelings, they also tell us a lot about the photographer through the I eye. The photographer can express himself with and through his images. The more intensely he identifies with his pictorial language, the more the images tell the viewer about him and his view of the world. The choice of subject matter is very important in this area. Whereas a photographer may be able to say very little about himself with landscape and architecture shots, he can reveal significantly more through e.g. nude, erotic and fetish photographs (for example about his attitude to sexuality).
However, not only can we read the language and the attitude of the photographer in the images, the viewer also reveals a lot about his own attitude to the depicted subject matter through his reaction. The more extreme the topic, the more polarised the reactions of the viewers. This touches on the wide field of art that is difficult to grasp and which makes use of photography for other reasons than the art-orientated photographer.
This area is strongly subjective and consequently all statements are unclear. For this reason, most photography instruction manuals lack specifications about how one can evaluate the quality of such images. In terms of its basic principle, the I level corresponds to the self-revelation of the communication square by Friedemann Schulz von Thun.
Applications[edit]
The four-eyes model can be applied to the targeted discussion and analysis of the effect of photographs on the viewer. On the other hand, the model is less suitable for evaluating and judging the photographic quality of an image.
General observations can be formulated regarding the effect of photographs:[3]
- All four levels (form, narrative, feeling and I) are involved to different degrees in images, appealing to both halves of the brain. It is only the effective interplay between these four levels and two halves that create special and very powerful images that have an effect on viewers and draw attention.
- The combination of different eyes enhances the effect of images, appealing to the viewer more comprehensively and having a more enticing and powerful effect.
- The four-eyes model is very suitable for structured and targeted pictorial analysis, but not for the qualitative analysis of photographs.
- The ‘form’ eye and the ‘feeling’ eye on one side and the ‘narrative’ I and the ‘I’ eye on the other complement each other mutually. Images with a powerful effect appeal in a targeted manner to both sides of an axis.
The discussion of the model will show to what extent these statements are of a universally valid nature. The four-eyes model is used in photography instruction in schools and when discussing images in photo clubs.
Literature[edit]
- Martin Zurmühle: Die MAGIE der Fotografie oder das GEHEIMNIS herausragender Bilder - BILDANALYSE nach dem Vier-Augen-Modell. Vier-Augen-Verlag, Luzern 2010, ISBN 978-3-9523647-0-3.
- Friedemann Schulz von Thun: Miteinander reden: Störungen und Klärungen. Psychologie der zwischenmenschlichen Kommunikation. Rowohlt, Reinbek 1981, ISBN 3-499-17489-8.
Weblinks[edit]
References[edit]
- ↑ Friedemann Schulz von Thun: Das Kommunikationsquadrat
- ↑ Martin Zurmühle: Bildanalyse nach dem Vier-Augen-Modell. Vier-Augen-Verlag, 2010. S. 21ff.
- ↑ Martin Zurmühle: Bildanalyse nach dem Vier-Augen-Modell. Vier-Augen-Verlag, 2010, S. 25ff.
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