Analyzing photography allows for the general purpose to be expressed. The analysis allows the viewer to infer and apply descriptions that lead to various impressions. As such, this is the work of denotations and connotations, symbolic expressions, artistic expressions, or photojournalism. All these components inform our understanding of reality. For a qualitative analysis focus should be on what the image denotes, the literal meaning offered. Identifying denotations is the primary process of forming an informed understanding of semiotic materials. To do a step-by-step photo analysis, refer to the book, Doing Visual Analysis by Per Ledin.

Step 1: Objects

Here, we can find the use of several objects in this image. Two wine bottles are of different brands, colours, types, and flavours. Also present are two wine glasses, a bouquet of red roses (wrapped in three layers: red and beige paper and clear plastic), and a bar of Lindt Chocolate bar. To illustrate the analysis of a photo, one might say that the bouquet of roses takes precedence, as their usage provides an array of ideas or possible meanings. However, they are other elements that make the meaning potential clearer. The wine glasses offer the idea of celebration, while the wrapping of the roses says that it is special or delicate and should be handled with care.

Those, as mentioned earlier, are signalled to be what is special in the image, which is something to discuss when looking at how to analyze the setting within photography. We can take note of the strategic placement of these objects compared to others. They are the most conspicuous. The presence of those six objects on their own conjures ideas of what is taking place. Think of these objects “as inducers of ideas (Roderick, 2023, Week 4.1 Presentation slide 26)”. All these objects offer unique ideas that change when they are in the presence of other objects. Denotation is the first step to analyzing the photo, as no interpretation occurs. This helps to identify all the objects best, as denotation occurs when we can identify what is being depicted. The purpose is to be objective and understand plainly what is being shown. Later combining the denotation and connotation aids in finding the general definition presented. At this level of analysis, potential meanings are being formed.

Additionally, there are other objects exhibited in this photo. Their position in the image tells us that these objects are less memorable. As a result, they offer a small amount to the photos meaning potential. However, they similarly offer ideas for interpretations. A coffee table, a console table, a couch, an area rug, books, a fishbowl, a TV, magazines, and potted plants are observed. In the photograph, the coffee offers an idea of who might own it. For example, the coffee table could infer a home. Alternatively, we can also say that the objects are of a comforting environment. The fishbowl infers a family or household.

Step 2: Colour

The next step is to study the colours present in this photograph. In everyday life colour already informs many of the emotions, links and connections formed. In analyzing this image, we need to consider whether it is modulated or saturated. Whether it offers purity, range, or coordination in colour. These elements inform what is being visually communicated. The colour indicated and conveyed a significant amount of information and ideas about what the image means. Socially, colour is linked to culture in how it is used. The meaning potentials afforded are almost significant. In this image the roses are red. Red, socially gives the idea of romance, elegance, or love. The hue of the roses conveys warmth. Its purity also conveys naturalness or simplicity. Consider what it might infer if the roses were black (sad) or yellow (friendship). Colour is associated with evoking moods. The range of colours in this photo shows playfulness. Paired with the muted blue on the walls, gives off the idea of calmness, signalling the setting of the photo. It feels more homely. This kind of coordination throughout the image codes the “objects and settings in the photographs into a whole of which these other elements are also a part, making them a coherent whole (Ledin, 2018, pg. 50)”.

Step 3: Settings

Objects inform the ideas of this setting in a photograph. The absence of objects similarly informed different ideas, thus affecting the setting the viewer might associate. How objects are used and placed could change according to the canons of use, a list of normal uses we can consider. This can lead to a range of ideas on what the setting is. Additionally, the previous semiotic resource discussed aids significantly in informing ideas of a setting. For example, the warmth or neutrality of the wall colour lets us know that this is a living room. Culture also informs how different people might come to a similar or different conclusion. The choice of setting later affects the connotation or meanings attributed to the image.

From analyzing the photo, we can see that the room is filled with lights, the walls are smooth, glossy hardwood floors and cool tones throughout. Furthermore, the specific pairing of the objects in the room lets us know that the setting is a living room. The muteness of the wall colours connotates calmness or relaxation. Showing a minimal amount of the overall setting connotates that it is not the focus, as “a greater symbolic role is played by the objects and people we find (Ledin, 2018, pg. 53)”. The setting in this image shines light on what is supposed to be special in the photograph (this being the objects on the table). Nevertheless, it lets the observer know that the photo symbolizes something. In reference to this, consider this quote, “Such decontextualized images are generally used to symbolize an idea or concept (Ledin, 2018, pg. 53)”. The intentionality of using a limited view of the setting and objects show that something important is being symbolized and is taking place since, “It is a room that shows no wear from everyday use and a place saturated with bright lighting (Ledin, 2018, pg. 51)”. Thus, we feel intimacy, which informs the ideas of what kinds of celebrations happen in the home setting.

Step 4: Participants

Though this photo does not present any participants, it is still an important step in a complete analysis. In relation to this image, let us say that there is a dress-up woman sitting on the couch, leaning forward and over, smiling at the camera, with a hand placed on the rose. This individualization and pose would work to draw the viewer in visually and emotionally through the setting, objects, and colour. The leaning forward of the participant makes it more intimate. Also considering the other semiotic resources at play, the presence of a participant makes for a more personal connection. It makes you ask what occasion they are celebrating. Without a participant, we might instead ask, a depersonalized question such as what is happening, or whether the photo’s purpose is simply aesthetic. Additionally, a group in this instance would completely change the meaning potential. It might give off the idea of a party versus something more intimate like a valentine’s date or Mother's Day.

Of relevance here, is the use of non-representation. The motivation behind including or excluding participants creates a very clear idea, which is that the photo is more concerned with the idea of celebration rather than making the overall photo about one thing. The neatness of the objects and setting, convey that the focus is decontextualizing the objects from a specific occasion. We should also ask whether there are other motivations for leaving people absent from the photo. It can be inferred that the celebration is of more value to capture. You could ask whether the motivation to exclude social actor demonstrations of class, pride, egotism, and pretentiousness on the part of the photographer. Paired with the choice to limit the view of the setting, it is clear the photo is symbolic of a special celebration.

For the purposes of illustration, the woman being dressed up is an example of categorization, since whatever celebration that is happening culturally requires it. The individualization of the woman would be an example of specific representation. All these elements, allow the photo to take on a different meaning potential and are an integral part of analyzing a photo.

Step 5: Action Processes/Indexes

Using the same example of the woman prior, consider the behaviour/process being depicted. Again, this informs the means and ideas we have found thus far. Finding out indexes through the participant allows for a clear understanding of the occasion happening and what it means. We can as what a specific action process index indicates. The index acts to denote and then form connotation through the action processes, which are emotional, mental, verbal and material. Emotional action processes are indexed through expressions (facial or posed bodily). Analyzing an image in this way allows the viewer to ask and form ideas about the social actor's emotional status. Refer back to the smiling woman example, we can say that her pose of leaning forward and smiling, indexes happiness, “This interpretation is supported by the rest of the image… (Ledin, 2018, pg. 57)”. Without the context of the image, we might think that she is simply a model posing. The emotional action process/index fits best in this analysis example. The mental process is where the social actor's mental activity is indexed through context or semiotic resources. The material process is concerned with whether the action is something that unfolds. It captures the flow of movement, which could index what is happening more specifically. This would also be the case for verbal action processes, paired with the emotional process.

Step 6: Viewer Orientation

In this last step, viewer orientation covers the angle. These angles inform the relationship viewer are forced to take on. These angles can be vertical, horizontal, or oblique. This photo makes use of the horizontal angle in viewer orientation, as the image is wider horizontally. The proximity of the viewer seems to be at a distance, through a medium shot. It makes clear that the viewer is a part of the audience, not the celebration itself. In doing this, it signals that the though the viewer is not involved, intimacy still needs to be conveyed, as it informs the overall meaning of this image and what it symbolizes.

Additionally, the slight usage of oblique angles in viewer orientation brings back a kind of playfulness in the photo, conveying that something special is taking place. The fact that it is also not perfectly proportionately angled gives an idea of the informality and its spontaneity in the photo process. It feels more personal. Paired with other semiotic resources, you get the feeling that the purpose of the image is to capture the moment. While also capturing the unskillfulness of the photographer. All these ideas inform new meaning potentials.