Chapter 5: Mental Modeling
In Chapter 5 of Shore’s text he seeks to explain the mental experience that photographers undergo when producing an image. He states that “when photographers take pictures, they hold mental models in their minds; models that are the result of the proddings of insight, conditioning, and comprehension of the world” (117). This “mental model” is ultimately what comes to shape the outcome of one’s photographs, as Shore believes that, for most photographers, this model “operates unconsciously” (117). Thus, this mental model is apparent when viewing the works of a famous photographer, or even a student like myself. Oftentimes, when one is stuck viewing the world through a particular “mental model” they tend to recognize only subjects that fit that specific model, therefore producing a similar outcome. And, it is this aspect of Shore’s text which I found to be the most relatable.
When looking back on the projects to date, I can still see a similar pattern in how I portray certain subject matters, even ones that vary drastically in size and proportion. For example, I noticed how I tend to zoom in particularly close on some subjects, while others I tend to approach from an angled view in attempts to capture a receding vantage point. However, due to the countless Shore readings we have been assigned throughout the semester, along with the varying assignment topics , I have come to understand the “mental model” which I often find myself returning to when creating a photograph.
However, there is hope for a change in one’s “mental model,” despite its often-unconscious presence in one’s mind. Shore believes that “by making the model conscious, the photographer brings it and the mental level of the photograph under his or her control” (117). Shore’s text, in combination with my collection of images produced for this class, has shown me that this “mental model” is not incapable to change. Specifically, I have caught myself in the process of taking a picture in a way which felt “safe” and comfortable to my understanding of what photography was supposed to be. However, in catching myself in these moments, I have allowed myself to explore a broader range of subjects, angles, and even lighting as a means of creating a unique photograph.
However, this last assignment, requiring the use of different lighting, was still a challenge. I felt myself resorting to images I felt “comfortable” with when first attempting this project, because I came to view the concept of “light” in photography through one particular “mental model.” After broadening my conception of “light” and moving beyond my preconceived notions of how it is to be depicted in an image, I found that I was able to have a lot more fun with this project. I became less rigid, and attempted to just have fun and produce some different photographs with this assignment. Thus, it can be seen how Shore’s text, in combination with the open assignment topics this semester, has allowed me to both broaden my understanding of photography while also allowing me to break out of my own “mental model” in order to produce photographs which I never would have considered at the beginning of this semester.
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