So, when reading The Photographic Message by Roland Barthes, there were a lot of interesting points about how photographs can hold a message. There are many factors that can go into taking a photo, like what the reason for it is, as well as what was done in preparation to take the photograph.
Barthes explains that emission, transmission, and reception are a part of how a message is formed in a photograph. Say we use the analogy of photos for a newspaper (which is the same that he uses in the reading), the emission would be the staff that makes and works on the newspaper. This would mean that the emission would be what goes into a photograph like the people that take the photograph, the people that go through a choose a photo, and then those that would add a caption or title therefore adding commentary to it. When it comes to transmission, it would be what the photo is used for to help show the meaning of the photograph. In the case of the newspaper analogy, then the channel of transmission would be the newspaper itself as that is what’s being made and delivered to show off the message of the newspaper, giving the actual context for it. Finally, there is the reception and that is the person who is viewing the photo and its context. When it comes to the newspaper, then the public that reads the paper is the reception. All these parts are a factor that goes into a message. There needs to be a way it’s made, shown to others, and then the audience itself to view it in its completion.
Now, with a photograph, we then have to ask what type of information that a photograph is trying to convey. Really, a photo is purely supposed to convey the very scene itself that would be present within it. For example, if you were looking at a photo of a beach, then the very thing it’s trying to convey would be that beach. When it comes to imagery created then opposed to a photo, then there is something different in terms of what it might transmit. Imagery created tends to have a second meaning to how the creator treats the image in creating. Colors used, the hand that was used to create and then the creators own interpretations shine through instead of something that is purely reality being displayed. A photo is supposed to be an image without any other meaning or “code” other than what is being shown.
Another thing that Barthes brought up was connotation and denotation within photographs. First, the difference between denote and connote is that the denotion of a word or image is the literal meaning. So, when a photograph is of a beach, then the literal meaning is that the photo is of a beach. The connotation or a word or image is then the idea or feeling that it can invoke. So say this photo of a beach is really sunny and there are a lot of people in frame having a good time, then the photo can invoke the feeling of energy and liveliness. When it comes to some of the photos that I have taken, most times out of not, I would be adjusting color, light and whatnot to help invoke feeling or interest within the photo, so instead of focusing on denotation within the photo, I would mostly be focusing on connotation instead. However, if I were to be taking a photo for a newspaper based on an article written, then it would be best to focus on the facts then trying to invoke feeling as the photo is supposed to help visualize what’s being said. So I feel like taking a picture of the raw moment without much change is the best way to do a more denotative photo. However, I dont think a photo can entirely be denotative as whoever is looking at the photo would always get their own thoughts, ideas, and feelings emerge from the photo. The weather, being colored or desaturated, the angle, and etc. are some of the factors that can affect the type of feeling evoked no matter how denotative the photographer was trying to be.
Now, with connotation within photography, there are procedures that affect the type of feeling that can be felt while viewing the image. Barthes had mentioned the list and how each one can affect connotation. First, Trick Effects is what can intervene with denotation. With trick effects, it can make a photo “faked” as there would be elements changed after the fact to make people feel a certain way about the image. With this, people are able to pass off a purely denoted message, when really it would be heavily connoted. Secondly, there is posing within a photo. Stereotypical poses and positions of someone in a photo can really push the idea that the photographer was trying to get. If someone is smiling or angry, relaxed or tense, spread out or closed in, etc, each of these little things can affect how an image is read. Posing can even be used to get the exact meaning you want to get across making it a double structure of denoted-connoted photos. Next there are objects within a photo, as depending on how even the object is posed, it can affect the meaning. There are different ways that an object can be posed, whether the photographer did it themselves or someone did it in front of them. Not to mention, even the type of object itself has its own meaning. For example, if there was a lollipop within the photo, it would be seen as more innocent and childish, but say there was a gun, then it would be more associated with violence. The objects within a photo can even have a more clear association or it has the ability to be more subtle. Another procedure for connotation is Photogenia which is informational structure. With this, the image itself is the connotative message. Things like the lighting, exposure, and printing have an effect on the connotation. For example, if the image is really light, it would be seen as happier and lighter, while if it was darker, there would be a more serious undertone to it. Then there is Aetheticism that makes a photograph appear more artistic. Certain aesthetic choices and what not is what affects the feel in this case. Finally, there is syntax which is when photos come together to form a sequence. Instead of one image telling the message, there is a group of them that effectively tell the story together as one. This helps with immersion, as well as give the photos movement. Depending on the sequence, that movement can help invoke a feeling on its one. Panning around a figure for a sequence, for example, would be as drastic as saying a figure was rushing away and that being shown at different angles. In the end, there are many techniques and ways that can affect a photograph and not all of it can really be seen or shown right away.
Citation:
Barthes, Roland. The Photographic Message 1961
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