How to read a photograph (Blog #22)

Welcome to my latest blog, which is a little off my usually topics. I want to show you how to 'read' a photograph. 

Before that, though, I think it's appropriate to share a bit about my background. During my history degree I took a class in Art History, a major component of which was how to read a painting. The skills and methodologies I learnt there have been transferable to my photography. I would like to outline the techniques I employ when reading photographs, not just mine, but those of other photographers.

Let's start by challenging you to read one of my favourite paintings, which is Hans Holbein the Younger's The Ambassadors, a painting that is crammed full of symbolism, meaning, and messages. The painting can be viewed at The National Gallery in London and online.

What do I mean when I talk about reading a photograph? To me, 'reading' a photograph means interpreting and understanding the visual elements, and any  messages the photographer might want to convey within the image. This means analysing the composition, the lighting, the subject matter, and other visual cues that have been employed to derive meaning or evoke emotions. It's about extracting information and context from the visual content captured in the photograph.

So let's now look at a photograph and see what information we can extract.

What is or are the first thing or things that immediately strike you? What are you looking at? What can you see? Does the image stir any emotion within you, if so what? Immediately you see two people, a man and a woman, standing at the end of a jetty. Who are these people? What is their relationship to each other? What is their connection, if any, to the location? What are they looking at? What are they thinking? What are they going to do next? These are just some of the questions you should be asking yourself.

Let's try and answer at least some of these questions. I think it's safe to say that the two figures are the subject of the photograph. The photographer has placed them centrally in their composition, and the viewer's eye instantly falls on them, before being led further into the image, along the leading line of the jetty. To me this is a strong composition. We are looking at a scene set at a water's edge, but where is this? Do you need to know the precise location for you to be able to enjoy the photograph or complete your analysis and interpretation? 

In terms of colour, the whole scene had a cold feel to it, except for the mildest hint of warmth in the righthand figure's coat, but even that doesn't lift the overriding coldness. Is your emotional reaction affected by the lack of warmth? 

We can't see much beyond the end of the jetty, which suggests we are looking at a scene set on a foggy or misty day. The vignette applied by the photographer would suggest that they want to further isolate the figures, reinforcing their status as the subjects of the photograph or saying more about their isolation, perhaps?

The foreground contains part of the leading line and a massive clue about it being an edge of water location. The middle ground is dominated by the jetty  protruding out into the water. Can we see anything in the background? There is a vague hint of hills in the distance and to the right what looks like part of another jetty pushing out into the body of water. Does the fact that you can't make out solid entities add an air of mystery to the scene?

One thing remains, and that is to ask whether this photograph is a metaphor for a bigger question. Two humans peering out into a fog-clad world, not able to see very much, perhaps pondering what lies beyond? Or is this too fanciful?

Reading a photograph is an intellectual exercise in asking questions, the who, what, why, when, where, and how. You might not be able to come up with answers, but I think that trying is what matters.

The photograph I used here is one of mine, taken early on a foggy day on the shore of Derwentwater in the Lakes. The couple had, minutes before, been taking it in turns to take photos of each other standing on the jetty. I waited until they had finished this pastime, when they both turned to stare out into the lake and, like me, most likely struggling to see very far. I just happened to be in the right place at the right time. In post, I straightened and cropped, and cheated slightly by softening the image and then adding a white vignette to create more of a foggy feel. It wasn't until later when I started to read the image that I realised its potential.

Learning to read photographs will add a whole new dimension to your enjoyment of photography. I have always liked visiting art galleries, but didn't really enjoy or understand the artworks until I began to read them. 

You can view more of my photography on Instagram @mike.y.53 and @mike53onthemove. I am also on X @MYPhotography53 and @Mike53onthemove.

© Mike Young 2024.