The Pictorialism Movement was once a popular photographic technique that overpowered the photography field from 1885-1915, and its main aim was to enhance photography into a true art form. The effect of using this technique, simplified, would be that the photos shot look like real paintings.
Some of the main elements for a successful photograph of pictorialism include the “darkroom”, special papers, and unique filters.
An example of a pictorialism photograph.
On the other hand, unlike Pictorialism, which has a soft focus and manipulation, Straight Photography includes sharp focus, presenting the objects in a natural environment without any other types of enhancements, resulting in portraying the photo more like an actual “photo,” not a “painting.”
A photo shot using the straight technique.
Around the mid-20th century, pictorialism was getting more and more unpopular, and the straight technique was there to replace it as more artists chose to change and follow this form of photography. The straight technique focused more on the portray and representation of real objects than explaining a bit of an abstract style of the photo, which focused on pictorialism.
For instance, Edward Weston and Aaron Siskind, the two historical photographers, were influenced by the straight technique, which emphasized sharp focus, high detail, and truthful representation of subjects. They disliked and rejected the soft-focused “doctrine” of pictorialism and celebrated photography as an independent art form, apart from the promoting of “paintinglize” the photos shot in pictorialism. Weston’s careful, unmodified photographs that capture form, texture, and detail are a perfect example of straight photography. Siskind switched from documentary to abstract straight photography, highlighting surfaces, textures, and patterns. By being precise and thorough, he was able to blur the boundaries between abstraction and the realness of reality.
The “Cabbage Leaf” by Weston, succeeding in spotlighting the details of the vegetable.
“Aaron Siskind (American, 1903-1991) Gloucester 1H, 1944, printed later (Lot 163, Estimate $2,000-$3,000)”
On the other hand, artists Andreas Gursky and Uta Barth’s view of abstraction is quite different from the previous two. Unlike Weston’s work, which displays mainly black & white and shows perfect details on single objects, Gursky, a German photographer, loved to shoot multiple, more complex scenes. Some examples can be the colorful supermarkets, umbrellas beside the beach, or houses on the side, along the road. To summarize, Gursky’s large-scale images often display a vast, intricate scene of real-world subjects. His manipulation of perspective, scale, and multicolored patterns eventually mix together to create a “real-illusory” form of abstraction. Dissimilar to Gursky, Barth’s shot focused on lighting, blur, and eye-level perspectives to create abstract photographs. Unlike both Weston and Gursky, who had one single or multiple subjects for the audience to analyze, Barth’s work does not often have a specific target object; instead, the techniques mentioned above are what encourage the audiences to ponder and engage with the atmosphere she’d created for them.
In conclusion, if the level of judgment is deep and details matter, both Gursky, Barth, and their work, in my opinion, cannot be justified as either pictorialism or straight style. Their work does not necessarily follow the rules and/or (all the) requirements of pictorialism or straight, as both tried to jump out of the traditional limitations and chose to experience new art with their own styles and personalities shown in their work, ultimately, an “abstract” of their own, too.
“99 Cent” by Gursky, showcasing a vast supermarket with a high-level perspective and viewpoint.
A selection from Barth’s “…end of time” series, exploring important themes such as lighting, spacing, and perspective, in her own perspective.
Work cited:
Williams, Nigel. “When Photos Looked Like Paintings – Pictorialism – a Flash of Darkness.” A Flash of Darkness, 11 Mar. 2024, flashofdarkness.com/pictorialism.
“Straight Photography Movement Overview.” The Art Story, www.theartstory.org/movement/straight-photography.
Kumar, Revathi Senthil. “Photographer Study #3 | Edward Weston and the Universality of Basic Forms.” Light and Life Academy, 15 Oct. 2024, llacademy.org/blog/edward-weston-and-the-universality-of-basic-forms.
Lamunière, Michelle. Photographs by Aaron Siskind in Skinner’s Fine Photographs Auction | Skinner Inc. 21 Jan. 2015, www.skinnerinc.com/news/blog/photographs-aaron-siskind-fine-photographs-auction-2778b.
99 Cent – Andreas Gursky | the Broad. www.thebroad.org/art/andreas-gursky/99-cent.
“Uta Barth: Peripheral Vision.” Getty Museum, www.getty.edu/art/exhibitions/barth.