Four-eyes model

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The four-eyes model is a communication model for Martin Zurmühle's photography . 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 ego eye .

reference

The four-eye model describes the multilayered effect of photographs on the viewer. The model is based on the four-sided model by Friedemann Schulz von Thun . In contrast to human communication, photography is a one-sided form of communication between the photographer as the sender and the viewer of the images as the recipient. The four sides of a message according to the communication square (the matter , the self-disclosure , the relationship and the appeal ) have therefore been adapted for communication with photographs.

The four levels of communication with photographs

Graphic representation of the four-eyes model

Based on the knowledge gained from mutual communication in conversation between two people, the Swiss architect, photographer, author and trainer Martin Zurmühle developed a model for one-way communication between photographer and viewer. The four-eye model describes how photographs affect the viewer in four different ways: The form eye offers visual enjoyment, the narrative eye reports from life, the feeling eye perceives emotions and the first person eye shows the language of the artist.

The classic design rules of photography relate primarily to the form eye and the narrative eye . In this area, rational means and hard facts are used (rather assigned to the left hemisphere). The feeling eye and the ego eye are much more difficult to grasp, because we move in the world of soft factors (rather assigned to the right hemisphere). Nevertheless, general statements can also be made here, even if these are no longer so clear and unambiguous.

In the case of images, all four levels (form, narrative, feeling and I level) are involved with varying degrees of intensity. Both halves of the brain (the rational left and the emotional right) are addressed. It is only through the correct interaction of these four levels that special and very effective images emerge that affect the viewer and cast a spell over them.

The form level

The form eye describes the classic method of photography, how content is conveyed with graphic forms and elements (points, lines, curves, surfaces, patterns, colors, etc.). These elements are the letters and words of the language of photography. The design (or composition) of these elements in the picture then corresponds to the text of the photographic languages, which is understood universally and worldwide.

This area is discussed in its full breadth and depth in all major photo textbooks (e.g. in the classics by Andreas Feininger and Harald Mante , but also in the new works by Michael Freeman , Martin Zurmühle and others). The corresponding rules are very clear and understandable, can be recorded logically and are thus based on hard facts. The form eye therefore corresponds to the factual level of the communication square .

The narrative level

The narrative eye describes the world in the style of travel and reportage photography. The pictures give us an insight into worlds perhaps unknown to us, show special events and sometimes want to influence our opinion and attitude. Strong images can change our attitudes as well as the politics of a country (for example images of the wars in Vietnam and Iraq).

While images of the form level can still be completely neutral, images of the narrative level always somehow take a position on the event and happening that they represent. These photographs thrive on easily recognizable contexts that are generally understood. Clear shapes and targeted image design give these images more power and impact. Most of the time, we can still grasp and explain these photographs rationally. Because of their more or less existing, conscious or unconscious influence of the viewer corresponding narrative level of appeal side of the communication square .

The feeling level

With our emotional eye , we sense moods and emotions that lie in a picture. With a suitable visual language, by including our memories of strong moments in life, other senses can be addressed in addition to the sense of sight. Space and movement symbols convey feelings for the depth of space and the speed of movement, and light and colors create special moods in the picture.

Due to the different life experiences, people react much more individually to such images. Feelings in pictures can only be perceived if we know the corresponding mood and have already experienced it. We are therefore moving here in the world of soft factors. In the field of people photography, many feelings can be expressed very well with body language. Because feelings can only be described vaguely, these effects are usually only discussed in general and imprecisely in specialist textbooks. The feeling level corresponds to the relationship level of the communication square .

The I level

Strong pictures not only have a clear message and speak to our feelings, they also tell us a lot about the photographer with the first person's eye . He can express himself with and through his pictures. The more intensely he identifies with his visual language, the more the images tell the viewer about him and his view of the world. The choice of topic is very important in this area. If a photographer can say very little about himself with landscape and architecture photos, he of course reveals much more with nudes, erotic and fetish photos (e.g. about his attitude to sexuality).

But we can not only read the language and the attitude of the photographer in the pictures, the viewer of these pictures also reveals a lot about his own attitude to the subject depicted through his reaction. The more extreme the motif, the more polarizing are the reactions of the viewer. This is where the large and elusive field of art begins, which photography uses for different reasons than the art-oriented photographer.

This area is colored very subjectively and all statements are accordingly blurred. For this reason, most of the specialist photography books do not contain any information on how the quality of such images can be assessed and evaluated. The basic idea of ​​the ego level corresponds to the self-revelation of Friedemann Schulz von Thun's communication model .

application

The four-eyes model is very well suited for targeted discussion and analysis of the effect of photographs on the viewer. In contrast, the model is less suitable for assessing and evaluating the photographic quality of an image. The image evaluation system with the double triangle is much better suited for this.

Theses can be formulated about the mode of action of photographs:

  • In the case of images, all four levels (form, narrative, feeling and I level) are involved with varying degrees of intensity. Both halves of the brain are addressed. It is only through the correct interaction of these four levels and sides that special and very powerful images emerge that affect the viewer and cast a spell over them.
  • The combination of several eyes makes images more effective. You speak to the viewer more comprehensively and become more exciting and powerful.
  • The four-eye model is ideal for structured and targeted image analysis, but not for the qualitative evaluation of photographs.
  • The form eye and the feeling eye on the one hand and the narrative eye and the first person eye on the other complement each other. Images that appear strong address both sides of an axis in a targeted manner.

The discussion on the model will show to what extent these theses are generally applicable.

The four-eyes model is used for photography training in schools and for picture reviews in photo clubs.

literature

Web links

Individual evidence

  1. ↑ The communication square on www.schulz-von-thun.de ( Memento of the original from June 21, 2013 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.schulz-von-thun.de
  2. ↑ Martin Zurmühle: Image analysis according to the four-eye model . Vier-Augen-Verlag, 2010. S. 21ff.
  3. ↑ Martin Zurmühle: Image analysis according to the four-eye model . Vier-Augen-Verlag, 2010, p. 25ff.