The Universal Photographic Language Does Not Exist

Landscape photography requires great mastery to use photographic language (bisons in a meadow under a cloudy sky).

Artistic Photography Has Two Dimensions

Artistic photographs have two very distinct dimensions:

The vision: here, we focus on visual sociology. Works created in time, space, or in a given environment can be placed in a certain order. For example, photographs created in Dombes are identifiable by the medium because the species and environment are so unique. The vision is an approach that focuses more on ethnography because we identify the scenes.
The look: here, we focus on the sociology of the gaze. We focus on the effects of perception, reception, and production of content. The content itself is not analyzed, rather, it is the effect produced on the viewer that is interesting. The look is an approach that is more psychoanalytical because both photographer and viewer are included in the analysis.

By considering these two dimensions, one can easily set up a language to express oneself with a given writing.

However, the photographic language has the distinction of being understood in a multitude of ways. Each viewer can decrypt photos in multiple ways. I encounter this problem as soon as I create a new artistic collection. I propose them to a circle of very close acquaintances. I trust their judgments. They know me. They know what I expect from them. However, their impressions always vary from person to person. Next, I propose the photos to our family circle, which is smaller. The meanings and reactions are always more figurative. Often, people in the family circle take precautions before giving me their comments. They know my requirement and know that the words used are very important. However, these individuals’ perspective is always from a descriptive point of view, and each judgment given may be very different. This does not bother me, because some collectors who buy my photographic works do so from a criterion. They are present in the register of thought more than in the register of emotion.

During all these years, I learned that the photographic language is not universal but that it challenges each viewer in a different way. The important thing is the language used by the photographer. We must not forget that photography is an artistic discipline. The author feels the need to express messages and emotions, but he is limited by a given writing and his own language. Time will tell whether this language has been decrypted correctly or not by the author.

I think it is the viewers who ultimately make the photographs come alive.

The photographic language is in no way scientific. It is not like a spoken or written language that has specific rules. The photographic language is spoken both by the photographer who creates the work and the viewer who contemplates the work. This process is complicated and complex, which illuminates the beauty of artistic photography.

A Universal Photographic Language Does Not Exist

Over time, I came to understand that a universal photographic language did not exist. Even if we wanted to create one, it would not be possible, mainly because it is not scientific, due to its psychoanalytic dimension. The photographer symbolically places his neuroses, his emotions, and transmitted messages into his image. However, these symbols are uniquely characteristic to him alone, and thus can be interpreted differently by his viewers.

The construction of a photograph relies upon the experience of the photographer. Reading a photograph also appeals to the viewer's experience.

Concretely, this means that the photographer will be in phase with some viewers because the language used will be the same. But it will be rejected by others because the language and interpretation will be totally different, due to a collection of different experiences.

Is this even important? I do not think so. It is impossible to achieve unanimity in an artistic discipline. If an artist chooses to be unanimous in creating his works, he will no longer deliver messages because his artistic activity will be watered down, smoothed over. Mediocrity will prevail. This is a general rule when one wants to address the masses. The messages are so different that ultimately, the authority does not know what else to deliver to the people, and the people may not even know what it is that they want. Thus, platitude reigns in general consumption. We as professional photographers strive to veer from this dangerous path, by delivering art that is different.

Although I do not believe that there is one universal photographic language, I do believe that there are several photographic languages. I will not go so far as to say that there is a language only understood by photographers, but that this is almost entirely true. Real photographers have the gift of harmoniously organizing the signs of writing to allow true sentences to flow smoothly without ever being spoken orally.

Creating your own language takes a very long time, but when you have found the codes, the words will fall into place. All that is needed after this stage is experience and practice.

But how can one write in photography? What tools are available for photographic writing? How can you prepare to develop the photographic language? These are the questions I will answer in the next blog posts.

If you want to continue discovering other facets of the photographic language, I recommend the following article.

Using the 7 Elements of Art to Capture and Create Your Photos.

Be humble, patient, constant, persevering, and persistent because the road to excellence is long.

Why and How Speaking in the Language of Photography

As I said in this article, photography is a means of artistic expression. It has a language. Like with any language, the author must be able to precisely wield the grammar rules.

Underwater photography requires great mastery to use the photographic language (goby on a hard coral).

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Photographic Writing Has Its Own Language

Mastering the photographic language allows photographers to write easily but especially to be well understood by those who will look at the photos.

By definition, a language is the function of the expression of thought and communication. Language is a system of signs that allows communication to occur. One method of communication is writing.

Previously, we saw that photography presented a number of signs through photographic writing. For a photographer to express himself through his personal photographic style, he or she must perfect the photographic language.

The language of photography involves aligning signs, which, when assembled together through photographic writing, allows the author to express his desires and purpose of the photograph. This process opens the door for the viewer to understand the photograph’s meaning. The photographic language allows both entities –the author and viewer – to understand each other.

However, everything is not as it seems. The main reason for this is that photography has a very important psychoanalytical dimension.

From my experience, I have come to believe that the photographic language can be broken down into four very distinct points.

First of all, this language considers the aesthetics of photography: the harmony of colors or shades of gray, the different balances between masses, exposures, shapes, and etc.

Next, this language must consider the technique of the exposure, sharpness, depth of field, noise, etc.

This photographic language must also consider the elements used to compose a scene. For example, in a nature photograph, it is unwise to include a city, or houses, or any sign of human presence. If this were to be done, it would not make sense.

Finally, this language must contain certain tools for translating messages, especially for the emotions that the author wishes to convey to the viewer. For example, we would not use the same tools to translate tormented, restless emotions as we would for a peaceful, tranquil spirit. This would be what is called a counter sense. For example, a photo that reflects a tormented state will most likely be created in black and white with strong contrasts. An image translating a happy state will most likely include soft and cheerful colors.

If one of these points is not utilized properly by the artistic photographer, the sentence will not be complete, and the viewer of the photograph will not understand it.

For example, a photo could be technically perfect. It may be sharp, well contrasted, well exposed, and manages colors and shades creatively. However, that same photo’s elements might fail in defining the state of mind, causing the photographer’s intentions to be overlooked by the viewer.

Another example is that of a technically perfect photo which only contains good aesthetic qualities, but whose photographic items have no connection with the main subject of the image. This would not be an interesting picture, as it would fail to convey messages, except that of confusion, to the viewer.

Adeptly Wielding Semantics of the Photographic Language

The knowledge of the photographic language is not enough.

Indeed, let's take the example of learning a foreign language. We learn vocabulary, grammar, and the rules of conjugation. We will then visit the country associated with this language.

We may decide to talk to someone. If we repeat the words we have learned while respecting the grammatical rules, but these words have no semantic meaning in the context of the discussion, certainly our native friend will not understand us. The same applies to the photographic language. If you wish to address an audience with your photographs, you must define the subject of your message or the emotions you want to translate. Then you must use the right semantic elements, or you will not be understood correctly.

I met many photographers who made photos, but only considered the technical aspect. Their photos were excellent from a technical perspective, but no semantics emerged.

Knowing the photographic language is an essential first step for a photographer wishing to create beautiful nature photos of landscapes, underwater scenes, or animals. Knowing how to speak the language correctly is certainly the most difficult step to master.

Wanting to show a personal perspective of the world is quite commendable, however, this cannot be improvised. It takes time and patience. Nevertheless, a strong focus for learning will result in the improvement of personal qualities and a good dose of general culture, both of which will encourage the individual to continue to learn, thus creating a cycle.