On finding your voice as a photographer.
Language is an underlying reality in our everyday world, present in our thoughts, our words, and even our haptic gestures. When interacting with someone else we are incorporating language to translate abstract thoughts into communication, communication into meaning, and meaning into understanding.
The rose on its own does not inherently contain these meanings; there is no inherent “romance” or “grief” to the visual reality of a rose — instead, there is cultural significance to the contextual uses of a rose, and a photographer can adopt these as appropriate in order to communicate their meaning.
Meaning can be intended by a photographer but may not come across in their image. I could take a photograph of a moment of joy and have someone else interpret it as melancholy. Out of context, an image can mean whatever someone wants it to, but in context, along with possible captions and testimony, the possibility for this is reduced.is an interesting intersection where verbal and non-verbal semiotics converges and produces collaborative imagery.
A photographer who refers to their cultural upbringing has a library of possible symbols open to them, and through research and personal development can create all kinds of imagery that say exactly what they want to say, even though they may use different visual symbols to do so. You can recognize humanistic messaging from the way a photographer portrays people because of the way that humanism informs the signs that photographer looks for and captures in their imagery.
If your process is to photograph at random, or based entirely on aesthetics and to leave the meaning to the viewer, then it isn’t you who is assigning that meaning. Maybe afterward, when curating and editing with a mosaic in mind built on the tiles of those individual frames, and maybe you want to keep your intention private, allowing and encouraging projection.
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