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Ralph Hattersley
Jamesmcardle: /* Theorist, critic */ delinquent tag removed
'''Ralph M. Hattersley, Jr.''' (1921-2000) was an influential American photographic educator and photographer.
==Early life and education==
Ralph M. Hattersley, Jr. (1921-2000) was born on March 31, 1921 in [[Montana]] where he grew up in Conrad. After graduating from high school, Hattersley spent a year studying art at the [[University of Washington]], then left to attend [[Montana State University|Montana State College]] in 1941. Two years later, Hattersley joined the U.S. Navy, attending its photography school in [[Pensacola, Florida|Pensacola]]. He served on the Atlantic Fleet Camera Party, spending most of his time in [[Trinidad]]. He was discharged from the Navy in 1946.<ref>[https://ift.tt/2Qo40fY Collection on Ralph M. Hattersley, RIT Archives]</ref>
Upon returning to the U.S., Hattersley enrolled in the [[Rochester Institute of Technology|Rochester Athenaeum and Mechanics Institute]]'s photography program.
==Rochester Institute of Technology==
Hattersley graduated in 1948 from Rochester Institute of Technology (as Rochester Athenaeum and Mechanics Institute was renamed in 1944) and began teaching in the Department of Photographic Technology.<ref></ref> In 1949, he was offered a full-time faculty position there, which he accepted and taught alongside [[Minor White]], Charles Arnold, [[Beaumont Newhall]] and Robert Koch. Having both an art and photography background, Hattersley taught photo-illustration and art-based photography classes at the Institute for the next thirteen years.<ref>Stuart, N. (2007). Photographic Higher Education in the United States. 210-215.</ref>
==Later Career==
After teaching at the Rochester Institute of Technology, Hattersley moved to [[New York City|New York City.]] While there, he taught at various institutions including Columbia University, [[Pratt Institute]], and the [[School of Visual Arts]] where he taught with Martin Friedman, Cora Kennedy, Roy Benson and Irene Stern.<ref>New York Magazine, 17 Jan 1972, Vol. 5, No. 3, p.61, ISSN 0028-7369, New York Media, LLC</ref> He served as a contributing editor to ''[[Popular Photography]]'' starting in 1957, in which he wrote the column "Hattersley's Class". Hattersley died on February 5, 2000, survived by his children, Cleve, Craig, and Lissa.
==Influence==
Hattersley was influential on a number of his students who went on to contribute significantly to the field. Among them were; [[Pete Turner (photographer)|Pete Turner]];<ref>Eodice, Lynne. (2000). Pete Turner: Graphic Colorist. Petersen's Photographic, 28(11), 22-27.</ref><ref>Skinner, Peter. (1997). Pete Turner: Master of bold imagery. (photographer). Petersen's Photographic, 26(5), 39.</ref> [[Jerry Uelsmann]],<ref>Misselbeck, R. (2011). Uelsmann, Jerry N. (11 June 1934). The Grove Encyclopedia of American Art, The Grove Encyclopedia of American Art.</ref><ref>Roland, C. (1993). An Interview with Jerry Uelsmann: Master Photographer and Teacher. Art Education, 46(3), 56-62.</ref>who described him as one of "my three photographic godfathers: Ralph Hattersley, Minor White, and Henry Holmes Smith";<ref>Bunnell, P. (1970). Jerry N. Uelsmann. Aperture (Archive : 1952-2005), 15(4), 3-88.</ref> [[Bruce Gilden]];<ref>Gilden, B. (1977). CONEY ISLAND. The British Journal of Photography (Archive : 1860-2005), 124(6078), 55-57.</ref> [[Bruce Davidson (photographer)|Bruce Davidson]], who studied at RIT 1951-4, remembered "an inspiring teacher, Ralph Hattersley. He showed us [[W. Eugene Smith|Smith]], [[Henri Cartier-Bresson|Cartier-Bresson]], [[Irving Penn]], and others. This really sent me in that direction—not imitating, but finding the way I wanted to photograph";<ref>Cotton, C. (2015). Bruce Davidson. Aperture, (220), 94-107.</ref> [[Nathan Lyons]];<ref>Pelizzari, M. (1997). Nathan Lyons: An interview. History of Photography, 21(2), 147-155.</ref> Hugh C. Browning;<ref>Browning, Hugh C. (2004). Still lifes from alleys: Why take photographs in alleys? Oscar Wilde gave a partial answer when he wrote: "the only things worth doing are those the world is surprised at.". PSA Journal, 70(4), 32.</ref> Arno Rafael Minkkinen (who studied under Hattersley at School of Visual Arts, 1971 - 1972),<ref>[https://ift.tt/2DSfQIP Arno Rafael Minkkinen Bio at PhotoEye]</ref>
== Theorist, critic ==
Hattersley wrote colourfully on his theories on the principles and procedures of photographic criticism in a lengthy article in Aperture magazine which reprinted it from Popular Photography,<ref>HATTERSLEY, R. (1962). NOTIONS ON THE CRITICISMS OF VISUAL PHOTOGRAPHY. Aperture, 10(3 [39]), 91-115.</ref> and Carl Chiarenza<ref>CREATIVE AUDIENCE. (1984). Aperture (Archive : 1952-2005), (95), 38-44.</ref> who hoped that attending the Rochester Institute of Technology (RIT) would lead to 'a decent job at Kodak'. In his third year there, the Bachelor of Fine Arts degree program in photography was offered, developed by Minor White and Ralph Hattersley. "They were both extraordinarily creative as well as crazy in many ways," Chiarenza recalls, "but had a major influence on my career and my photography. Minor would have us sit and analyze a photograph edge to edge for an hour and then write about it, because 'everything in it is important.' Ralph would tell us to dig through the darkroom's trash basket and think about what you might do differently with a photo instead of throwing it out.<ref>SUZANNE DRISCOLL (2014) BRINGING ART TO PHOTOGRAPHY: The Work Of Carl Chiarenza'. In Shutterbug, May, 2014, p.2-5</ref>"RIT's photo department…faculty that included Ralph Hattersley, Minor White, Charles Arnold, Beaumont Newhall and others (plus Robert Koch teaching literature and creative writing), was "extraordinarily creative," Chiarenza says. "Our class, after the first two years, was a very small group," he recalls. "There were only 14 of us. We were quite aware that some- thing different was happening. Ralph Hattersley and Minor White pulled to opposite poles. Both used this medium of photography to express ideas, but they were very different. As you can imagine, there were a lot of discussions, not to say jokes."<ref>'Legends of the lens: 'University Magazine' gets up close and personal with three great photographers'. In University Magazine, Winter 2008-2009, Rochester Institute of Technology. p.17-22</ref>
Like his contemporary Minor White, he regarded photography as having a spiritual dimension; after pages of unidentified uncaptioned photographs in Aperture magazine appears his statement "Photography has come closer to being a religion than anything else most of us have ever had."<ref>CATALYSTS FOR CONTEMPLATION. (1972). Aperture (Archive : 1952-2005), 17(1), 79-92.</ref>White, in an Aperture editorial in 1964 praised his approach; "On sober thought one might say that we are witnessing a resurgence of meaningful photocriticism. Ralph Hattersley when on the masthead of INFINITY started something that both he and INFINITY continue in the field of criticism.<ref>White, M. (1964). Te deum zeitgeist drift: EDITORIAL. Aperture, 11(2 [42]).</ref> His book, Discover Yourself Through Photography enlarged on his ideas.<ref>Weiser, J. (2001). Phototherapy techniques: Using clients' personal snapshots and family photos as counseling and therapy tools. Afterimage, 29(3), 10-15.</ref>Across the Atlantic however, British commentators regarded these sentiments about the medium with caution.<ref>Martin, T. (1986). STARS, STRIPES AND SURPRISES. The British Journal of Photography (Archive : 1860-2005), 810, 815, 817.</ref>
Ralph Hattersley wrote about printing in a darkroom as an opportunity for meditation, a quiet time that can be therapeutic. Further, the upside-down image on the ground glass tends to engage the right side of the brain, the artist's side, more than the technical, left side of the brain.<ref>Hattersley, R. (2004). Printing as meditation. Shutterbug. December, pp. 154, 170, 171.</ref><ref>Zakia, R. (2007). Perception, Evidence, Truth, and Seeing. 460-469.</ref>
==Photographer==
In 1961 Ralph Ginzburg approached designer Herb Lubalin to design a new up-market periodical called Eros, a magazine which took love and sex as its theme. It became the subject of one of the most notorious freedom-of-speech trials in post-war America with Ginzburg eventually being imprisoned in 1972 for distributing obscene material; Ralph Hattersley's photographs which are widely credited as being the trigger for the court case.<ref>The quiet American.(graphic designer Herb Lubalin). (2012). Creative Review, 52.</ref>
== Publications ==
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*Ralph Hattersley 'A Handy Kit for Do-It-Yourself Critics' in
==References==
==Early life and education==
Ralph M. Hattersley, Jr. (1921-2000) was born on March 31, 1921 in [[Montana]] where he grew up in Conrad. After graduating from high school, Hattersley spent a year studying art at the [[University of Washington]], then left to attend [[Montana State University|Montana State College]] in 1941. Two years later, Hattersley joined the U.S. Navy, attending its photography school in [[Pensacola, Florida|Pensacola]]. He served on the Atlantic Fleet Camera Party, spending most of his time in [[Trinidad]]. He was discharged from the Navy in 1946.<ref>[https://ift.tt/2Qo40fY Collection on Ralph M. Hattersley, RIT Archives]</ref>
Upon returning to the U.S., Hattersley enrolled in the [[Rochester Institute of Technology|Rochester Athenaeum and Mechanics Institute]]'s photography program.
==Rochester Institute of Technology==
Hattersley graduated in 1948 from Rochester Institute of Technology (as Rochester Athenaeum and Mechanics Institute was renamed in 1944) and began teaching in the Department of Photographic Technology.<ref></ref> In 1949, he was offered a full-time faculty position there, which he accepted and taught alongside [[Minor White]], Charles Arnold, [[Beaumont Newhall]] and Robert Koch. Having both an art and photography background, Hattersley taught photo-illustration and art-based photography classes at the Institute for the next thirteen years.<ref>Stuart, N. (2007). Photographic Higher Education in the United States. 210-215.</ref>
==Later Career==
After teaching at the Rochester Institute of Technology, Hattersley moved to [[New York City|New York City.]] While there, he taught at various institutions including Columbia University, [[Pratt Institute]], and the [[School of Visual Arts]] where he taught with Martin Friedman, Cora Kennedy, Roy Benson and Irene Stern.<ref>New York Magazine, 17 Jan 1972, Vol. 5, No. 3, p.61, ISSN 0028-7369, New York Media, LLC</ref> He served as a contributing editor to ''[[Popular Photography]]'' starting in 1957, in which he wrote the column "Hattersley's Class". Hattersley died on February 5, 2000, survived by his children, Cleve, Craig, and Lissa.
==Influence==
Hattersley was influential on a number of his students who went on to contribute significantly to the field. Among them were; [[Pete Turner (photographer)|Pete Turner]];<ref>Eodice, Lynne. (2000). Pete Turner: Graphic Colorist. Petersen's Photographic, 28(11), 22-27.</ref><ref>Skinner, Peter. (1997). Pete Turner: Master of bold imagery. (photographer). Petersen's Photographic, 26(5), 39.</ref> [[Jerry Uelsmann]],<ref>Misselbeck, R. (2011). Uelsmann, Jerry N. (11 June 1934). The Grove Encyclopedia of American Art, The Grove Encyclopedia of American Art.</ref><ref>Roland, C. (1993). An Interview with Jerry Uelsmann: Master Photographer and Teacher. Art Education, 46(3), 56-62.</ref>who described him as one of "my three photographic godfathers: Ralph Hattersley, Minor White, and Henry Holmes Smith";<ref>Bunnell, P. (1970). Jerry N. Uelsmann. Aperture (Archive : 1952-2005), 15(4), 3-88.</ref> [[Bruce Gilden]];<ref>Gilden, B. (1977). CONEY ISLAND. The British Journal of Photography (Archive : 1860-2005), 124(6078), 55-57.</ref> [[Bruce Davidson (photographer)|Bruce Davidson]], who studied at RIT 1951-4, remembered "an inspiring teacher, Ralph Hattersley. He showed us [[W. Eugene Smith|Smith]], [[Henri Cartier-Bresson|Cartier-Bresson]], [[Irving Penn]], and others. This really sent me in that direction—not imitating, but finding the way I wanted to photograph";<ref>Cotton, C. (2015). Bruce Davidson. Aperture, (220), 94-107.</ref> [[Nathan Lyons]];<ref>Pelizzari, M. (1997). Nathan Lyons: An interview. History of Photography, 21(2), 147-155.</ref> Hugh C. Browning;<ref>Browning, Hugh C. (2004). Still lifes from alleys: Why take photographs in alleys? Oscar Wilde gave a partial answer when he wrote: "the only things worth doing are those the world is surprised at.". PSA Journal, 70(4), 32.</ref> Arno Rafael Minkkinen (who studied under Hattersley at School of Visual Arts, 1971 - 1972),<ref>[https://ift.tt/2DSfQIP Arno Rafael Minkkinen Bio at PhotoEye]</ref>
== Theorist, critic ==
Hattersley wrote colourfully on his theories on the principles and procedures of photographic criticism in a lengthy article in Aperture magazine which reprinted it from Popular Photography,<ref>HATTERSLEY, R. (1962). NOTIONS ON THE CRITICISMS OF VISUAL PHOTOGRAPHY. Aperture, 10(3 [39]), 91-115.</ref> and Carl Chiarenza<ref>CREATIVE AUDIENCE. (1984). Aperture (Archive : 1952-2005), (95), 38-44.</ref> who hoped that attending the Rochester Institute of Technology (RIT) would lead to 'a decent job at Kodak'. In his third year there, the Bachelor of Fine Arts degree program in photography was offered, developed by Minor White and Ralph Hattersley. "They were both extraordinarily creative as well as crazy in many ways," Chiarenza recalls, "but had a major influence on my career and my photography. Minor would have us sit and analyze a photograph edge to edge for an hour and then write about it, because 'everything in it is important.' Ralph would tell us to dig through the darkroom's trash basket and think about what you might do differently with a photo instead of throwing it out.<ref>SUZANNE DRISCOLL (2014) BRINGING ART TO PHOTOGRAPHY: The Work Of Carl Chiarenza'. In Shutterbug, May, 2014, p.2-5</ref>"RIT's photo department…faculty that included Ralph Hattersley, Minor White, Charles Arnold, Beaumont Newhall and others (plus Robert Koch teaching literature and creative writing), was "extraordinarily creative," Chiarenza says. "Our class, after the first two years, was a very small group," he recalls. "There were only 14 of us. We were quite aware that some- thing different was happening. Ralph Hattersley and Minor White pulled to opposite poles. Both used this medium of photography to express ideas, but they were very different. As you can imagine, there were a lot of discussions, not to say jokes."<ref>'Legends of the lens: 'University Magazine' gets up close and personal with three great photographers'. In University Magazine, Winter 2008-2009, Rochester Institute of Technology. p.17-22</ref>
Like his contemporary Minor White, he regarded photography as having a spiritual dimension; after pages of unidentified uncaptioned photographs in Aperture magazine appears his statement "Photography has come closer to being a religion than anything else most of us have ever had."<ref>CATALYSTS FOR CONTEMPLATION. (1972). Aperture (Archive : 1952-2005), 17(1), 79-92.</ref>White, in an Aperture editorial in 1964 praised his approach; "On sober thought one might say that we are witnessing a resurgence of meaningful photocriticism. Ralph Hattersley when on the masthead of INFINITY started something that both he and INFINITY continue in the field of criticism.<ref>White, M. (1964). Te deum zeitgeist drift: EDITORIAL. Aperture, 11(2 [42]).</ref> His book, Discover Yourself Through Photography enlarged on his ideas.<ref>Weiser, J. (2001). Phototherapy techniques: Using clients' personal snapshots and family photos as counseling and therapy tools. Afterimage, 29(3), 10-15.</ref>Across the Atlantic however, British commentators regarded these sentiments about the medium with caution.<ref>Martin, T. (1986). STARS, STRIPES AND SURPRISES. The British Journal of Photography (Archive : 1860-2005), 810, 815, 817.</ref>
Ralph Hattersley wrote about printing in a darkroom as an opportunity for meditation, a quiet time that can be therapeutic. Further, the upside-down image on the ground glass tends to engage the right side of the brain, the artist's side, more than the technical, left side of the brain.<ref>Hattersley, R. (2004). Printing as meditation. Shutterbug. December, pp. 154, 170, 171.</ref><ref>Zakia, R. (2007). Perception, Evidence, Truth, and Seeing. 460-469.</ref>
==Photographer==
In 1961 Ralph Ginzburg approached designer Herb Lubalin to design a new up-market periodical called Eros, a magazine which took love and sex as its theme. It became the subject of one of the most notorious freedom-of-speech trials in post-war America with Ginzburg eventually being imprisoned in 1972 for distributing obscene material; Ralph Hattersley's photographs which are widely credited as being the trigger for the court case.<ref>The quiet American.(graphic designer Herb Lubalin). (2012). Creative Review, 52.</ref>
== Publications ==
*
*
*
*
*
*
*
*
*
*Ralph Hattersley 'A Handy Kit for Do-It-Yourself Critics' in
==References==
November 28, 2018 at 10:56AM
