Photography and Visual Communication
Sometimes, images communicate stories of the world’s events and history to viewers—they are reflective of reality and possess documentary attributes that help preserve historical moments for future generations to look back on. They act as records because they represent captured moments of the world and contain more detail than any other medium. In other aspects, the integrity of the photo is manipulated through collages, distortion, and even technologies like today’s Photoshop. In such cases, viewers and the public may be affected by various influences without even knowing—photographers and artists’ manipulation of images can have both creative and political intentions, shaping the public’s ideas and thoughts by the way images appear. Such photographic development has led to dynamic changes in documentary photography, photojournalism, advertising, and propaganda.
Photojournalism kick-started with the publication of images of the tragic sinking of the Titanic, which came to be one of the most famous tragedies in history because of its documentation. The Daily Mirror was the first to report on the Titanic sinking, only two days after the event. This was soon followed by images like the explosion of the Hindenburg. In the earlier stages of photographing people, photojournalism was seen as intrusive, out to get a quick buck at the expense of whoever they were flashing. But as time went on, people wanted their picture taken. Some photojournalists even became “celebrities'', and the industry was a respected one as people took significant risks to capture the best shots.
Advertising photography has been an excellent medium for visual communication, as well. Moholy-Nagy, in his piece "Photography in Advertising," does not consider photography primarily an art form, but rather an “effective means to transform the visual culture of the modern world” (86). Although photographers can implement visual communication in journalism, advertising, and promotion, Nagy focuses on the aspect of advertising and its visual design. Nagy refers to its underlying impact as the “psychology of advertising” (87). Especially in the mid-1900s, photographic advertisements were not easy to define. Nagy argues that the research behind the psychological laws of visual design was far behind its time, so the effect on the viewer’s behaviors was significant.
As photographic and print technology developed, its ability to communicate ideas grew. By 1913, it was possible to transmit photographic data through the wire, making it possible for images to travel as quickly as words. Following close behind was half-tone print, which allowed photographs to be printed on almost anything with the inclusion of text as well. Thus, since images could be reproduced efficiently, effectively, and with text, photography truly became a part of mass media. Again, in many ways, photographs can convey emotion, communicate ideas, and spread information more effectively than words alone.
The communication of ideas and information has been projected through visual elements with the use of photography. Over time, photography has evolved and progressed to what we know it is now. Despite the differences in intention and prominent juxtapositions of ads and news on magazines’ pages, they shape the public’s memories, beliefs, and values in various ways. Even today, they continue to change the landscape of mass visual culture and how we interact with the world. This section of the exhibition will demonstrate photography’s impact on the world as a mode of visual communication.